REVIEW: Barney's Version

FRIENDS AND LOVERS

An internet message board debate about Barney’s Version raised the question, “Why would these hot women marry this schlub?”

It is every man’s fantasy—no matter how fat, ugly, rude and disgusting he is, every woman he lays his eyes on falls hopelessly in love with him.  Based on Mordecai Richler’s novel about a supposedly lovable Jewish-Canadian man, Richard J. Lewis’s film captures the cultural ethos and atmosphere, but cannot make Paul Giamatti look or seem lovable; which begs the question, why would three hot women marry Barney Panofsky?  His father (Dustin Hoffman) is funnier and better looking, plus gets the best scenes, like scandalising conservative, elderly Jews with bad behaviour and twinkly-eyed charm.

But is it Barney, producer of lousy TV shows, who first marries a free-spirited artist (Rachelle Lefevre), then a Jewish heiress (Minnie Driver) and finally the woman of his dream, Miriam (Rosamund Pike), whom he starts stalking on the day of his second wedding.

The film covers a lot of Barney’s life, unremarkable but for the woman, and for the mystery about his best friend’s disappearance; Barney is suspected of having murdered him but the body was never found, and a cop has written a book accusing him of it.

There are lovely moments, particularly between Barney and his father, Barney and his buddies and with his kids. One can imagine, it must be a very warm and humorous book, but as a film, despite its award-winning lead actor, it is not half as engaging—Woody Allen who made a career playing ‘nebbish’ Jews might have pulled it off.  Paul Giamatti makes Barney unbelievably loathsome for a man who is supposed to be cute.