Marc and Oliver lead a life that could be called a “dream”. Long-time spouses, they still love each other madly. They also have a lot in common, the first illustrating the very popular novels of the second. Added to this is a superb London house filled with works of art, where they happily receive relatives and friends. In short, everything is going well. But then misfortune strikes and Oliver dies in an accident. Crying, Marc cannot resurface. Against all odds, it is anger that will bring him out of his torpor. With Good Grievance (The widower effect), Dan Levy offers a film about mourning, couples and friendship.
Why the anger? This is because, after spending an entire year in a state of depressive stupor, Marc makes a discovery which shakes up his certainties regarding his relationship with Oliver. Indeed, on the fateful evening, Oliver left a letter to Marc. Letter that the latter only decides to read at the end of said year of intense depression.
Alas, it’s not the moving declaration of renewed love that Marc was obviously expecting to read (nor is it what you think). This whole passage, in its presentation and editing, is funny and grating. In fact, in Good Grievancethe humor is often more dark and bittersweet than “ah ah”.
In this regard, the film is more of a comic drama than a dramatic comedy. This is a nice risk on the part of Dan Levy, co-creator, co-producer, co-writer, co-director and co-star of the immensely popular and zany series Schitt’s Creek.
Of course, he has since been seen again as an actor in Happiest Season (Our most beautiful season), Haunted Mansion (haunted Mansion) or the last season of Sex Education (Sex education), but Good Grievance marks his return as writer, director, producer and, yes, star. As Dan Levy recently confirmed to us in an interview, the industry being what it is, the pressure was strong for him to come back with a work in the vein of his previous success.
Gold, Good Grievance turns out to be something completely different in terms of issues and tone. And that’s to the author’s credit.
Marital dynamics
The film takes a turning point when Marc decides to invite his two best friends, Sophie and Thomas, who have supported him tirelessly, for a stay in Paris. There, through unexpected twists and turns, other revelations will further test, a posteriori, Marc’s perception of his marriage.
By taking the angle of mourning, Levy explores and comments on marital dynamics — whether they are gay or heterosexual.
We approach, for example, the concept of the open couple, which, in the present case, mainly suited Oliver, Marc having accepted the agreement for fear of losing his lover. This painful observation is only one of the many elements that transform Marc’s “romantic” mourning into a profound existential questioning.
A possible new romance is treated in a similar way, that is to say far from the usual clichés.
Everything is wonderfully played by a host of talented performers, in all roles, even peripheral ones. In this regard, special mention to the always divine Celia Imrie, seen in Calendar Girls (The girls’ calendar)The Best Exotic Marigold Hotel (Welcome to Marigold Hotel) And Finding Your Feet : as an accountant less beige than it seems, she delivers a monologue towards the end which offers ample food for thought.
However, it is Dan Levy, very touching, who carries the production, literally and figuratively. A film that goes in all kinds of unforeseen directions, like life – whether it’s a “dream” or not.