An Actor Prepares

An Actor Prepares

I can’t recall the last time I saw a big-budget Hollywood film quite so terrified of its own potential as “An American Pickle.”

At least, it certainly seems that way when you consider this movie was adapted by Simon Rich from his four-part serialized New Yorker story “Sell Out,” directed by Brandon Trost (a cinematographer making his feature directorial debut) and stars Seth Rogen in two roles one of which is arguably the most Seth Rogen character ever as a time traveling Jewish immigrant who meets his present day Brooklyn dwelling great-great grandson. Which is to say nothing of the fact that Herschel Greenbaum (the aforementioned immigrant) is also played by Rogen, albeit minus the 21st-century schlubbiness, plus an Eastern European accent and Golem fists.

But at its core, “An American Pickle” follows a familiar narrative template: It’s a Rip Van Winkle story. This premise has been used countless times throughout cinematic history, from romantic comedies (“While You Were Sleeping”) to superhero blockbusters (“Captain America: The First Avenger,” among others). In this case, Herschel immigrates to New York alongside his wife Sarah Snook (in what amounts to little more than an extended cameo), gets a job killing rats in a pickle factory in Williamsburg, falls into a vat of brine and wakes up 100 years later to find buildings touching the sky, carriages being horseless and pictures with words flying through the air. His only living relative? Ben, an orphaned book-smart city kid with soft hands who doesn’t speak Yiddish, never goes to temple and sits at his desk all day making apps.

In order to purchase and renovate a neglected cemetery where his wife and offspring are laid to rest, Herschel wants to make 200,000 dollars as a self-employed maker of artisanal pickles. At the same time, Ben whose reasons for detesting Herschel are contrived tries to ruin him but always fails. After each downfall, he rises again only to be knocked down once more by Ben. This cycle continues with Ben having regrets then no regrets then regrets again until it ends in peace because you know these two enemies will eventually reconcile with each other since this is not one of those movies where they keep fighting until either one kills another one.

But here’s what I’m saying: The middle part of “An American Pickle” was filled up like a sandwich made of homemade breads stuffed with a scoopful of schmaltz between them it was unnecessary. It had already been telling us a story about the past and present talking that must end in reconnecting or at least remaining cautious towards each other if not making peace altogether; also its themes were being presented directly through Rogen’s acting which was very powerful so additional reasons for paying attention weren’t required because we were already invested into it.

The film is most captivating when it operates as a two character play, which is where all the drama happens: between past and present selves who couldn’t be more different from each other but are played by same actor Seth Rogen.

Rogen does not give an incredibly transformative performance here; no one would watch this movie and say “Wow! I can’t believe that was Seth Rogen!” He cannot do accents like Meryl Streep nor transform himself into someone without emotional interior living centuries ago Daniel Day-Lewis style.

What he nails though is feeling of Herschel represented through longing (fantasy). He understands what makes Hershel tick – such characters have become emblematic figures for Jewish Americans over time (beard). These men always wore hats in winter along with warm clothes made out wool followed by boots covered mud up till their knees while carrying huge fists capable knocking out any opponent cold.

Rogen also gets Ben because he is basically richer version funnier Rogen. Hollywood actors make movies, voice act for cartoons; they live big houses having fridges filled with soda pops plus air conditioners running 24/7 together soft comfy beds where they sleep like babies all night long. They drive around town using cars without horses while cracking jokes left right center stage entertaining crowds thousands at once! This film maybe self-deprecating fantasy successful writer looking back on his life wondering what ancestors thought about it or something similar could be true as well anyhow whenever there’s an encounter between these two characters played by same actor Seth Rogen, there tends to be lots self-hatred involved although contextually speaking one might argue that such scenes carry certain amount respect towards multi-generational journey transformed Herschel into Ben.

There’s a lot of this kind mixed feelings going on in Rich’s novel “Sell Out,” too pride hero worships self mockery guilt trips etcetera. It doesn’t follow rise and fall pattern seen within “An American Pickle” which tends to drag things unnecessarily hence diminishing overall quality but rather stays focused from beginning till end solely resting on Herschel’s standpoint which further legitimizes his sardonic attitude towards contemporary world we live in today.

The old world peasant said of his great-grandson and technology, “A computer is a magic box that gives infinite free joy. If ever it stops or only slows [a man], he gets so mad he swears at our God, the One Who made us live and let us out from Egypt.” The great-grandson admits to playing 2 Live Crew at his bar mitzvah, not having gone to synagogue in years and having pretended to be Christian in college to get free barbecue.

Even more interesting are the silent acting duets at the end of the movie. The story gradually moves away from America and starts coming back toward the old country. Slowly Herschel sees himself in Ben or rather: we see that Ben was always there inside Herschel; and that Herschel lives on in him.

This is where the filmmakers go deep without going shallow. They trust Rogen with “An American Pickle”’s material and meaning, if you will, by doing one simple thing: They let him play against himself often in closeup. It’s easily the best, purest thing Rogen has ever done as an artist (in front of or behind the camera). There are maybe a dozen closeups of Rogen as Herschel and Rogen-as-Ben so honest and vulnerable that they wipe the smirk off this movie’s face; that suggest for all his self-deprecating shenanigans there’s a part of Seth Rogen that wants to be Barbra Streisand for millennial stoner dudes; that knows he could be (if only because he already is). What lacks is nerve.

At its best, An American Pickle is a clever but clear conversation between symbols of Jewish manhood. The good parts are so good here, though; and then there’s enough bad stuff between them that it actually gets frustrating like watching a movie that’s only bad. This is the funny friend who thinks they need to be “on” all the time, even when baring their soul.

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