A darker Anne appeared in ‘Rachel Getting Married,’ a film that displayed her versatility but also led to unexpected failure

Perhaps this should have been known by an alternative title – Anne Getting Serious.

For this 2008 drama about a dysfunctional-dipsomaniac drowning in self-loathing was the first showcase for a march darker Hathaway (Ella Enchanted, The Princess Diaries) 

than her army of tiara-loving tween admirers could ever have imagined.

Hathaway is Kym, a young woman for whom one drink is too many, but 100 is never enough. 

Haunted by her role in a tragic family accident, she has spent the last decade in and out of rehab. 

Now nine-months clean and sober, she is on weekend release to attend her sister Rachel’s (Rosemarie DeWitt) wedding.

Immediately, she steps into chaos as the happy couple have decided to forgo a wedding planner. “They are the only people less capable of delegating than Hannibal,” notes Kym.

Worse still, she has now only just discovered she’s only a bridesmaid and not the maid of honour, is forced to bike to attend her meeting, “pee in a cup and register as a biohazard” and “everyone in the house thinks I’m a visiting sociopath”.

Eclectic director Jonathan Demme’s (Something Wild, Philadelphia, The Silence of the Lambs) first fictional film since a Manchurian Candidate remake four years earlier,Married is a fascinating, yet flawed fly-on-the-wall familial drama.

Hand-held cameras, natural lighting and a live, musical soundtrack add to the raw intimacy of the performances, but some choppy editing and a drawn-out denouement mean that like most wedding receptions, this drags the longer it goes on. The final musical montage, involving Demme’s son Brooklyn and friends, borders on the self-indulgent.

Closer to 28 Days than Meet the Parents, fans of dysfunctional human drama will miss the levity of Rachel’s contemporaries Margot at the Wedding or Junebug, while delighting in some of writer Jenny (daughter of famous director Sidney) Lumet’s acerbic dialogue spat out mainly by Hathaway’s Kym.

In the end she dominates the film, proving to be both its driving force and its downfall, as simply no-one else can measure up to match her tour de force.

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Source: Los Angeles Times

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