Pat moves back home with his homemaker mother (Jacki Weaver) and obsessive Philadelphia Eagles fan father (Robert De Niro), who has become a bookie after losing his pension. He goes to therapy sessions with Dr. Patel (Anupam Ker), and is reading the syllabus his wife, a public school teacher, has put together for her students in order to understand her better. Refusing to take meds, he still struggles to control his emotions (his reaction after getting to the end of Ernest Hemingway's "A Farewell To Arms" is one of the many highlights of the film) and is unable to filter his thoughts. But he meets his match when he's introduced to Tiffany (Jennifer Lawrence), who is still reeling from the death of husband, and has acted out in her own self-harming ways. And as you might guess, the two form a unique bond that helps them overcome their own personal issues.
But none of this works without some carefully developed, and perfectly pitched performances from the leads, and Bradley Cooper and Jennifer Lawrence, who both arguably give career best, awards-worthy performances. We've frankly never seen Cooper in a role like this, one that requires him to not only to carry the film, but to play a nuanced character in Pat who is big in personality, but also tremendously vulnerable. And Cooper toes all of it deftly, both commanding and pushing the story forward. He's also outrageously funny. Lawrence may be an even bigger surprise to many as Tiffany, a young woman who is sexy, tough and also easily bruised, who not only has to manage Pat's unpredictable nature, but also keep herself on an even keel to stop from sliding into self destructive tendencies. And the actress simply nails it, and one particular showdown with De Niro is awards-reel ready, and earned deserved applause as well from the TIFF press audience.
Granted, "Silver Linings Playbook" isn't the deepest movie you'll see this year, and ultimately doesn't say anything new about how men and women relate. But Russell's film says it in a manner that is a true joy to watch. His films have always been a bit rough around the edges, with a bit of a sense of anarchy about them, but this is the director at his most focused. And yet, it doesn't come at the loss of his sense of verve and timing, and still retains a looseness while never losing track of where the characters and story need to go.
It's easy to understand why The Weinstein Company presented footage from this film along with "The Master" and "Django Unchained" in Cannes for press, because there is no doubt this will be a contender. Yes, the marketing presents it as a big broad comedy -- and it certainly is -- but it's also a unique and involving tale of two outsiders who together find a way to get on with life after it has dealt them some bad hands. And the silver lining is a film that is worth every satisfying minute you spend with it. [A]