Something's Gotta Give

Written and directed by Nancy Meyers

            Jack Nicholson and Diane Keaton both show their age in Something’s Gotta Give.  They are naked to the camera, metaphorically and literally, modest and completely unashamed.  Nicholson probably should be.  He combines the bitter chauvinism of his role in As Good as it Gets with the seasoned sadness of About Schmidt, but he is the victim mostly of geriatric jokes and is never that convincingly attractive.  Keaton, on the other hand is more charming and sexier than ever, more forgivable for appearing in a lost narrative. 

            Nicholson is Harry Sanborn, a wealthy record label owner who has never dated a woman over 30.  While at foreplay with the young and immature Marin (Amanda Peet) he has a heart attack and is released into the custody and home of her mother Erica (Keaton).  The two slowly go from enemies to friends to lovers and once the film hits its climax, there is still an excruciatingly long third act to go.  During this third act, Erica produces a play about the week that Harry spent with her which should say since the play seems to end where the film should have.  Yet the script goes on and on wondering whether or not Harry and Erica will end up together. 

            If Nancy Meyers had ended the film when Harry leaves the house of his recovery and romance, giving it a conclusion like that of Sofia Coppola’s in Lost in Translation, the film would have been too short.  So where is the compromise?  How about showing some more scenes between Keaton and Frances McDormand who plays Erica’s sister Zoe?  These two actresses share more chemistry in the few minutes they share than any male-female relationship.  They don’t really look like sisters, but they are so likeable together, you can only hope they’re actually that close off screen as well. 

            What Meyers does use as annoying filler are sure signs that she wishes to be the new Nora Ephron.  The most grating moments of the first hour include a correspondence between the leads via AOL Instant Messenger while in the same house.  It is an eager attempt to be hip though You’ve Got Mail already played the annoying computer chat game five years ago. 

            If Something’s Gotta Give knew to quit while it was ahead, it could have been a very cute film, empowering to older women and progressive in its outlook on love.  It drags, though, because in its yearnings for Hollywood sensibility, it loses direction and momentum.  If anything, it could hopefully show audiences that romantic roles, if written well, could star attractive women over 50.