‘The Invite’ by Olivia Wilde presents itself as a clever chamber comedy. The film centers around a couple facing marital challenges who spur an impromptu dinner with their upstairs neighbors. The setup finds roots in classic stage and screen narratives, reminiscent of films like Who’s Afraid of Virginia Woolf?. The script by Rashida Jones and Will McCormack cleverly weaves quips, flirtations, and marital revelations within a single setting. Despite its predictability at times, the film offers a contemporary take on comedy of manners.
This marks Wilde’s third directorial venture and arguably her most grasped and polished work. Wilde’s journey began with Booksmart, a high school comedy. Her next attempt, Don’t Worry Darling, fell short of expectations. With ‘The Invite’, Wilde revels in comedy’s cadence. Her performance shines prominently, setting the tone for the movie.
Initially, we meet Joe (Seth Rogen) and Angela (Olivia Wilde) as they head home through San Francisco. Joe, somewhat disheveled, bikes up the hills, while Angela busily collects flowers and groceries. Upon reaching their apartment, tensions flare, quickly escalating to a spat. Joe discovers their neighbors are joining them for dinner without prior notice. Angela’s desperation to impress them results in culinary preparation and domestic sprucing.
As neighbors Pína (Penélope Cruz) and Hawk (Edward Norton) arrive, the environment is charged with palpable tension. Hawk relishes the atmosphere, stating, “We love a contentious environment.” The film thrives on the dynamic exchanges between the contrasting couples. Its origins trace back to Spanish director Cesc Gay’s film, “The People Upstairs,” which has seen adaptations across various mediums.
Angela and Joe’s upstairs neighbors exude an almost implausible aura. Hawk’s profession as a firefighter and Pína’s glamorous persona create an interesting dichotomy. Penélope Cruz embodies presence through her performance, as a psychotherapist and sexologist. Their harmonious vibes contrast sharply with the hosts’ complexities.
What makes Angela compelling is her concealed anxiety. Wilde’s portrayal is a neurotic tour de force. A particularly memorable scene depicts Angela dismissing a burned soufflé amidst chaos. The script adeptly blends personal topics like perimenopause and sexual regularity with lighter subjects like home decor and music. Though Wilde occasionally indulges in the script’s rhythm, Dev Hynes’ tense score mirrors Angela’s state.
The film’s title reveals a proposition made mid-evening. Pína and Hawk disclose their upstairs noise stems from sex parties and extend an invitation for Angela and Joe to join a future gathering. This prompts curiosity from the couple, yet ‘The Invite’ approaches the subject symbolically. Angela and Joe’s relationship stagnation reflects common couples’ dilemmas. Joe’s reluctance to play the piano highlights their disconnect.
Wilde draws inspiration from Oscar Wilde, referencing his quote: “One should always be in love. That is the reason one should never marry.” Nonetheless, ‘The Invite’ is far from anti-marriage. The core message encourages openness to new experiences. Hawk’s monologue underscores this theme, mingling humor with thoughtful insight.
Overall, ‘The Invite’ challenges viewers to reflect on relationships, while entertaining with its cues and dialogues. While it might suggest risqué undertones, its depth in navigating relationship dynamics is genuine and insightful. ‘The Invite’ is rated R for its portrayal of sexual content, language, and drug use, running 107 minutes long. It earns three and a half stars out of four.