Man Up (2015)

Directed by Ben Palmer; produced by James Biddle, Emma Jouannet, Nira Park and Rachael Prior

Nancy (Lake Bell), a single 34 year old Londoner with a non-existent love life, is on her way to her parents’ fortieth wedding anniversary when she meets buoyantly optimistic Jessica (Ophelia Lovibond), who gives her a book on relationships. In an attempt to return it, Nancy meets Jack (Simon Pegg), who assumes she is his blind-date, Jessica: the book was his means of identifying her. Though she wants to correct the mistake, Nancy finds the things Jack does and says appealing; she takes a gamble and pretends to be Jessica, setting the stage for an adventurous night when everything wrong might just turn out right.

Though the set-up – and some of what follows – seems a romantic comedy cliché, Man Up rises above such limits, thanks to the writing and, in particular, the two stars. Pegg is probably better known for broader comedy, even farce, but here, he is in the sort of rôle that Hugh Grant made his own in the 1990s, though his style of delivery is faster. He is very effective and comfortable in the part.

Though Pegg has top billing, due to his longer and better known career, Bell is the one to watch. She makes Nancy both confident and anxious, too strong sometimes, too diffident at others, but always winning and fun. (Personally, it’s easy for me to like a woman who carries a picture of her cats in her wallet and declares that she wants people to ask about them.)

The casting of the two leads is perfect: they have instant and lasting chemistry throughout the movie. The audience believes that these two enjoy one another’s company and feel a tremendous affinity for each other. It must be stated as well that the film is aided by neither star being normal romance-movie material. Pegg is shortish and, despite being only 44 at the movie’s release date, his baby-face is surprisingly lined. Bell, for her part, is not conventionally beautiful, but is lively, funny and attractive. (A scene in which she emerges from a washroom, having composed herself after a hectic argument, is well-directed: Jack sees her suddenly in a new way, as does the audience.) Though both see potential, neither Nancy nor Jack is immediately attracted to the other: the mutual appeal grows gradually at first, exponentially later.

The writing matches the performances. As stated, some of the situations are stereotypical for the genre – even if the couple’s initial meeting was reportedly based on an incident in the writer’s real life (though she didn’t follow through with the mistaken identity) – but how the characters react is realistic and adult. Indeed, this is much more a mature comedy than many with alleged adult characters. These people have achieved a certain status in their lives – despite set-backs – and know what they want: they are just very wary of life. And unlike many comedies, Nancy and Jack change through the film, and not just in their relationships. (Though viewers should be warned that there is very adult-themed language throughout.)

There is cleverness in the screenplay, too, such as Nancy’s pretence of being a triathlete (which Jessica is). At one point, having to race to a destination, she runs, bikes and, in a manner of speaking, ‘swims’ there. And some contrivances, such as Jack’s ex-wife (Olivia Williams) showing up at the bar to which he takes Nancy, are not so incredible as we initially think, if we pay attention to what’s said.

Something that should not be under-estimated is the effect of the script incorporating a surprisingly large number of supportive and sympathetic characters. (This doesn’t include the repellent Sean (Rory Kinnear); he is, though, more a plot device than a character.) This aspect is rather refreshing, when modern movies, seem filled with dysfunctional and uncaring families and people.

Lastly, a word should be added about the direction, which keeps the 88 minute film moving quickly, even frantically at times. There are some fun touches, such as Nancy and Jack’s argument during a frenetic dance, their points and counter-points keeping time to their actions. And whoever decided to have the American Bell speak with an English accent did the movie a service. Not only is it very convincing (Bell has as many voice-acting parts to her credit as live-action parts), but having her character American would have injected an element that could not have been ignored yet would have proved a distraction to the plot.

While using the framework of a routine romantic comedy, Man Up is different than most, and becomes a romantic comedy for those who don’t like romantic comedies.