Hello I Must Be Going is so similar to this week’s other 35-dating-a-19-year-old dramedy, Liberal Arts, that it’s impossible not to notice or compare. Normally, when comparing two movies, one clearly outshines the other, yet Hello I Must Be Going is no better or worse, but it’s exactly as bland. Both films think they’re saying something more than they really are and despite all around solid performances, they fail to make an impact. If one must be chosen as superior, I suppose it would be Liberals Arts, if only because it’s funnier and a bit more heartfelt, but that in no way makes this movie bad. It would have been bad even without the comparison.
Amy (Melanie Lynskey), like so many mopey movie characters these days, is down on her luck. Her husband has just left her, shattering her happy existence, and she has moved back in with her parents, Stan (John Rubinstein) and Ruth (Blythe Danner). She’s been holed up in that house for months now and has had little interaction beyond her family. However, her lawyer father is hoping to nail a big client and is having him and his family over for dinner, so she is forced to doll up and put on a smile. That night, she meets Jeremy (Christopher Abbott), a 19 year old actor and son of the big client, and they instantly make a connection, sparking a secret, off-limits romance that, if discovered, could have serious repercussions for her future and her father’s business endeavors.
That’s the way the movie wants you to think about it at least. The reason the father wants to nail this client so badly is so he can retire, so the worst thing that could happen is that he’d have to wait a couple more years, though a late movie twist makes this reasoning moot anyway. As for Amy and Jeremy, they aren’t doing anything illegal or manipulative. They both clearly have feelings for each other—and as they say, love knows no age—so the consequences seem negligible at most. The stakes are never truly high, though they carry the guise of importance. This realization makes the movie feel aimless, unaware of where it wants to go and what it wants to say. It has the ingredients to make for interesting commentary, but, despite coming close to profundity a couple times, it mixes those ingredients into something most unsavory. It’s the cinematic equivalent of having something on the tip of your tongue, but you can’t find the words to create the meaning.
Similarly, the idea of having to be someone others want you to is forced into enough nooks and crannies of the film that the idea ends up becoming a self-parody. Jeremy, for instance, is pretending to be gay because his mother thinks he is. The why behind this decision is hardly explored, instead passed over by a quick throwaway line of dialogue, something about how it’s sometimes easier to be someone that others want you to be. Although not a bad theme, the character motivation doesn’t follow it through. Amy’s eventual maturation doesn’t come from support and understanding from those around her, or even from a realization that she deserves more than what life has given her, but from pressure from others to move on, to forget about the love of her life that dumped her and the second love of her life that is forbidden. She seems to move on by conforming to the ideas of others, not from her own desire to do so.
Hello I Must Be Going is a mess in search of a meaning. The performances are terrific and Lynskey, who is too often relegated to supporting roles, is finally given a chance to shine. She makes the most of it, even if her awards chances are slim, and she crafts a likable, sympathetic character whose charms manage to outweigh the whininess. But the movie as a whole is just there, trying really hard and not doing or saying much of anything. Even its contradicting title, one would assume, is meant to carry meaning, but it does little more than provide an easy zing for movie reviewers like myself. Frankly, it wasn’t long after saying hello that I was ready to get going.
Hello I Must Be Going receives 1.5/5