Lets Talk About *that* Scene in 'Marriage Story'

When it works it works (spoilers ahead!)

It's no secret that Noah Baumbach's 'Marriage Story' is a hit. Since its release on Netflix this comedic yet heartfelt movie has been loved by audiences and critics alike, picking up its most recent win for Laura Dern at the 2020 Oscars. But one scene that has been particularly raved about takes place during the final third of the film's runtime. Simply put it is one in which our two protagonists, Charlie (Adam Driver) and Nicole (Scarlett Johansson), finally meet in private, away from the world of lawyers and divorce negotiations and, well: sh*t hits the fan. Screaming, crying, and biting insults ensue and we are left with a seemingly broken Charlie knelt on the floor of his barren LA apartment, clutching Nicole as if he were their eight-year-old son. For all its drama and excess this scene could have easily appeared overdone, sticking out like a sore thumb when compared to the relatively restrained tone of the films other emotional apexes. Taken out of context, such as the current set of memes that have originated from it, the scene may appear this way. But what Baumbach achieves is a realistic dialogue between two authentic characters, in-keeping with the film's general tone whilst demonstrating just how strained the relationship between Charlie and Nicole has become. 

Upon Nicole's arrival it seems all may be resolved; once the aggressive interceptions of Nora and Jay are removed, the couple might finally be able to resolve their differences and see eye to eye. The wall blocking the kitchen from the living room serves as both a physical and symbolic separation of the couple as they converse without really seeing one another. Negative space surrounds the two in a relatively lifeless setting, providing the initial moments of the scene with a more subdued tone, potentially setting up for a reconciliation. 

But it quickly becomes clear that this is not the case. All the feelings that had been bubbling up spill out and on comes the shouting match. A comment from Nicole causes Charlie to finally exit the kitchen and face the music. Insults are hurled from every direction; a particularly sharp one from Charlie completely undermines Nicole's earlier fervent monologue as he exclaims 'You don't want a voice! You just wanna f**king complain about not having one!' Successive closeups keep the pace high and it becomes almost claustrophobic, as if the characters are trapped in the argument unable to escape.

Once the fists are slightly lowered, we begin to see the couple's sheer frustration and the toll that the divorce process has placed upon them. After Nicole expresses anger at the fact that he has to remain a part of her life forever, Charlie proceeds to punch through the wall and exclaim that Nicole is 'winning'. The dialogue following this truly shows the estrangement of the couple as when Nicole claims that Charlie never loved her as much as she loved him and he incredulously replies 'What does that have to do with L.A.?'. After failing to even deny his lack of affection for his (nearly) ex-wife, the true climax of Charlie's breakdown ensues. Through oncoming tears, Charlie tells Nicole that wishes she were dead before a contrasting wide shot sees him drop to the floor. As Nicole comforts him, both give meek apologies and the scene comes to an end. 

This interaction plays out almost like a short film, with distinctive story beats, rise and fall, changing location within one space and a sad yet satisfying conclusion. The escalation of dialogue and action shows us the extent of the couple's animosity towards each other but, more importantly, it demonstrates the pain that their separation has caused, Henry's presence looming as the juice box left on the table. Moreover, Baumbach emphasises the notion that, although we have potentially sympathised with him more closely during the course of the divorce - in which he appears to have drawn the short straw - it is Charlie that is pulling away. He avoids the confrontation as he takes himself off to the kitchen and keeps the discussion strictly to the divorce and not their relationship. When Nicole has to correct herself from calling him 'honey' we get the sense that she had to file for divorce, for her own self-worth if anything else, despite still deeply loving Charlie. As the divorce therapist in the first third of the film exclaimed, it is during the process of separation, you may be reminded that this is a person you once had great feeling for. 

In the end we are left with an urge to sigh. All the tension created via the dissolution of these characters, be that in a literal or figurative sense, has been released and grievances aired. What remains is ultimately the end of a relationship and the beginning of a new one. From this moment on the film shifts from focusing on Charlie and Nicole as partners to negotiating and establishing their new primary role as divorced parents. After this scene, it is clear that the divorce is inevitable. But 'Marriage Story' suggests that this is not a bad thing. Despite the relationship they shared and the clear affection the two held for one another, Nicole and Charlie were holding each other back. One year on from their divorce, Nicole is nominated for an Emmy and Charlie is fresh off a successful Broadway run. Without the argument scene this eventual closure would appear dissatisfying. Instead we are able to look back at what they had, reading Nicole's letter and crying with Charlie, but understand that ultimately, this was the only way it could end. Baumbach perhaps puts it best himself: 'we can still celebrate the thing for what it was even if it's over'.