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.