Reviewed on February 23rd at the 2024 Berlin International Film Festival – Panorama. 111 Mins
Cast: Jason Schwartzman, Carol Kane, Dolly de Leon, Caroline Aaron, Robert Smigel, Madeline Weinstein, Matthew Shear
Genre: Comedy
Director: Nathan Silver
In Irish Cinemas: 23rd August 2024
In this offbeat comedy, a heartbroken cantor finds himself forming an unexpected bond with his former music teacher while helping her prepare for a bat mitzvah. Viewers who may be quick to judge Nathan Silver’s eccentric comedy “Between the Temples” might prematurely dismiss it as a flop, especially after the peculiar pre-credit scene. This introduction, which showcases Jason Schwartzman as Ben Gottlieb, a despondent man in his forties plagued by two overbearing mothers eager to see him embrace therapy, a relationship, or both, could easily be off-putting. However, patience is rewarded. Once the initial awkwardness is behind, the film finds its stride, delivering a steady stream of consistent humor and clever writing that make it well worth the wait.
The bones of its plot have the makings of trite weepie. Sad Ben is a cantor at his local upstate New York synagogue, but since the death of his alcoholic novelist wife a year ago, he can’t bring himself to sing. Aside from moms Meira (Caroline Aaron) and Judith (Dolly de Leon) boss Rabbi Bruce (Robert Smigel) is supportive and kind towards Ben, even if his primary motivation is acquiring hefty donations for his temple.
Ben’s luck takes a turn when, after getting punched in the face for mouthing off at a bar, he unexpectedly reconnects with Carla (Carol Kane), his eccentric and free-spirited former primary school music teacher. Carla, who was denied a bat mitzvah 60 years earlier due to her parents’ staunch Russian communist beliefs, now insists that Ben teach her Torah readings so she can finally achieve this long-lost rite of passage. This unusual request sparks the beginning of an unlikely and heartwarming friendship. Meanwhile, Rabbi Bruce has his own plans for Ben, trying to set him up with his daughter Gabby (Madeline Weinstein), an actress, which infuses the story with the feel of a screwball romantic comedy set against the backdrop of Hebrew readings and religious rituals.
Schwartzman and Kane shine as the central duo, with their teacher-pupil dynamic flipped on its head, allowing both actors to flex their comedic skills. Schwartzman brings his trademark charm to yet another one of his endearing loser roles, making Ben a character you can’t help but root for—even if his barroom assailant might beg to differ. While Ben isn’t as infuriatingly punchable as Max Fischer from “Rushmore” (1998) or Philip Friedman in “Listen Up Philip” (2014), he still embodies the quirky misfit archetype Schwartzman excels at. Carol Kane, whose memorable career spans from her brief but impactful role in “Annie Hall” (1977) to her breakout performance in “Unbreakable Kimmy Schmidt” (2015-2020), delivers one of her finest big-screen performances in years. She breathes new life into the “kooky arts teacher” stereotype, elevating it with her impeccable comedic timing and vibrant line deliveries. Her portrayal of Carla adds depth and warmth to the film, making the unlikely pairing of Ben and Carla the heart of the story.
Silver, along with his frequent collaborator C. Mason Wells, crafts a script that rarely loses its momentum, carefully drawing out darkly humorous moments. Notable highlights include the unsettlingly erotic voice messages left by Ben’s late wife and the chaotic scene where Ben reacts wildly to Carla’s housemate serving him psychedelic tea. The film’s dynamic, slightly offbeat energy is captured through fast-paced sequences shot on 16mm by cinematographer Sean Price Williams, lending a distinct 1970s aesthetic reminiscent of “Harold and Maude” (1971). Williams’ influence is also evident in the film’s sharp editing and overlapping sound design, techniques that echo his directorial debut “The Sweet East” (2023). This unconventional, entertaining story is aptly encapsulated by Carla’s description of Ben: “A different kind of funny.”
Overall: 7/10
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