Jumping from airport to airport, Up in the Air balances on its charismatic performances with precision and contemplation. The film, written and directed by Jason Reitman (Juno), asserts itself as a mature work with a seemingly pertinent handle on the present.
Ryan Bingham (George Clooney) has already taught himself the motions of life. A new kind of modern gentleman, Bingham has a talent for downsizing, or, rather as the film reminds us, inspiring career transitions. Traveling around the country from layoff to layoff, Bingham is familiar with the airport, but when his company decides to make cut backs on travel, he finds himself facing everything he has worked to avoid.
At first, the film’s systematic approach might seem to be its weakness. However, the meticulous editing and precision prove to be the ultimate homage to the film’s central character. The steady reliance on voice-over and music in the beginning of the film pairs with insert shots to paint a life that removed itself from its own humanity. Montage after montage develops as the only real way to see into the life of a character that has yet to figure out the deceit of his lies. It is through all these simple actions and repetitive moments that we are reminded of the steady ease of a practiced life. The film lingers and, as this is constructed to be all the more powerful, these moments really bring a sense of depth to the story and a glimmer of humanity and the modern condition.
Clooney gives a flawed performance, with cracks that allow the audience to see into his character and grasp his underlying vulnerability. Whether or not he has consciously fooled himself into believing his own lies, Clooney never completely gives away the secrets to his character’s life. When Bingham finally meets someone to challenge his lifestyle, the subtle changes in his character are never completely resolute. At times it seems so obvious and at others it remains a mystery, but throughout, the film never once attempts to betray its own creations whether it be character or plot. Bingham’s progression seems to be set completely in the desires of the character, and in this the film succeeds in conquering the temptation of a happy ending.
The film devolves with its character, montages become images, and images don’t need words. The fiction of the story is never forgotten, although the pacing is slow at times and the movie takes awhile to move beyond its own processed and over-thought approach. When it does, it leads to a conclusion that is utterly real.
Up in the Air brings the fears that lay out of sight to the forefront. Forgoing cliche, it brings together the portrait of a time of uncertainty in the American workforce and aversion to humanity and interpersonal connection.
Based on the novel by Walter Kirn, the film also gives voice to two strong female foils: Alex (Vera Farmiga), a modern girl interpretation of Bingham, and Natalie (Anna Kendrick), a young representation of our current over-eager generation. Both shine in each of their respective roles and provide the film with a secondary commentary on Bingham. One of the most poignant scenes in the movie takes place between the three main characters where each gives his or her own outlook on love and life expectations. This scene encapsulates the ultimate sorrow of the film while providing a deeper look into the generational divide between the characters. Hope lost and hope gained, Up in the Air provides a view of reality and the promise of a life unchanged.
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