Introduction
Noah Baumbach is known for his signature style of introspective and emotionally charged dramas, exploring the complexities of human relationships. However, his latest film, “White Noise,” takes an unexpected turn, venturing into the realm of apocalyptic sci-fi with a touch of quirkiness. Adapted from Don DeLillo’s novel, the movie presents a unique blend of intellectual rigor, dark humor, and an ’80s retro setting. Featuring an ensemble cast led by Adam Driver and Greta Gerwig, “White Noise” explores themes of mortality, Cold War paranoia, and a family navigating an increasingly surreal world.
The Unusual Baumbach Film
As the film opens, we meet Professor Jack Gladney (Adam Driver), a rock-star professor of ‘Hitler Studies’ who harbors a secret embarrassment about not knowing German. His wife, Babette (Greta Gerwig), shares a life filled with high-achieving children from their previous marriages, forming a gently chaotic yet loving family. The film’s humor exhibits a specific stylistic choice, with deliberately unnaturalistic line-readings reminiscent of Yorgos Lanthimos films, and some Andersonian absurdities and flights of fancy.
From Family Drama to Doom-Mongering Dystopia
Baumbach’s masterful direction invites the audience on an unusual journey as the film morphs from a quirky family drama into a doom-mongering dystopia. Set in the ’80s, the film incorporates big hair, pastel, and retro fashions while offering a fresh perspective on DeLillo’s ponderings on mortality and Cold War paranoia. Amidst the peculiar setting, characters frequently discuss death, hinting at an overarching fear of mortality in various forms.
Navigating the Ambitious Mix
“White Noise” masterfully balances elements of family dynamics and capitalist satire with outlandish spectacle. Adam Driver’s portrayal of Professor Jack Gladney is both grizzled and endearing, while Greta Gerwig’s Babette adds warmth to the chaotic household. The film’s action sequences, though seemingly out of place in Baumbach’s filmography, are well-shot and add an unexpected dimension to the story.
A Slight Stumble in the Third Act
While the film’s ambitious mix of genres and tones creates a captivating experience, it struggles to maintain cohesiveness in the third act. The introduction of a murder-conspiracy subplot feels somewhat sprawling and messy, detracting from the otherwise carefully crafted narrative. Despite this, the film’s satirical dance sequence, set to an LCD Soundsystem banger, leaves audiences with an upbeat and memorable finale.
Conclusion: An Ambitious New Phase for Baumbach
“White Noise” may feel like an odd beast within Baumbach’s filmography, but it stands as an ambitious new phase for the acclaimed director. Balancing family dynamics, apocalyptic undertones, and satirical humor, the film successfully delves into profound themes while presenting an out-of-the-ordinary cinematic experience. As “White Noise” concludes, one can’t help but feel intrigued about what other cinematic surprises Baumbach has in store for his audience in the future.
