Vengeance: NPR Noir
A radio host from New York City attempts to solve the murder of a girl he hooked up with and travels down south to investigate the circumstances of her death and discover what happened to her.
Take NPR’s Serial and This American Life, combine it with Albert Brooks’ Lost In America, and add a dash of Agatha Christie, a touch of the Coen Brothers, and the absurd comedy of The Office, and you’re close to capturing B.J. Novak’s debut, Vengeance. This Texafied comedy, which Novak wrote, directed, and stars in, blends smart social satire with noir and murder mystery elements to create an ambitious and subversive genre piece that’s aswirl with modern messaging. It’s an existential crime story that attempts to meaningfully grapple with contemporary America, and while its intent is noble, its communication always direct, and its satire often sharp, its eyes wind up ultimately being bigger than its stomach.
Even though Vengeance bites off a bit more than it can fully chew, it gives you a lot to mull over and discuss. It offers up a slow-burning, character-driven investigation that’s entertaining, breezy, and bursting with big ideas. Novak clearly has a lot on his mind, and on the whole, he articulates his examination of America, its current identity, division, and emptiness, in a pretty clear and concise manner. Things do become messy and muddled, however, when Vengeance gives into the genre impulses it had interestingly resisted for most of its duration, but when the dust settles, Novak manages to leave you feeling mostly satisfied with his effort.
Once again Novak leans into his typecast and flexes his penchant for playing unlikeable characters with comedic charm. Similar to The Office’s Ryan Howard, Novak’s Ben Manalowitz is another emotionally distant and self-absorbed asshole — at least at first blush. Over time, a surprising sweetness begins to surface, which gives Manalowitz added depth and likeability. The film’s comedic setup finds Novak’s journalist-turned-podcaster on an investigative quest for vengeance after a girl he “hooked up with a couple of times” winds up dead. Initially ruled as an overdose but believed by her family to have been murder, Novak’s Manalowitz sees selfish means in exploring the family’s seemingly delusional conspiracy about their daughter’s murder, which he hopes to churn into a compelling podcast, humorously titled “Dead White Girl.”
Fittingly, Novak heads to West Texas to “find America.” As a state, no other place in the US of A seems to value guns, God, or independence quite like Texas. Given the film’s exploration of American emptiness, Texas’ barren open spaces makes for a symbolic setting, and Novak and cinematographer Lyn Moncrief emphasize this in the film’s many wide exterior shots that showcase predominantly flat expanses that are peppered with oil derricks and not much else. There’s also a lot of comedy to be mined from “The Lone Star State,” and Novak milks it for all it’s worth, cramming in Texasisms (like “Bless your heart” and “Fixin’ to”) and State staples, like Whataburger, two-step, and rodeo.
Even though it doesn’t fully hit and can’t quite stick the landing, Novak’s thoughtful effort is commendable, funny, and surprisingly tender. When it’s all said and done, Vengeance makes for a pretty good ride, one with some clever twists and plenty of laughs. It’s a little too on the nose and wears its themes firmly on its sleeve, but at the end of the day, it’s a confidently crafted and broadly enjoyable experience whose ambitious attempt to wrestle with the complexity of our modern times is sure to generate some interesting conversation.
Recommendation: If you’re looking for clever satirical comedy, give Novak’s confidently crafted debut a whirl.
What do you think? We want to know. Share your thoughts and feelings in the comments section below, and as always, remember to viddy well!