As I explained in my review for Mistress America, Noah Baumbach is remarkably talented at making me feel like shit while also enjoying a good, old fashioned nervous laugh. I ended up appreciating Mistress America a great deal more than I did Baumbach’s earlier release from this year, While We’re Young, but the pair did work together nicely as two sides of the same coin. In Mistress America, we’re swept away by & quickly grow disgusted with a pretentious free spirit who lives a frivolous life in the magical version of NYC that only exists on film. In While We’re Young, on the other hand, we’re similarly disgusted by a go-getter of a young documentarian who embodies every disdainful idea about what it means to be a hipster to an infuriating degree in an all too real NYC we wish didn’t exist in real life. Part of the reason While We’re Young‘s self-absorbed sociopath of a subject doesn’t excite the audience in the same way Mistress America‘s does is that he feels more like a carefully selected collection of quirks than a real person, never really evolving beyond much of a caricature, so your feelings towards him are much less complex. He is exceedingly fun to hate, though. Baumbach at least got that part right.
The sycophant in question is Jamie, a role Adam Driver plays like a bizarro world version of Joey Ramone where everything he does & says, right down to the basic motions of his limbs, are vile affectations worthy of vitriol (just look at the way he holds beer cans if you’re looking for something to angry up your blood). Jamie’s latest victims/”friends” are a middle aged couple played by Ben Stiller & Naomi Watts, who are attracted to the excitement of meeting younger versions of themselves in Jamie & his girlfriend Darby (Amanda Seyfried) because it allows them to escape a dull life where their contemporaries use peer pressure to convince them to do things like have children instead of younger-oriented fare like experimenting with drugs. In the compare/contrast portion of the movie, Jamie’s victims are portrayed as Gen-X squares who watch digital television & listen to CDs instead of enjoying the finer antiquated formats of vinyl records & VHS tapes. Despite how things may seem on the surface here, however, the true difference between the two couples is that the older set is a normal pair of human beings while the younger ones are a curated set of dishonest affectations.
While We’re Young is most alive when it aims for cringe comedy in the never-ending gauntlet of indignities that accompany a midlife crisis. Once Stiller & Watt’s older couple start dressing younger, wearing stupid hats (including indoors! at the dinner table! yuck!), tripping & puking at an phony shaman’s apartment, and failing miserably to look competent at hip-hop dance classes, the movie not only earns most of its genuine laughs, it also effectively depicts modern life in NYC to be a nightmarish hellscape. That’s not to say that Baumbach goes anywhere near the jugular here. If you’re looking for a full-on scathing takedown of the Brooklynite hipster, you’re much better off watching the Tim Heidecker vehicle The Comedy. The saddest moments in While We’re Young mostly amount to minor embarrassments & the distinct feeling of losing touch with old friends while chasing new ones. There may be a bitter remark here or there about The Baby Cult of new parents or rampant cellphone addiction or how the millennial generation are a collection of “entitled little brats”, but for the most part the film is well aware that it’s being an old curmudgeon in these moments. That’s not to say that there isn’t a good deal of venom in the portrayal of Adam Driver’s horrendous hipster abomination Jamie, who is at one point described with the phrase, “It’s like he once saw a sincere person & has been imitating them ever since.” The movie is ostensibly willing to let him off the hook for his transgressions, though. In the end what Jamie is up to doesn’t really matter, because he’s young & frivolous. It’s the emotional journey of the film’s middle aged characters that carry most of the film’s heart, which makes for a serviceable cringe comedy & lightly romantic indie drama depending on the scene in question. It’s nowhere near the forceful impact of the more pointed Mistress America, but While We’re Young is another success for Baumbach nonetheless.