Ruben Guthrie (2015)

How sad is this?

An Exercise In Nonsense

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

An old-fashioned movie made with new-fashioned finesse.

This film barely brushes over the reality of alcoholism. Clearly the writer/director hasn't bothered to do any research on the disorder. So don't make a film about it? There are many issues with this film, but I'll address the main one which bothered me, which is the fact that withdrawal symptoms are not addressed. This is baffling, because physical dependence and withdrawal is one of the most difficult aspects of giving up alcohol. In fact, alcohol is the most dangerous substance to withdraw from and leads to sweats, shaking, tremors, fevers, dangerously high blood pressure, racing heart, among other things, and in extreme cases, life-threatening seizures, hallucinations, gastric bleeding, and death (DTs). Alcohol detox is usually done under medical supervision because it's dangerous to come off it otherwise. In fact, 33% of alcoholics who attempt to come off alcohol cold turkey without medical supervision die. That's a pretty high number. In this film, on day 1 of no alcohol, the protagonist is totally fine, and able to attend a meeting with no visible physical signs of withdrawal. This simply wouldn't happen. He would wake up shaking and barely be able to walk or get out of bed, because his neurochemistry would be highly overactive having compensated for prolonged periods of alcohol, with no alcohol present anymore to counteract it. Granted, everyone has different experiences with withdrawal in terms of variations in symptoms, but no one would get off this easy if they were physically addicted to alcohol. Then all of a sudden, it's 30 days later and he mentions insomnia as a withdrawal symptom, but withdrawal symptoms would be well and truly resolved by then (it generally takes 5-10 days for detox). Also, with physical dependence of alcohol, each withdrawal will be worse and more severe than the last (known as kindling). In Guthrie's attempt number two of giving up alcohol, he's on a plane to Prague. And again, he's totally fine. Yeah, this would not happen. He'd quite possibly be convulsing on the floor of his apartment by then. Overall, this is a highly glossed over, and inaccurate depiction of alcoholism, and doesn't do justice to the seriousness and difficulties of the disease. It's pretty much a romantic comedy mainly concerned with Guthrie's love life that deals with alcoholism on the side. If you want to watch a movie that accurately depicts the reality of alcoholism, watch Leaving Las Vegas. Frankly, sick of these movies perpetuating the misconception that alcoholism is a walk in the park, and treat it as a joke, when it couldn't be further from the truth. People need to understand the seriousness of withdrawal where actual physical dependence of alcohol has occurred. If you or anyone you know decide to come off alcohol after a long period of heavy drinking, please seek medical help if you start having withdrawal symptoms, because they can kill you. No, giving up alcohol is not a wall in the park or a plane trip to Prague, and it is irresponsible of this movie to depict it as such.

Wasn't expecting it but this was a very good movie. Engaging throughout. Patrick Brammall can act. Loved Abbey Lee's 'second scene.' Will leave it at that.Oh, evidently, need 10 lines to post. But I don't feel like writing 10 lines. Don't read on.Life is good for ad man Ruben Guthrie - he leads a party boy lifestyle, has a model fiancée and lives in a house on the water. He's at the top of his game, until some drunken skylarking lands Ruben at the bottom of his infinity pool, lucky to be alive. His mum hits the panic button, and then his fiancée leaves him, but not before issuing him one final challenge: If Ruben can do one year without a drink, she'll give him another chance... RUBEN GUTHRIE is the story of one man not only battling the bottle, but the city that won't let him put it down.

'Ruben Guthrie' and the titular lead are, as the movie garishly opens, hard to like; but much to this viewer's surprise, by the end of the film, some empathy and affection are afforded them both. I have enjoyed Brendan Cowell's screen work on both big and small, and thought it an inspired piece of casting to have what seems like his doppelganger, Patrick Brammall in the central role. I guess it was more than enough to adapt your own stage play and direct the picture! He has cast an actor with either a brilliant ability to channel the writer/director's life force, or just maybe they are two peas in a pod, Brammall is really finding his position as one of the country's most versatile and likable actors; even here as the at times despicable title character. The transposing from stage to screen feels fine to me; other than some at times overly heightened dialogue and performance; but I forgave those moments as being part and parcel of the over the top world of advertising and the spin off of partying and excess from the job. Has it been satirized here or made a cliché? Either way, it worked for me. I wondered how Cowell would trace the (anti) hero's journey and conclusion and along the way there are enough surprising moments to keep the viewer connected and rooting for the protagonist. Brammall chews the scenery and is equally adept in the screwball moments as the soberingly tender ones.Robyn Nevin was fine, as ever, and especially her one to one with 'Ruben' at the bar was a truly uncomfortable scene,and reiteration of why Ms Nevin is one of the most respected and enduring actors in Australia. Harriet Dyer as the hippy chick with her own baggage, was the revelation for me; I was both intrigued and moved by her performance. It was; aside from Ruben, the most fully fleshed of the supporting players. I had a few issues with the writing and oddly pitched performance of the usually reliable Alex Dimitriades; as the gay bestie,but once on the 'Ruben Guthrie' conveyor belt, I was along for the ride; even with its occasional jarring ingredients. This movie does have a lot to say about substance abuse and makes no easy answers or saccharine summaries to leave the viewer with. There is much texture here, and for me that is attributable to the writing and directing that Brendan Cowell delivers. It's not perfect; nor is the main character - but Patrick Brammall makes him human and flawed - just the way I like my leading characters on screen.

Brendan Cowell's previous screen writing credit was for the woeful comedy Save Your Legs, a film so poor in concept that how it ever came to production simply beggars belief.Ruben Guthrie, fortunately, proves to be a few notches above his Indian-based cricket caper. Adapted by Cowell from his own stage play, he also directs with some confidence.The film centres, as the title eponymously suggests, on the character Ruben Guthrie (Patrick Brammall), a high-flying advertising guru enjoying the hedonistic excesses that are perceived as integral to that profession; his persona neatly fits the acronym Lombard – a lot of money but a right dick. Enjoying the trappings of his lifestyle, he drunkenly jumps from a ledge as a stunt narrowly avoiding fatal injuries. This proves too much for his beautiful and long-suffering Czech fiancée who walks out on him but advises she could return if he can stay off the drink for a year and turn his life around. The film then chronicles Ruben's life as he attempts to do just that.It is at this juncture that the film is at its strongest. Ruben's journey takes something of a random trajectory as he finds a lack of support from close family, colleagues and friends all of whom seem to have their own selfish motives in their dealings with him. Patrick Brammall brings great nuance to his role, injecting depth into his character and carrying the film squarely on his shoulders. The supporting cast – Jack Thompson and Robyn Nevin as the estranged, alcohol-soaked parents; Alex Dimitriades as the caustic gay best friend; Jeremy Sims as the troubled boss and Harriet Dyer as the superficial flake from the AA group who ends up in his bed are all assured in their roles. The less said about Brenton Thwaites' poorly acted, poorly written role as the new social-media face of advertising, the better.Direction from Cowell was well-paced and cinematography was good, only occasionally let down by some sloppy editing. Locations were well chosen and Guthrie's exclusive waterfront property in which many scenes were shot, always gave the impression of being a trophy house rather than a home. His over the top bar, which amusingly stayed in situ during his abstinence, would not have disgraced the swankiest New York private club.But at just over 90 minutes the film needed more. It lacked enough wit to be considered a full comedy and required more bite. Guthrie's story alone was not enough for a cinematic release. Although it rarely betrayed its theatrical origins, the story needed to expand to explore more themes, to perhaps satirise the advertising industry and those who inhabit its self-absorbed world. Nonetheless, the film still delivers some punches and Patrick Brammall's performance alone merits great praise.