Jonathan Demme’s Rachel Getting Married may look like your basic Sundance/Slamdance indie feature, with its wandering handheld camerawork and ensemble riffing through the collisions and confrontations of a dysfunctional family reunion, but in his hands the familiar conflicts and clashes are invigorated by an authenticity and, dare I say it, a sense of rediscovery. The one-time underdog auteur who traded his small termite art movies of American eccentrics and their distinctive communities (Melvin and Howard and Something Wild) for the Hollywood respectability of films like Philadelphia and Beloved is back doing what he does best. Demme brings an inclusiveness and a sense of community to the film. He gives characters we may only meet once a lived-in quality and makes music a defining part of the community with a soundtrack played live by the wedding guests (a roster that includes Robyn Hitchcock and Sister Carol East, among others). Rachel Getting Married is both warmly generous and uncomfortably honest and it’s one of the best American movies of the year.
My phone interview with Jonathan Demme started almost 45 minutes late. Once we started talking, it became obvious how such a thing could happen. I was supposed to have a 15-minute interview, but the time flew so easily that when the publicist broke in to pull him away for the next interview, we’d been talking for over half an hour. Demme speaks with an excitement and passion that I rarely hear in people discussing their work; reading his words doesn’t begin to capture the enthusiasm or expressiveness of the interview. He doesn’t just say the words “reluctantly,” he transforms it into an expression of the epic struggle within himself the way he pronounces it: “relllll-UC-tantly.” And his love of film and filmmaking is matched by his respect for collaborators and his excitement over the magic that arises out of collaboration.
How did this project come your way?
Sidney Lumet called me up on the telephone and said, ‘My daughter, Jenny, has written a wonderful screenplay and Jonathan, you should direct it.’