Upon its release in 1969, Paul Mazursky’s Bob &Carol &Ted &Alice was both praised and criticised for being asocial commentary and averdict on marriage (and Americans) that was conveyable only through comedy. The film’s watershed financial success made it possible for others to follow suit and explore themes of consensual promiscuity on screen. Olivia Wilde’s third directorial endeavour is agreat addition to this “canon” of sorts. The Invite is astar-driven chamber piece, with Seth Rogen, Penélope Cruz, Edward Norton and Wilde herself at the centre of this partner swap, comedy-thriller.
From the get-go, genre hybridity and afluid tonal range steer the current of Angela (Wilde) and Joe (Rogen)’s tense relationship towards and away from the Scylla and Charybdis of every heterosexual marriage: acouple who might be better than them. After two shared decades and akid off to college, the pair have amarriage that has become comfortably stale in the way you imagine Bergman’s protagonists in aprequel to the break-up masterpiece, Scenes from aMarriage. This is quite unlike their upstairs neighbours whose “floor-shaking fucking” and indiscreet orgasms puts the (implied) sexless couple to shame. The Invite promises aface-off disguised as agenteel dinner party as soon as Piña and Hawk (Cruz and Norton) knock on the door downstairs.
Get more Little WhiteLies
Wilde remakes Cesc Gay’s 2020 film The People Upstairs with akeen sense of comedic timing to mitigate relationship issues and advance the plot. It’s so sharp, in fact, that it harks back to classic-era screwball comedies. The establishing scene has Angela and Joe escalate afight to epic proportions – think tantrums and primal screams – and neither Wilde nor Rogen ever drop the ball. Each of their performances is so well calibrated to the other’s, combining an expressionistic weight with aLooney Tunes codependency, all with delightful results. There are, of course, higher stakes to their verbal sparring, especially with another couple present. Piña’s homemade flan is nothing next to an overcooked soufflé; Hawk’s job as afirefighter makes Joe feel even smaller in his casual music-teaching job, but it’s obvious that desire wears the cloak of envy. What if sharing is indeed caring?
Non-monogamy plays acrucial role in The Invite, afilm that’s notably anti-didactic. There are scenes where characters discuss their sexual experiences and inclinations – and the occasional Below Deck “preference sheet” joke – but they are never prescriptive. On the contrary – the quartet of performances embody the wide spectrum of reactions one might associate with alternative relationship structures, from giddy, infantile excitement to the suffocating insecurity and fear of losing your partner to another. While the comedy is excellent (hyperbolic but vulnerable at its core), there is even more value in The Invite’s remedial humour and ashared attempt to not only make the contradictions of hetero-monogamy more palatable, but pleasurable.
