KICKING AND SCREAMING

            In Noah Baumbach’s Kicking and Screaming, Otis hold everyone back from leaving the house so that they can watch a stain-removal commercial. Max interjects forcefully, “It’s a detergent commercial, Otis. They’re going to get the stain out” But Otis is adamant: “Yeah, but that’s bicycle grease.” In reaction Max stares at the television intently, and appears to involve himself in the suspense of the commercial. A rather mundane detergent advertisement becomes a dramatic event for Max Skippy, and Otis. The drama is entirely based around the reaction of the viewers. In his first encounter with Jane, Grover similarly defends the subject matter of a short story: “This was a particularly hot issue of Victoria’s Secret. They had to make some really tough decisions.” His story reflects on the restrained drama of his protagonist Gower: “Was it the women in lace-top thigh highs, the chemise in wrap, the matte satin boxer pajamas, or the Taylor strapless bra? He closed the catalogue. Gower felt he could shout in his father’s pillow, and he never got her call.” The meticulous concern that he brings to the description of lingerie balances his refusal to surrender to his feelings for Jane. In fact, this only makes his expression that much more intense. Against his helplessness, only a profound emotion could overcome the obstacles. The viewer can thus feel his dilemma all the more deeply. Jane actually goes to Prague, but Grover creates a romantic vision that is all the more appealing; it is the viewer’s refuge--it is Grover’s Prague.

            Jane feels the need to escape the narrow confines of the college town Moncton. Even Chet seems to support the reasonable efforts that she makes at forging a new life. In her post card to Chet she describes the encouragement of her writing professor. Grover’s cynical comments about Prague only serve to alienate her and belittle her plans. She offers a bizarre turn on fair weather, “Grover, you’re a fair weather friend. You only like I’m when I’m miserable like you.” In defense, he makes fun of the American poseurs who wholesale adopt the Czech customs, coffee in the cafes and cursory readings of Kundera’s The Unbearable Lightness of Being, as a pretense that they are transforming their identities. This is a far cry from Jane documenting her journey to Auschwitz. And Grover’s drunken forays with Amy hardly match his witty and sophisticated banter with Jane. Nevertheless, Grover and his crew make an art form out of their college years. Moreover, their inspiration offers Grover the springboard to a journey into the self that might rival Jane’s adventure down a creepy Kafkaesque street.

            The characters’ experiences alternate between horror and comedy so rapidly that it is often difficult to gage the dramatic import of a situation. A silly game of trivia that has focused on Jason Friday the 13^th Movies degenerates into Skippy’s confrontation with Max over a betrayal of their friendship. Like the game, the classroom seems to have enshrined the role of the observer in creating significance to an experience. Max comments how he has become nostalgic about events that have not even occurred. Thus disoriented about time, the characters seem engaged in a paralysis. Grover expands on this feeling in his remembrances of Jane. He sits in a hazy room and continually plays her phone message without allowing the voice to arrive at the conclusion. In a sense, he has arrested time; it now echoes with a special poignancy. Jane previously had tried to respond to conversations fifteen hours after their occurrence. Grover goes further and completely inverts the time line. He gravitates towards the exquisite gesture of his desire, a first kiss with Jane. In their encounter in a coffee bar where Jane works, Grover aptly listens to her piecetogether disconnected stories about her childhood. She will repeat the same understanding in thePenguin, the erstwhile townie bar. Even her own name has become alien to her. From herclumsy dance moves to a hardly adept performance with a lighter, she exposes a haphazard sideto her character that is endearing for both Grover and the audience. Equally absurd is herawkward maneuvering of a retainer. She is the ultimate compliment of Grovers fictionalGower. But it is Grovers attachment to her that is the essential feature of her portrayal.Each of the flashback scenes with Jane are introduced with still black and white frames. She comes to life for Grover when her reappearance is triggered by affecting memories on hispart. He is losing himself in the very nostalgia that is the source of his stories. He has stumbledon a severe case of writers block as his creative faculties have not caught up with the full natureof his attraction. It is critical that Baumbach endear Grover to the audience. When he finallyplays the complete message, Jane admits that she misses him. Her avowal has already launched asense of wonder that surpasses this honesty. The form of Grovers memories make Janes charmso prevalent. At first, he seems more tied to fitting her into his expectations for senior year. On the other hand, while stumbling over her words or dancing to the jukebox, she has becomealmost irresistible. Inspired, a whim almost drives him to take a plane to Prague. But theaudience has not seen the first kiss. In the suggestiveness of the last scene, Grover confronts hissurrender to her magic.The hesitant communications of the other characters lead the audience back to Groversfascination. This is Baumbachs subject matter. As much as Prague holds the lure for Jane, theviewer cannot share in that particular revelation. Instead, the focus is on how she has captivatedGrover. There is a sense of majesty in Grover inability to leave Moncton. If Prague held thisrespite, then he could have just obtained his passport and headed off to see Jane. His Prague ispart of another world that unites audience with character. Therefore, the audience believes in thekiss. But even to see that would dispel the tales sorcery.