Modern Romance

Albert Brooks.  A suitable case for treatment.  The ultimate neurotic.  I'm speaking of his onscreen persona, not necessarily the man himself.  But you never know.  Unless you were one of the fortunates who got to know and work with him.  It would please me to think someone who did will actually read this review someday.  1981's MODERN ROMANCE is Mr. Brooks' piece de resistance the prototype for his brand of humor.  Pathos, too, but mostly humor.   Often indistinguishable here.

Robert Cole is a Hollywood film editor who just can't seem to have a stable relationship with Mary (Kathryn Harrold), a beautiful and intelligent young woman with more patience than seems humanly possible. The problem is Robert, who seems to be addicted to both mountaintops and valleys, always craving one when he's in the other.  He only allows himself to be happy for brief periods of time before his inevitable self destruction.  The film opens with him breaking up with her in a restaurant.  She is unfazed.  It's happened before.  Many times, it's safe to assume. 

The film's title suggests that Robert's journey is indicative of that of the young adult in the late '70s/early '80s, at least in Los Angeles.  Embrace of current trends like jogging and vitamins.  Cocaine and Quaaludes.  Taking some time off from a relationship to find oneself.  The reality is Robert is a wildly insecure, jealous, and possibly misogynistic nebbish.  But a very funny and endearing one.  Brooks' personality will infuriate many viewers, perhaps more in this film than his others.  I recall watching his later DEFENDING YOUR LIFE with a group of alpha guys who balked at the writer/actor/director's wimpy persona.

But, at the risk of sounding trite, there's a little of Brooks in everybody.  There are brilliant scenes that mirror the sort of real life dilemmas many in relationships face. Like misinterpreting someone's reason for laughing while on the phone, thinking maybe they're talking with a lover.  Finding mysterious numbers on a phone bill.   Repeatedly driving past someone's house.  Lots of small moments that Brooks gets right.  Downright cringy ones, too, like the Chinese restaurant scene and Robert's attempt at dating an old acquaintance. 

Then there's a behind the scenes look at film editing.  These scenes are comedy gold, especially involving director James L. Brooks who plays the director of the grade Z schock Robert is working on.  James is really funny, he should've acted more often.  My favorite is the lengthy sequence in which Robert and his assistant Jay (Bruno Kirby) work with foley artists.  Uproarious.  You probably have to be a film buff to appreciate it fully.  Albert Henderson, as the head mixer, was an absolute riot.

MODERN ROMANCE is accurately termed an anti-romance, though we never doubt Robert and Mary love each other.  I felt badly for Mary more than once, and Harrold plays it all perfectly.  Maybe you could also call this a horror film. Quite exasperating, but real for many.  And often quite hilarious.