Up in the Air
Up in the Air
A Paramount Pictures release of a Montecito Pictures Co. production. Cinematography, Eric Steelberg; Costumes, Danny Glicker; Director, Jason Reitman; Editors, Dana E. Glauberman; Music, Rolf Kent; Producers, Daniel Dubiecki, Jeffrey Clifford, Ivan Reitman, Jason Reitman; Production design, Steve Saklad; Screenplay, Jason Reitman, Sheldon Turner, based upon the novel by Walter Kirn; Sound, Steven Morrow; Supervising sound editors, Perry Robertson, Scott Sanders. Cast: George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Danny McBride.
Ryan Bingham (George Clooney) has an amiable disposition that belies the fact that it’s best to stay out of his path. You see he’s a high-priced assassin. Not the typical sort of movie killer that shoots to kill, but a contemporary gun for hire who walks into a corporate boardroom and systematically calls in the staff and in the nicest, most professional way, hands them their walking papers.
Up in the Air is his story. It’s a fluid, jaunty romp that tamps down the pain of recession era America with humor and humanity. Pace, both in the storytelling and the production, is vital and film editor Dana E. Glauberman effects a steady, engaging rhythm that keeps one on the page and glides past plot potholes that would otherwise hobble the film. She gets a significant assist from composer Rolfe Kent whose score augments the alacrity with vibrant, often ironic, tones that tug rather than pull us into this rarified realm.
Bingham loves his job and in a curious fashion has a missionary zeal that’s intent on getting people quickly out the door and into a better life. He can convince anyone of anything because he’s grounded. He’s also aloft—addicted to a life of hotel rooms and connecting flights associated with people up to no good.
But that’s all about to end.
Back at corporate headquarters in Omaha, the aptly named Natalie Keener (Anna Kendrick) has devised a cyber system that will allow the head choppers to do the deed via teleconferencing. The normally sangfroid Bingham is obviously opposed to the new procedure.
And in what’s supposed to be his last circuit, takes her literally in tow to demonstrate that the human touch cannot be replicated online.
Aside from the smoothness of movement in cinematographer Eric Steelberg’s work there’s a lot to be said about the pristine quality of his imagery. The characters are all about efficiency, and that’s reflected in the tidiness of the meeting rooms, the hotels and bars, the cars they drive and all other aspects of their professional pursuits.
There’s a sleight-of-hand that facilitates both the dramatic invention as well as interviews melded with real victims of down-sizing. Still, good intentions aside, the film ultimately stumbles and is unable to regain its balance.
The pivot hinges on the possibility that the protagonist has to confront the possibility that everything he knows might be “wrong.” He, like the thousands riffed at his direction, has to confront a grim reality and adapt or face extinction.
The dilemma is that Up in the Air is as entrenched as its anti-hero. Ultimately emotional stasis trumps all other factors.
Bingham is capable of human commitment and feeling, even if his personal choices are often ill formed. But, despite the spiel he dolls out liberally and passionately in the moment, he’s the doctor incapable of selfdiagnosis.
He’s stuck and we are left in a limbo that’s far more perplexing than validating.
