Microbiologist-turned-homemaker, she is a foodie with a flair for cooking. An avid traveller and voracious reader, she also loves to paint and indulges in photography.
Published May 8th 2018
An Ode to the Ordeals of Motherhood
Steeled with sentiments both jolly and melancholy, Jason Reitman'sTully is a steadfast projectile that will surely send a tickle down your spine while hitting home its underlying message of one's fading individuality in treading the testing waters of motherhood. Satire is director Reitman's and writer Diablo Cody's tool of choice while weaving stories that engage solemn issues. In the very likeness of their previous venture Juno, the duo have concocted the profound mental and physical trials of a mother into a cocktail worth gulping down.
Bound by subtle contours of suburban family living and warm shades of a middle class home, Marlo's life is far from the coziness afforded by both. Already a mother of two and nearing the final stages of a third pregnancy, Marlo is overwhelmed by the rush into which her life has plunged. The codified lifestyle of her brother Craig's (Mark Duplass) family is pitched as a clever mockery of her disorganized household. Donning the dishevelled garb of pre and postpartum looks that are a far cry from her symmetrical beauty, Charlize Theron delivers a generous dose of her thespian talents. Whether feigning a bold face to hide her anxiety or simply sleeping off her dampened spirit, she plays her usual no-holds-barred game in portraying the distressed Marlo.
Fearing yet another nervous breakdown after childbirth, Craig proposes the gift of a night nanny to Marlo. The proposal is coolly waved aside. At home, her plight is augmented by underachieving kids and a husband (played effortlessly by Ron Livingston) who has conditioned himself to overlooking everything with a self-proclaimed casualness. No sooner than the baby arrives, the mother's life is gobbled by the whirlwind of diaper changes, audio baby monitor screeches, feeding and unplanned diurnal naps - the mayhem accentuated by smart audio editing to heighten effect of the natural sounds.
As a much-needed emollient to soothe the twitching life of Marlo, into the picture hops a bright-eyed and bushy-tailed Tully - the eponymous night nanny. Armed with an ear to ear smile, the gleaming Mackenzie Davis tactfully enacts the ever-alert, all-knowing carer, easing out the creases of Marlo's stressed existence. The juxtaposition of their age, physique and situation - Marlo's awe at Tully's encyclopedic knowledge over her own dwindling senses and her envying the trim body of the new nanny - forms the very soul of the movie. Davis is greatly convincing in dishing out a cautiously flavored performance against the seasoned Theron.
Most of Tully's trajectory is invigorated by music rising to a crescendo before tapering off to feebler notes. Though the story loses some of its energy towards the end, the plotline is strong enough not to swerve from its designated path. Propped on the acting skills of both the leading ladies with the men lending structural fillers to the project, the film feels affectingly good till the final parabolic drop. Despite all ado and agony of the protagonist mother (four stars for Theron for brilliantly depicting that a mother's mind is a fairy's workshop), Tully emerges as a light-hearted and exhilarating mid-year bonanza for Hollywood buffs. A 7.5/10 to Tully's trajectory.