The Matchmaker

Nashville Scene

DIRECTED BY: Mark Joffe

REVIEWED: 10-13-97

There are at least two fish out of water in the new romantic comedy The Matchmaker. One is the heroine, Marcie, a wary American who finds herself in the middle of an Irish matchmaking festival. Marcie works for the reelection campaign of Sen. McGlory, who is courting Boston's Irish vote by searching for his photogenic roots in the old country. While she's trying to convince the locals that marriage isn't her aim, the innkeeper's in-law Sean is alternately annoying and attracting her.

The other fish out of water is the movie's star, Janeane Garofalo, who can't be blamed for snatching at stardom when it wafts her way; even so, she's sadly out of place in a story that alternates wackiness with gentle folk wisdom. Garofalo began her entertainment career as a cynical Gen-X standup comic, then brought her acerbic edge to TV and movies. Last year she had a success in The Truth About Cats and Dogs, an ugly-duckling Cinderella story that used her biting humor to good effect by suggesting that it hides deep insecurities. No such insightful characterization here. Garofalo is plopped down in the middle of a quaint Ireland populated with quaint Irish types, lovable stereotypes who sing, dance, drink, and fight their way right into our hearts. It's like watching Christian Slater play the lead in The Englishman Who Went Up a Hill and Came Down a Mountain.

A little sarcastic comment on this setup would be welcome, but unfortunately Garofalo is whisked away, to the accompaniment of swelling strings and helicopter shots, to fall in love with Ireland and to regain the lust for life that she has presumably lost. Her attempts to look misty and romantic as pub crawlers croon tragic Celtic songs are wholly unconvincing, yet director Mark Joffe keeps cutting back to her uncomfortable face. Meanwhile, the senator and his sleazy campaign manager (Jay O. Sanders and Denis Leary) arrive in Ireland to muddy the plot and Marcie's motivations further. She suddenly becomes outraged by the senator's duplicity and blatant voter manipulation--the whole reason for her trip--as if she'd been a starry-eyed idealist when the movie opened. Then she has to lose her scruples again, so the movie can tear her away from Ireland and Sean (David O'Hara), setting up the inevitable tearful farewell and joyous reunion.

Garofalo showed an appealing, vulnerable side in The Truth About Cats and Dogs, one that lent humanity to her wisecracking outer shell. But I just can't buy her as a woman who melts at a scenic view. In truth, though, The Matchmaker, with its cloying sweetness and simplistic use of the Irish locale, would be crap with anyone in the lead. The "based on a screenplay by" credit in the opening roll is enough evidence for that. Let's hope better things are in store for Garofalo, who made it this far based on intelligence rather than on looks--a refreshing reversal of the usual order of things. She'll wither and die inside cookie-cutter scripts like this one.

--Donna Bowman

Full Length Reviews
The Matchmaker
The Matchmaker

Capsule Reviews
The Matchmaker

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