Warning: Full spoilers for the film follow.
I have a confession to make: I’m a Julianne Moore fanatic.
I’ve loved her in every film I’ve seen her in: Safe, Far from Heaven, A Single Man, and Game Changer (in which she seemed to embody the spirit of Sarah Palin). Never once have I been disappointed by a Julianne Moore performance. And, having seen Gloria Bell, I’m glad to say that that that record remains intact.
Anyone who reads this blog knows that I love a good, simple story simply told. Sure, I also love big epics and thundering blockbusters, but one can only watch so many of those before starting to feel a bit drained, a bit overwhelmed and frustrated by Hollywood’s seeming resistance to small films. Luckily, that seems to be changing.
Gloria Bell is a tidy little film, and what it lacks in bombast and narrative complexity it more than makes up for with a lean story, solid performances, and genuine heart.
Gloria has started to feel a bit stifled by her life: her ex-husband has remarried, her son seems a bit of a drifter who is clearly distant from his wife, and her daughter is preparing to embark on an international romance with a Norwegian surfer (and is pregnant to boot). Into all of this wanders Arnold (John Turturro), middle-aged man that she meets at a dance club, who has his own issues with his family. Thus starts a contentious relationship that forces Gloria to really think about what she wants from her life.
The film is refreshingly frank about Gloria’s sexuality. It manages to convey sex scenes that are sensual and not prurient, and it allows Gloria to take charge of the narrative in ways that women are (still all too consistently) denied in much Hollywood film. She wants to carve out her own sort of life, though it also seems that everyone in it doesn’t see things the way that she does. Through her understated performance, Julianne absolutely disappears into the role, to such a degree that we almost (but not quite) forget that it’s a star we are watching.
While at first Arnold seems to provide just the sort of escape she’s looking for, it soon becomes apparent that he has his own hang-ups and issues. While he refuses to introduce Gloria to his needy daughters, she makes every effort to include him in her family, an effort that he rejects (he even flees a birthday party without telling her where he’s going). Turturo does an excellent job conveying Arnold’s narcissism, and while we aren’t led to identify with him, we can at least have a bit of sympathy for his unenviable position. Thankfully, it doesn’t take Gloria long to realize that he has far too many issues and is far too controlling, manipulative, and self-centered, and we cheer her along as she reclaims her agency.
There’s no question that it is Moore that elevates the film from being simply ordinary. She is truly one of those actors who has what it takes to be more than a mere performer (though, of course, she brings a genuine warmth and sincerity to the role of Gloria). When she’s on screen you simply cannot take your eyes away; her charisma infects every scene in which she appears. I guess what I’m trying to say is that Moore is one of those rare (these days, anyway) actresses who actually qualifies as a genuine star.
However, the supporting cast is excellent as well, and Holland Taylor makes an understated yet affecting performance as Gloria’s mother. Michael Cera brings his signature blasé attitude and, as already mentioned, Turturro captures middle-aged male angst expertly.
Gloria Bell doesn’t break any of the rules, unless it’s through a refusal to give into the imperative to have a happy ending that would domesticate this free spirit. In fact, when she sprays him with his own paintballs and then goes to a wedding reception, where she begins dancing to her signature song (“Gloria”, obviously). In the end, she reclaims her agency, showing once and for all that she doesn’t need a man to be happy and fulfilled.
All she needs is her sublime, glorious self.