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There’s something quite sad about director Noah Baumbach’s latest film, Jay Kelly, both the film itself and the character at its center. Played by George Clooney, one of the biggest movie stars in the world, Jay Kelly is also one of the biggest movie stars in the world. He’s got the mansion overlooking the Pacific, the money, the fans, and the entourage that lives to serve him. The world is his oyster. But when we meet him, regret and what-ifs are beginning to seep in.
The film opens on a movie set as he films the final scene of his latest project, a long, thoughtful monologue about death and dying. He commands the set completely, the crew watching in silence as he works his magic. The director calls, “Cut!” and just like that, Jay walks off to live his fabulous Hollywood life.
When Ron (Adam Sandler), his longtime manager, tells him that Peter (Jim Broadbent), his old friend and director of his first film, has died, it stirs up memories. Flashbacks show how Peter plucked him from acting class obscurity to star in the breakout hit that launched his career, and how Jay later declined a role in Peter’s final film, a choice that might have saved Peter from financial ruin.
After the funeral, Jay and Ron bump into Timothy (Billy Crudup, who steals every scene he’s in here), an acting-class buddy from the early days. Against Ron’s better judgment, he leaves the two to grab drinks and reminisce. But Timothy’s bitterness quickly surfaces, accusing Jay of stealing both his girlfriend and that fateful role. The confrontation turns physical outside the bar, and Ron, ever the manager, swoops in to keep it quiet.
The incident deepens Jay’s spiral of reflection, particularly about his two estranged daughters, Jessica (Riley Keough) and Daisy (Grace Edwards).
The story shifts to Europe, where he and Ron head for a career retrospective at a film festival. But the event is really an excuse for Jay to track down Daisy and try to make amends, or at least as much as he can at this point. As he tries to balance the celebration of his career, he’s also feeling the need to fix what he feels like he’s broken.
I have no idea if Baumbach, who co-wrote the script with Emily Mortimer (who also plays a make-up artist in the film), wrote this with Clooney in mind, but it’s hard to imagine anyone else playing the role as perfectly. If Clooney had made different choices in life, he might’ve been Jay Kelly, and you can feel that awareness in every scene. It’s one of his best performances in years.
Sandler’s Ron isn’t your typical fast-talking, in it for the money, Hollywood manager. He’s loyal, protective, and plain tired from years in Jay’s orbit and his real family, who he adores, commitments which are on full display in the film.
Their relationship goes beyond business. In one moment on the train to the festival, after an emotional exchange, Jay casually tells Ron to get him a glass of water. You can see in Sandler’s eyes how the command cuts deep.
Some of the film’s most affecting scenes come from Jay’s interactions with his daughters, each processing a lifetime of his absence and neglect in different ways.
Baumbach remains a master of dialogue and character, and while the pacing occasionally stumbles, like that long train sequence, Jay Kelly finds its power in small, honest moments that stay with you.
