Director Sebastián Lelio’s latest film, “Gloria Bell,” begs the question: Can moviegoers have too much of a good thing? This new picture is a near beat for beat remake of his 2013 critical darling “Gloria” – one of Rotten Tomatoes’s best-reviewed titles of all time. This new movie feels unnecessary. After all, if it ain’t broke? But if there’s one element here to pique viewer’s interest, it’s Lelio’s casting of Julianne Moore as the eponymous heroine. Moore is one of only a handful of women on the planet capable of delivering the nuance, depth, and texture to match Gloria 1.0’s (Paulina García) pitch-perfect performance.
Gloria (Julianne Moore) is a divorcee in her mid-fifties who lives alone (aside from a pesky cat who keeps sneaking into her apartment). Her adult children don’t have time for her, and they pay her little mind when they do get together. Watching Gloria’s kids ignore their mom stings since she has such a beautiful spirit; she’s always singing, smiling, and showing consideration for others. So, the single-lady keeps her spirits high by going out to clubs and dancing the night away. One night while on the dance floor, she meets Arnold (John Turturro), a recently separated man who is enraptured by her, and the two start dating. Unlike Gloria, he is new to the dating world, and Arnold’s ties to his old life keep their relationship from gaining traction. Gloria then must decide whether to continue down this bumpy road with Arnold or move on.
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The film employs an accomplished cast of actors, most of whom enter the story for a scene or two and then disappear. Michael Cera, Brad Garrett, and Jeanne Tripplehorn each do solid work, but their roles aren’t meaty enough for the supporting cast to chew on. With all due respect to those excellent actors, “Gloria Bell” is a two-person show. Turturro can swagger and bluster with the best of them, and he’s in his element playing loud, brash, and vulgar men. The actor stands out here for dialing the volume down several notches to portray sweet and vulnerable. Though well-intentioned, Arnold is a roadblock to Gloria’s happiness, and in the wrong actor’s hands, the character could come across as a villain. Turturro plays him as a poor schmuck, too cowardly to take life’s next step. It’s a testament to the actor that one may even feel bad for the man.
It’s no hyperbole to call Moore one of the greatest actors of her generation. She’s at home playing fragile or fierce and is always capable of coming at her character from 100 different angles. Lelio’s needless remake has a high bar to clear, and Moore is one of the few people talented enough to justify this project’s existence. She seamlessly becomes one with Gloria and takes the audience on an endearing journey through this fifty-something’s mid-life coming-of-age. She paints a vibrant portrait of a woman seeking her best life, and it’s impossible not to root for her. Gloria feels three dimensional; her pain palpable, her motivations deeply considered, and her spirit irrepressible. Moore brings a level of depth and humanity to the role missing from most films. That this is a woman-of-a-certain-age pursuing romance further thrusts the part towards unicorn status.
Storytelling is about catharsis, for both the protagonist and the audience. Usually, the hero stands in the way of their own needs, their desire to remain “comfortable” preventing a necessary change in life. The beauty about Gloria is that she seeks out change with wide-eyed enthusiasm. She is open to meeting new people and having fresh experiences, whether it’s clubbing alone, bungee-jumping, or impromptu trips to Vegas. Gloria’s change must come from within, but it’s a pleasure watching her chase happiness – even if it’s fleeting. Moore plays Gloria with a twinkle in her eye that makes her lovable and a yearning for connection that makes her relatable.
“Gloria Bell” tackles themes that most people have endured; longing, compromise, and self-dependence are a three-step dance that everyone stumbles through at some point in life. This is a character study and not a plot-driven film, which may turn off viewers who prefer a traditional pace and structure. But if you desire memorable characters and a powerful message, Lelio gifts moviegoers with another stirring female-driven showcase. If one must compare apples to apples, “Gloria Bell” is as engaging, well-acted, and empowering as its predecessor. Whether this picture is necessary may be up for debate, but not its bona fides. A brilliant lead performance, dreamy score, and inspiring message make “Gloria Bell” one of the year’s most enjoyable movies. [B+]
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