Audiences will be shocked when they actually see what Georgia Rule is about. Marketed as a chick flick, commercials and the trailer suggest the film is simply about a rebellious teenager (Lindsay Lohan, Bobby) being disciplined by her grandmother (Jane Fonda, Monster-in-Law). Instead, it turns out Georgia Rule is about a whole lot more, and the film’s subject matter is very different from what audiences will probably walk in expecting to see.
The film deserves credit for trying to do something different, tackling the very tough subject of sexual abuse while also attempting to retain comedic moments. Ultimately, though, the film isn’t able to manage this difficult balance. It has surprise plot twists, well-rounded characters and a sometimes-gripping story line, but it’s just too Hollywood-simplistic for its own good.
Georgia Rule begins with the rebellious, sexually promiscuous Rachel (Lohan, playing what at first glance seems to be herself) being forced by her overwhelmed mother Lilly (Felicity Huffman, Transamerica) to live with her tough-cookie grandmother Georgia (Fonda). At first, Rachel has a tough time dealing with Georgia’s rules, and the film almost falls into a stereotype until the audience learns Rachel has a very good reason to be upset about her life. Eventually Rachel’s past becomes known to Georgia and Lilly, and the film is about how the three women deal with Rachel’s traumatic history.
Director Garry Marshall (Raising Helen) has experience in the chick-flick genre with films such as The Princess Diaries and Runaway Bride, so it’s natural to assume Georgia Rule would follow along in the same vein. And while it doesn’t, Marshall shoots the film as though it does, often emphasizing comedy when it isn’t appropriate. But for the most part, his direction frames the actors and doesn’t call attention to itself.
Oscar-nominated screenwriter Mark Andrus (As Good as It Gets) has written a film that is reminiscent of some of Mike Binder’s recent work (films such as The Upside of Anger and Reign Over Me). Much like Binder, Andrus tries to tackle a difficult subject with the requisite dramatic scenes while also allowing for quirky characters and humorous moments. But in Binder’s work, the provocative moments (which Georgia Rule has in spades) don’t feel forced, and the humor feels true-to-life; Andrus can’t claim the same feat.
As a result, Georgia Rule mixes humor with drama so often that it becomes inappropriate. Binder’s films deal with serious issues without announcing their intent; in contrast, the overly simple Georgia Rule sometimes feels like a Reader’s Digest version of trauma recovery. For example, Lohan’s profane sexual dialogue has punch, but her dialogue during more serious scenes is too flat and straightforward.
Unlike Lohan, Fonda gets the best dialogue and also gives the best performance, as a self-assured and wise grandmother out to help her relatives. While Lohan fails to deliver her lines effectively in the beginning of the film – instead plopping them out of her mouth as quickly as possible – her performance improves as Georgia Rule develops. Huffman also starts slowly, but she is much better once her character starts to break down into alcoholism, using her sad eyes and tired face to sell us on her desperation.
What audiences will ultimately be left with at the end of Georgia Rule depends on whether or not they buy the film as realistic. The major emotional impact of Marshall’s work will simply not translate to audiences if they don’t buy into the film’s world; however, the film’s frequent use of humor as a crutch is a major distraction. The dramatic scenes feel strained, and even at times unbelievable, but Georgia Rule is an often funny, sometimes outrageous and occasionally moving film that deserves a look, if only for its complete lack of chick-flick qualities.
Contact reporter Dan Benamor at diversions@dbk.umd.edu.
