How this relationship develops is the marvel of Holofcener’s seamless screenplay and her unerring eye for casting (including a costarring role for her favorite actress, Catherine Keener), even as the story’s focus widens to embrace other characters. Louis-Dreyfuss’ best friend, Toni Collette, is a great sounding board even though she has a notably prickly relationship with her own husband, Ben Falcone. This is fundamentally a comedy, yet every situation has dramatic undercurrents and the possibility of turning serious—even heartbreaking—at a moment’s notice.
A true social satirist, Holofcener revels in the ordinary. Gandolfini lives in a bland, midcentury suburban house where he and Louis-Dreyfuss have a probing conversation on the backdoor stoop. (Who would stage a scene in a set-up like that but an ex-New Yorker?) In the course of telling her central story, the filmmaker manages to deal with such first-world problems as contending with a quixotic housekeeper, lavishing too much attention on your daughter’s best friend, trying to Skype with a gal-pal who’s a psychiatrist with patients waiting for her, and more.
I’ve actually heard people grumble that Holofcener is too wrapped up in the lives of affluent characters on both Coasts. I don’t understand the complaint. This is her milieu and she knows it well; that’s why her films play so honestly. Here, she has given Louis-Dreyfuss and the late Gandolfini—who have made such an impact on television—the best roles of their big-screen careers. These are real people who mean well but make unfortunate mistakes…and the actors allow us to see them at their most vulnerable. Louis-Dreyfuss reveals colors and shadings we’ve never seen before, while Gandolfini is irresistibly likable in his least characteristic role. Enough Said makes one mourn his loss all the more.
I love this film and the people in it. It’s a rare instance of a movie I look forward to watching a second time.