2023’s Maestro is an incredibly well-made film. A grand and often fascinating biopic, it confirmed that Bradley Cooper was as formidable a presence behind the camera as he was in front of it. Yet many villainized Cooper for “wanting an Oscar too badly.” It received seven nominations, going home with none, and thus felt as if the legacy of the film was destined to be lost amidst the vast library of Netflix titles. It’s quite the shame, but provided the possibility of an interesting turning point in Cooper’s directorial career. That point has revealed itself in the form of Is This Thing On?, celebrating its world premiere as the Closing Night film of the 63rd New York Film Festival. With his third film, Cooper has greatly pared back the scale present in his first two features. Yet he clearly hasn’t shied away from capturing an emotional vulnerability which made both of his films wonderfully resonant.
Is This Thing On? doesn’t follow a superstar or a musical genius of any kind. In fact, Alex Novac (an excellent Will Arnett) is quite bad when it comes to his chosen method of newfound expression. He and his wife Tess (Laura Dern) have officially separated from one another, and Alex finds himself roaming the chilly yet warmly lit winter streets of the West Village in New York in search of a drink. As is frustratingly often the case, a bouncer informs him of an absurd cover charge. The only way around it is to sign up for an open mic night. The determined Alex takes the initiative, and before even getting to enjoy his drink, Alex finds himself fumbling through a handful of pitiful chuckles and awkward silences on stage at the legendary Comedy Cellar. Cooper and brilliant cinematographer Matthew Libatique capture much of this film, but particularly the stand-up sequences, in intense close-ups. It’s fitting that perhaps the most bold avenue of public entertaining is depicted with so little room for the characters to escape. Alongside functioning as camera operator, Cooper’s directing and camerawork confirms his knack for visual storytelling in a way that extends beyond solely being seen on screen; these are decisions that are felt both emotionally and thematically.
Despite the intensity of the experience, Alex finds himself having caught the stand-up bug. Who needs to pay for therapy when they could cleverly pour their hearts out to a group of drunk strangers in a dark basement? It makes for an interesting idea that Is This Thing On? unfortunately never explores completely. It’s here where the editing rhythms of the film stand out most as holding the film back. Often cutting to black and skipping forward weeks or months at a time, the film feels closer to being made up of isolated vignettes than anything else. It makes the necessary weight of certain dramatic conflicts feel too light. That’s not to say this film isn’t effective, but in paring itself down so much, Cooper almost holds his strengths back from their full potential. Luckily, his and Libatique’s visuals carry Is This Thing On? breezily towards its finale. Full of great observations regarding stand-up, plenty of clever narrative developments, and a genuine desire to explore the complexities of constantly shifting personalities and relationships, Cooper again confirms himself as a filmmaker who won’t take the path of least resistance. There’s certainly a version of this film that is both by-the-book and forgettable. But so many instances within the film have a pathos to them that is allowed to exist in its own space for as long as is necessary. Even if it doesn’t all fully come together in the end, it’s a joy to witness. While some may miss the grandiosity of Cooper’s earlier work, Is This Thing On? acts as an assurance that Cooper is as interested in exploring countless facets of the human condition as ever.
Is This Thing On? celebrated its world premiere as the Closing Night film of the 63rd New York Film Festival.