When I saw Junebug for the first time shortly after it appeared in 2005, I enjoyed its gentle, affecting comedy. It's yet another "stranger comes to town" enactment, although this time, for once, the stranger is a woman. Madeleine Johnsen is a fortyish, worldly, sophisticated Chicago-based art-dealer. She arrives in a small North Carolina Christian-saturated community accompanied by her brand-new twenty-something husband, who is a native of the place. If they're not deeply in love, they're certainly enjoying a time of sexual satisfaction, perhaps even frenzy. As the film proceeds, a series of exquisite culture-clash misunderstandings illuminate both city and country.
On last night's viewing, however, the film was far less amusing and more painful than I remembered. Did I see it the first time with rose-colored glasses?
In the film's loveliest scene, the young husband George Johnsen, played gracefully by Alessandro Nivola, is prevailed on at a church-basement social to "give us a hymn," which he does rather beautifully, offering Will Lamartine Thompson's ""Softly and Tenderly, Jesus Is Calling" which is an extremely melodic but theologically naive piece of sentimentality. As he sings, obviously very comfortable with the milieu and with the surroundings, the director's camera focuses on his wife Madeleine's (i.e. Embeth Davidtz's) expressive face.
When I saw the film in 2005 or thereabouts, I thought Madeleine shone with wonderment and appreciation. O, I thought, she sees and appreciates a new dimension in her husband. This will lead to understanding between them and help her to navigate the gulf between her and her new family. How could I have been so undiscerning? This time, it was entirely clear that her reaction was exactly the opposite of what I had previously attributed to her. Madeleine doesn't get it at all. It's not appreciation, it's incomprehension, perhaps even condescension. Madeleine, I'm sorry to say, doesn't understand her husband, his culture, his religion, or his family. And indeed, subsequent events in the plot confirmed my new pessimism, for every time Madeleine has to make a choice, she does so with no accommodation to her husband's upbringing or values
She's glad to leave the place, she says at the end, but it's clear to me that she's learned nothing and that there's trouble brewing.
Most of the attention that the film has garnered is owing to Amy Adams' performance as George's pregnant child-like sister, which is indeed a remarkable piece of acting. But for my money, it's the visiting husband and wife who steal the show -- along with the intelligence and art of the director (Phil Morrison) and the writer (Angus MacLachlan).