Titolo in italiano: Il piano di Maggie - A cosa servono gli uomini
Titolo in lingua originale:
Anno di produzione:
Anno di uscita:
Regia: Rebecca Miller
Soggetto: Tratto dal romanzo di Karen Rinaldi A cosa servono gli uomini edito in Italia da Rizzoli.
Cast: Greta Gerwig (Maggie) Ethan Hawke (John) Julianne Moore (Georgette) Bill Hader (Tony) Maya Rudolph (Felicia) Monte Greene (Max) Travis Fimmel (Guy) Fredi Walker-Browne (Beverly) Wallace Shawn (Kliegler) Mina Sundwall (Justine) Jackson Frazer (Paul Harding) Ida Rohatyn (Lily) Alex Morf (Al Benthwaithe) Sue Jean Kim (Komiko) Angela Trento (Debbie Wasserman)
Musica: Michael Rohatyn
Costumi: Malgosia Turzanska
Scenografia: Alexandra Schaller
Fotografia: Sam Levy
Montaggio: Sabine Hoffmann
Makeup: Marjorie Durand (direttrice); Susan Reilly LeHane (per Julianne Moore)
Casting: Cindy Tolan
Scheda film aggiornata al:
19 Maggio 2023
Le (dis)avventure di Maggie (Greta Gerwig), una giovane donna che cerca di cavarsela da sola nella cittĂ di New York tra gioie e dolori. Determinata ad avere un bambino, Maggie si lascia coinvolgere in un triangolo amoroso con un infelice accademico (Ethan Hawke) e la sua eccentrica moglie (Julianne Moore).
Maggie Hardin (Greta Gerwig) Ă¨ unâallegra e affidabile trentenne newyorkese, che lavora come insegnante. La vita di Maggie eĂ pianificata, organizzata e calcolata. Maggie non ha molto successo in amore ma decide comunque che eĂ arrivato il momento di avere un figlio. Da sola. Ma quando conosce John Harding (Ethan Hawke), uno scrittore/antropologo in crisi, Maggie sâinnamora per la prima volta, e cosiĂ eĂ costretta a modificare il suo piano di diventare mamma. A rendere tutto ancora piuĂ complicato câeĂ il fatto che John eĂ infelicemente sposato con Georgette NĂ¸rgaard (Julianne Moore), una brillante professoressa universitaria danese. Mentre i suoi amici, gli eccentrici ed esilaranti Tony e Felicia (Bill Hader e Maya Rudolph), stanno a osservare sarcasticamente dalle retrovie, Maggie mette in atto un nuovo piano che la lancia in un ardito triangolo amoroso con John e Georgette, e cosiĂ le loro vite sâintrecciano e si uniscono in modi inaspettati e divertenti. Maggie apprende in prima persona che a volte il destino dovrebbe essere lasciato indisturbato.
Maggie's plan to have a baby on her own is derailed when she falls in love with John, a married man, destroying his volatile marriage to the brilliant Georgette. But one daughter and three years later, Maggie is out of love and in a quandary: what do you do when you suspect your man and his ex wife are actually perfect for each other?
Commento critico (a cura di DENNIS HARVEY, www.variety.com)
GRETA GERWIG, ETHAN HAWKE AND JULIANNE MOORE MAKE A PLEASING TRIANGLE IN REBECCA MILLER'S OFFBEAT ROMANTIC COMEDY.
After three initial features that were uneven but shared a rather literary kind of seriousness, Rebecca Miller moved toward romantic comedy with 2009âs âThe Private Lives of Pippa Lee.â Her new âMaggieâs Planâ inhabits that terrain even more assertively, albeit retaining enough offbeat qualities to avoid genre conventionality. This pleasing triangle embroils Greta Gerwig, Ethan Hawke and Julianne Moore in two overlapping relationships involving three children over three-plus years. Premiered at Toronto without a U.S. distribution deal yet in place, it nonetheless looks likely to log a B.O. personal best for the writer-helmer, with modest but solid niche prospects in all formats.
Millerâs screenplay (based on an unpublished novel by editor-publisher Karen Rinaldi) wastes no time establishing the setup, as fully blurted out by Maggie (Gerwig) in the first lines of dialogue.
Speaking to old friend Tony (Bill Hader), whoâs already got a spouse, Felicia (Maya Rudolph), and child, she bemoans her inability to sustain any romantic relationship longer than six months. Having decided thatâs unlikely to change, but ready for motherhood right now, sheâs decided on a plan: imminent pregnancy via sperm donation culled from another college pal like Bill. The lucky man chosen is Guy (Travis Fimmel of cable skein âVikingsâ), a mathematics major turned âpickle entrepreneur,â though she politely rebuffs his offer to do it the old-fashioned way rather than via sterilized jar and turkey baster.
This meticulously plotted transaction nonetheless runs up against unpredictable fate; it happens just as Maggie succumbs to a powerful attraction to John (Ethan Hawke), a new adjunct professor at The New College, where she also works. Sheâs a sort of career advisor to art and design students; he teaches anthropology, but is working on
a novel, and agonizing over his marriage to more successful colleague Georgette (Moore), a Dane whoâs great in the sense of âimposing.â With Mooreâs hair tilted skyward in a rigid bun and an accent more grimly Teutonic than Danish, Georgette is an overbearing personality â at least, John can bear it no more, despite their two children (Mina Sundwall and Jackson Frazer as the roughly 13-year-old Justine and 8-year-old Paul). The same night Maggie is cozying up with some Guyness in a turkey baster, John shows up on her studio-apartment doorstep, thrown out by his wife and proclaiming his love.
Three years later, the new program has Georgette and John splitting custody of their kids, while heâs got 3-year-old Lily (Ida Rohatyn) with Maggie. Motherhood is indeed all Maggie had hoped. Still, sheâs getting more of it than she asked for: Free at last to be the self-absorbed artiste in his
second marriage, John (who still hasnât finished his ballooning novel) lets Maggie do the moneymaking for them both, and the parenting for all three adults in this somewhat strained arrangement. When his obliviousness grows to the point where sheâs actually falling out of love with him, Maggie concocts a new master plan to reunite the divorced couple. An anthropology conference in snowy rural Quebec provides a convenient excuse for the exes to âaccidentallyâ spend several days together.
Wooing John back after heâs given a well-received lecture, Georgette husks, âNo one unpacks commodity fetishism like you doâ â one of many bright lines here that are expertly played by a highly agreeable cast. Millerâs consistently interesting films have always mixed sharp observation with a resistance to narrative formula that can sometimes feel like quirky mannerism, and that element is present here as well. But the general lightness of âMaggieâs Planâ (even âPippa
Leeâ had some bleaker backstory aspects) lets it get away with content more clever and ingratiating than fully depthed.
Miller is greatly helped by all her major collaborators here. Gerwigâs dithering soft edges keep Maggie likable, even when her actions seem ill judged or just not very smart. Hawke likewise renders sympathetic another hapless, roguish man boy â this actorâs speciality â who keeps requiring women to âsaveâ him, then comes to resent the intervention. Moore makes humorlessness very funny as a character who, one imagines, probably spent much of the 1980s somewhere in the realm of deconstructionist European feminist performance art. Hader provides supporting spark as a straight version of the gay-best-friend role, forever taking the heroineâs confessions and reading her the riot act.
One New York-set romantic comedy about educated people that doesnât seem especially Woody Allen-esque (or even make a big deal about its location), âMaggieâs Planâ is nicely
crafted on all levels, from Sabine Hoffmanâs brisk editorial pace and Sam Levyâs warm lensing palate to just-right design contributions. Canny soundtrack elements encompass input from composer Michael Rohatyn and music supervisor Adam Horovitz.
Nota: Si ringraziano Adler Entertainment e Silvia Saba (SwService)