I often think about how much of a pain in the ass I was growing up. From my extremely picky eating habits to my intense stubbornness to my tendency to weep about the most minor things, all qualities I still admittedly have, but have learned to self control thanks to my mom. I recall talking to her at some point recently where she mentioned that things were so stressful with me in addition to the business she ran with my dad, that she would sometimes think about getting into the car and just leaving. To where, I don’t know, and I don’t think she did either. The point is, being a parent is very, very hard, and thankless, especially on the mothers who bear the most responsibilities both before and after birth.
That’s the main focus of Tully, a film written by Diablo Cody and directed by Jason Reitman, who have collaborated prior with Juno and Young Adult (and Jennifer’s Body, you count Reitman’s producer credit). It sets out to destroy the clean and glorified image of motherhood that has largely been sold by mainstream media, and dives into the grime and grit and bodily fluid and all the nastiness and stress that comes with being a mother like Marlo, who is played by Charlize Theron. She has three kids, Sarah (Lia Frankland), Jonah (Asher Miles Fallica), and a newborn, Mia. Sarah isn’t particularly high maintenance, but Jonah is a special needs child who has these unpredictable fits and is having a hard time at school, and on top of all that is having a new addition to the family. Her husband, Drew (Ron Livingston), does what he can to provide, but he doesn’t have to deal with the bulk of the work. However, after a suggestion by Marlo’s brother, Craig (Mark Duplass), she hires a night nanny to help take care of the baby while she can finally rest. In comes Tully (Mackenzie Davis).
It plays like a very modern, indie riff on a story like Mary Poppins, which is weirdly appropriate considering a sequel to that is coming this Christmas, but Reitman and Cody give the film a heft and humor that puts the film above being some kind of novelty in that regard. Behind the fantasy of having someone coming in to take care of things while you rest is a world that we live in, one where things don’t go your way, where your dreams might die, where even the mundane comes with its own set of struggles.
But it’s also a world crafted by Diablo Cody, one driven by dialogue that is rich in snark, witticisms, and poignancy that is delivered with a razor sharp edge and a playful rhythm. Cody has always been an excellent wordsmith, and here, she finds herself in her most mature mode yet – of course, her now being a mother of three kids certainly helps. Her style has always complimented the way Reitman empathizes with characters struggling with their identity, or their place in the world.
All of this is anchored by wonderful performances from the cast. Charlize Theron brings so much with subtle gestures and looks. It feels so lived in and real that it can occasionally feel like peeking into the life of a stranger down the street. Plus, her banter with Mackenzie Davis’ manic pixie dream nanny is immensely watchable and alluring, especially as the film builds on their dynamic in surprising and complex ways. Davis is a rising star of sorts, and she really showcase herself here, taking a character that may seem one-note or aggressively twee, and bringing a wonder and depth to it that plays well thematically.
There is one thing about the film that I’m a bit perplexed by, but it is a spoiler, so I will be as vague as possible. A story element comes into play (you’ll know which one when you see it) that is a very compelling turn, but I am not sure if the film itself fully acknowledges the implications of it, or if it even understands it to begin with. Upon further research, there was an article that discusses this, which I will link here since the article puts it better than I ever could. I encourage you to read it (but be warned, it contains all the spoilers).
The only other thing is that the film is ultimately somewhat limited in that it speaks to a (mostly white) middle class crowd, and doesn’t get to really cover the very different, but still very real struggles that mothers of other races, and lower economic standing have to face every single day. It’s by no means a knock against this film, but it’s worth knowing that it is just one perspective of motherhood out of many.
Aside from the one aspect of the story that gave me concern, I had a very good time with Tully. It captures motherhood cinematically in a way that I have never really seen before, and it brings a truthfulness and empathy that made for a moving and effortlessly engaging film. Diablo Cody pulls together another killer script, Jason Reitman making a very welcome return to form after the rather unfortunate one-two punch of Labor Day and Men, Women & Children, and Charlize Theron gets another chance to show off how much range she has. It’s a film that isn’t the sort to come to mind when you think of “movies for everybody,” but I think this is a film that most people should see, and for some, maybe even learn a thing or two. Take care of yourself, and tell your mother you love her.