With three
people in a small apartment carrying a conversation for a majority of its
running time, it is easy to see that Match
is adapted from a Tony Award-nominated play. Stephen Belber adapted his own
material with slight adjustments, but even with the advantages of the camera’s
intimacy this feels better suited for the stage. Something about the convenient
contrivances of the melodrama fits with the fallacies of stage that already
demand a certain suspension of disbelief from its audience members, whereas
each narrative twist on film feels more expected than the last. The saving
grace of the material comes in the form of a dedicated cast, though it is
Patrick Stewart’s showy performance that overshadows the rest.
Stewart steals
every scene as Tobi Powell, a legendary ballet instructor who is living his
twilight years in quiet solitude amidst the hustle of Manhattan
Lillard gives a
surprisingly convincing turn in a dramatic role, while Gugino falls victim to
some of the melodrama in the material, but this is really Stewart’s show. The
way that the veteran actor embodies the role of Tobi makes the predictability
of the material easily forgivable, while attempts from his cast mates to reach
the same dramatic heights often come off as slightly melodramatic and forced.
Some of this comes from the range of emotions that Stewart’s character
requires, though even this would not have been as impactful without the actor’s
commitment to the role. In a Q&A for the film that I attended, Stewart
admitted to having a difficult time on set and having nearly quit at one point.
Thankfully, he stuck with the production, giving one of his most nuanced
performances in years, often elevating the material beyond what the simple
stagy story deserves.
The DVD release
includes a trailer of the film.
Entertainment Value:
6/10
Quality of
Filmmaking: 7/10
Historical
Significance: 6/10
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