Celine Song’s eagerly awaited follow-up to her debut film “Past Lives,” named “Materialists,” may be too intelligent for its own sake. On the surface, “Materialists” is flawless. It features a romantic comedy love triangle with Chris Evans, Dakota Johnson, and Pedro Pascal, all beloved internet stars.
The storyline mirrors that of a classic Golden Age Hollywood film. A jaded career woman (Johnson) in New York City plays cupid for the affluent and superficial. However, when she encounters a charming, wealthy man (Pascal), will she opt for him, or will her affection steer her toward the struggling artist (Evans) who has no savings and only a catering job?
Such roles were once filled by actresses like Jane Russell, Lauren Bacall, or Katharine Hepburn. In the ’90s, it could have been Meg Ryan or Julia Roberts. Casting Dakota Johnson today is a daring choice. It’s not that Johnson lacks the ability to portray a tough career woman who may also be an incorrigible romantic. Yet, her public image as a witty cynic influences her portrayal in the film.
The actors’ images overshadow Song’s vision for “Materialists.” Let’s analyze it.
Dakota Johnson as Lucy M. embodies a polished Manhattanite that “Sex and the City” enthusiasts wish to emulate. Like Carrie Bradshaw, Lucy can pitch the idea of ideal love and exceptional intimacy to her clients. But she’s not a true believer like Carrie. Conversations with coworkers revolve around metrics: height, income, and BMI.
Nine years prior, she was an aspiring actress without affluent parents to back her. Like many romantic heroines, Lucy fears ending up impoverished. To her, financial instability equates to unhappiness because she has experienced both. Thus, envisioning a future with John (Evans), who is still chasing his acting dreams, feels reckless.
In a flashback, Johnson’s urgency regarding finances comes off as performative. Her privileged persona undermines her character. Even in less fashionable attire, she remains identifiable as Dakota Johnson, the emblem of privilege.
Casting Chris Evans as a struggling actor tests one’s ability to suspend disbelief. Lucy’s chemistry with her co-stars during the promotional tour doesn’t carry over to the movie. John, portrayed by Evans, is a well-known face in New York City. As a struggling actor with side gigs, he possesses a playful grin and a weary gaze.
Selecting John is intended to appear risky since he cannot guarantee financial stability. However, choosing one of the world’s most prominent stars as a struggling actor makes it difficult to perceive this as a leap of faith.
Pedro Pascal plays Harry, a hedge fund manager who escorts Lucy to upscale eateries and his opulent apartment. He is a gentleman—tall, dark, handsome, and generous. Opting for Harry seems like a pragmatic decision.
Casting Pascal might suggest concealing a mystery that Harry harbors. Nonetheless, Harry is not a villain; he simply isn’t the right match. Choosing Pascal as the character we are meant to oppose is a bold option.
Song establishes a classic rom-com framework but dismisses the hopeful tone typical of Hollywood comedies for something contemporary. The tone is subtle, and the dialogue isn’t chipper. Song dedicates herself to a sincere indie perspective on love and relationships. Her characters are escaping solitude more than searching for romance.
New York City isn’t a paradise of designer footwear and available bachelors. It’s a mix of busy bodegas, shabby corners, and awkward disputes. The film’s discussions about money focus on value. What do we perceive our worth to be, and what will we risk for someone who acknowledges that? In that regard, “Materialists” is profoundly romantic.
The film commences with a scene of a caveman and cavewoman exchanging gifts, indicating that marriage has always revolved around mutual offerings. Song opts for a more muted color palette compared to ’90s rom-coms. A subplot featuring a client’s disastrous date threatens to derail the film’s uplifting vibe. Song is crafting a romantic comedy for skeptics.
Others may view “Materialists” and distinguish the actors’ images from the film. I found it hard to appreciate the movie as it stands, separate from the marketing portrayal. I might view it more favorably in the future. For the moment, I respect its ambition, yet its stars might be its greatest shortcoming. As much as “Materialists” strives for realism, it’s challenging to overlook its stars in the pursuit of gritty authenticity.
Ultimately, “Materialists” attempts to tick off all the rom-com boxes, much like Lucy’s clients aim to check off their desires. However, Song strives to provide what we truly need. Despite my hopes for her success, I was left feeling indifferent.
“Materialists” is currently in theaters.