By Connie Lee - November 5, 2024
Don’t be fooled: In Fidelity might look like a rom-com at first look, but it’s pure bittersweet drama. Written and directed by Rob Margolies, the film subtly peels back the complexities of how cataclysmic events like major illnesses and death upend our lives and force us to confront ideas we may be too afraid to discuss with our significant others out loud. Ultimately, it’s more than a dive into the traditional sense of monogamy – it’s an exploration of the fidelity we hold with ourselves and how to live more without losing our sense of self.
In Fidelity stars Chris Parnell and Cara Buono as Lyle and Holly Ayker, a happily married New York couple whose lives are turned upside down after finding out that Holly has terminal cancer. As she deals with the fact that she’s dying, she asks Lyle if she can sleep with their neighbour, and this request surfaces existential questions about their lives and love.
The opening line uttered by Holly, “I don’t want you to be alone”, sets the tone for the entire film as a double entendre, not only explaining her obvious post-death marital worries but hinting at concerns about Lyle’s conventionalism and how he will navigate a new reality, especially when those around him seem to be obsessed with being as different and “out there” as possible. From the couple’s eccentric, fiery daughter who strives to be an artist to their aged rockstar neighbour, Lyle’s definition of normalcy and living couldn’t be more different. So, this phrase and idea of “being normal” become thematic threads woven into the film very cleverly. And with Margolies’ touch, they never feel like they’re being shoved in our faces. Instead, they’re presented with enough distance, giving us room to think and reflect ourselves.
On the theme of normalcy, I enjoyed seeing how respectable and meticulous Margolies was with Holly and Lyle. The director could have easily added extreme character development and chaotic events for added depth and excitement but maintained the two’s predictability and level-headedness. And, this made them more nuanced and complex than Margolies probably intended. Even more, it never feels like we’re pressured into going against the stability; Normalcy can be a profound thing and doesn’t have to mean you’re not living.
In the third act, the film stumbles slightly, going on longer than needed with humour that didn’t exactly land. Despite this, this point in the film reinforced how hard it is to feel for any of the supporting characters. By the end, it’s clear that they’re more worried about their own endeavours and money than what Lyle is going through. As nice as it would’ve been to see more from them, I can respect this more realistic approach because it’s a stark reminder that they’re unnecessary for Lyle’s development. Initially, I thought they weren’t needed in the film altogether, but they add interesting insight and make it easier to appreciate Lyle for who he is.
In Fidelity is great for viewers who aren’t looking for something sickly sweet or too dramatic and emotionally exhausting. It’s confident, conscious, slightly dry and vulnerable at just the right times, allowing the interactions and flow of events to feel effortlessly natural. As we approach the holidays and the inevitable sea of rom-coms and family dramas, this is a refreshing change of pace that is distinctive and enjoyable.
IN FIDELITY IS AVAILABLE NOW ON DIGITAL PLATFORMS
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