By Olivia Hunt, Second Year, English Literature
I entered the cinema for this film with zero expectations, cold turkey if you will. Upon collapsing into my seat with the sonic background of cinema advertisements, I took a glimpse to what Picturehouse were writing about this film. In their magazine, a series of images caught my eye:
Now, I enjoyed all these films but each in their own unique ways. The Favourite for Yorgos Lanthimos’ surrealist, dark comedy, Wicked Little Letters (2023) for its crass script and the Bridget Jones franchise I feel is self-explanatory. The emphasis on Coleman’s repertoire, rather than Cumberbatch’s, kept me curious but I knew I was in for a treat.
The Roses, directed by Jay Roach, pictures a wilting marriage between previously successful architect Theo and his wife Ivy, a budding celebrity cook. After spontaneously moving to sunny California from brutalist London, their gritty British passive aggressive humour clashes with seaside landscapes of perfection. Theo’s architectural magnum opus – a complicated naval museum - crashes and (literally) burns in a storm surge, whilst Ivy’s restaurant ‘We’ve got Crabs!’ reaches the heights of cooking reviews and explodes with customers desperate to try her award-winning food. These moments divulge into the chaotic downfall of their relationship, taking a deeper toll on their parental roles and careers.
The couple are also matched with a stacked cast, such as Ncuti Gatwa, Andy Samberg, Kate Mckinnon and Jamie Demetriou who play the American counterparts – overseeing the destruction of their relationship.
An element of the film I found interesting was Theo and Ivy’s failing parental dynamic. In particular, Theo’s emasculation at the result of Ivy’s success. As a result, this reversal flips Theo into a more maternal role, one which he stimulates by teaching a hyperactive lifestyle for their children. He provides nutritional plans, sets them athletic targets as making up for his lack of paternal authority.
Unfortunately, this mentally ages the twins and pushes them away from Ivy, a character who is much less serious than Theo. This division is also set out by her boldly coloured costuming, almost straight out of a Lucy&Yak catalogue in contrast to Theo’s pale and washed-out palette. Theo is only able to recognise his loss of masculinity when he achieves something for himself. As he rescues a beached whale that represents their relationship, he realises he needs to let go.
I also found the mix of American slapstick and witty British wordplay (written by Tony McNamara) effective in portraying the downfall of their relationship, not only are they opposites within the relationship but their dynamic doesn’t really work in their social spheres. The dining sequence towards the end of the film was hilarious, especially in the ways that the American characters reacted towards Ivy’s sarcastic responses.
Picturehouse were right in setting the tone of this film, it captures all the great elements from all three recommended pictures. After the film ended, I found out via social media that the Californian scenes were actually filmed in Devon. That’s my Easter holidays sorted!
Featured Image: IMDb/ Jaap Buitendijk
Were your expectations met with The Roses?
