Sideways

Sideways (2004)
Rated: R for language, some strong sexual content and nudity.
Runtime: 123 mins.
Director: Alexander Payne
Writer: Rex Pickett (novel); Alexander Payne (screenplay)
Cast: Paul Giamatti; Thomas Haden Church; Virginia Madsen; Sandra Oh
Genre: Comedy/Drama
Memorable Quote: "I'm a fingerprint on the window of a skyscraper."

By Frank Wilkins

In Alfonso Arau's Like Water for Chocolate, we learned of the sweet confection's similarities to the pleasures of the flesh. From this same metaphorical concept of how human emotion can be so deeply intertwined with the culinary delights of the kitchen, comes Alexander Payne's Sideways, a deliciously appetizing and equally gratifying story that tells us wine is life. It breathes, it ages, and it gains complexity. But whereas Arau based his story in the old country of early 1900's Mexico, Payne brings it home to the modern day grape vineyards of Northern California.

Miles (Paul Giamatti) is an angry, depressed, divorced, 30-something eighth grade English teacher with aspirations of having his book published. But of course it doesn't get published, which further fuels his despondency. He compensates for his lack of happiness with his knowledge of wine, which gives him a sense of being a somebody. Miles is the lovable schlep we all like to be around. His insecurities and lack of self-confidence somehow make us all feel a little better about our own insecurities.

Miles's friend Jack (Thomas Haden Church) is about to get married. To celebrate his last week of bachelorhood, Miles takes Jack on a road trip through the California wine country where they plan to enjoy good food, good golf and of course enjoy some of the world's finest wines. But Jack has just one thing on his mind, getting laid before his wedding. Jack is a fading actor on the verge of being a nobody. Not that he ever was a somebody to begin with, only having done a few commercials, some voice-over work and a couple of insignificant soap opera roles, but Jack sees women as a means of confirming his manhood.

Giamatti is nearly flawless in his nuanced portrayal of the fragile Miles. He makes us genuinely care for his character despite his despicable personality traits. Church is equally brilliant in depicting the two sides of Jack. Not only is Jack the macho guy who never has problems getting women, but he's also the goofy boob that is always one scene away from delivering the film's next big laugh.

The guys traverse the lush California countryside sipping wine and sampling cheap motels, before eventually hooking up with a pair of women played by Virginia Madsen and Sandra Oh. Even though Jack is to be married later in the week, he begins an affair with Stephanie (Oh) who provides him with the sexual dreams he had been craving. Despite being on the receiving end of one of the most moving, heartfelt and inspiring monologues (delivered by Madsen) in a movie this year, Miles can't seem to connect with the beautiful Maya (Madsen). It's not that Miles can't connect, it's that he doesn't quite want to let go of his former wife, who he discovers is newly married. In one humorous scene, as the four enjoy a dinner and wine, the drunken Miles leaves the table to call his ex. He leaves a message on her answering machine that is very reminiscent of and as equally pitiful as Jon Favreau's in Swingers (1996). Upon his return to the table, Jack secretively asks "you didn't drink and dial, did you."

Sideways is one of those movies that excels in almost every aspect. Not a single performance is wasted. Even most of the minor players manage to capture the limelight. Especially Marylouise Burke, as Miles' mother, who steals her scenes and begs for more screen time. The dialogue is deliciously smart and even some of the more juvenile jokes garner boisterous applause. Ultimately it is an intelligent road trip movie that satirizes both the pretentiousness of wine lovers and the oftentimes ridiculousness of male behavior patterns.

Like a fine pinot noir whose grapes ripen in the cool California nights, Sideways is a near perfect specimen of filmmaking that gets finer as it ages. It gives you a greater appreciation of wine, but more importantly it leaves you with an even greater appreciation of friendship.