Community theater is a subculture that is hard to understand unless you’ve participated. The stakes couldn’t be lower, but everyone operates as if they’re on Broadway. The show isn’t culturally significant, but it also feels utterly life changing.
Jesse Eisenberg fully grasps the magical absurdity of community theater and affectionately pours it into his third directorial effort, The Debut. It’s hard to put it into one box, operating partially as a high-camp comedy and partially as an intense psychological study. One thing that is certain, though, is that it may be Eisenberg’s best film yet.
Mona Friedman (Julianne Moore) is a demure housewife who impulsively auditions for a community theater production. Much to her delight, she lands the role of Miss Danielle, a tertiary character in the musical. As she gets her bearings, she finds herself under the microscope of the intense yet beloved director, Jerry Blankenbuehler (Paul Giamatti).
Between Mona and Jerry, Eisenberg crafts an entrancing dissection of attention and approval. Mona moves through the world largely ignored, while Jerry’s life is filled with people constantly hanging on his every word. As the film unfolds, we watch the complicated relationship between those who need attention and those who give it.
Moore delivers the performance of the year. Initially, Mona’s life is a performance as she embodies this role of nondescript housewife. She doesn’t want to bring too much attention to herself because she’s been made to feel that she doesn’t deserve it.
However, Mona is painfully awkward and can’t quite make the persona work. The brilliance of Moore’s performance is that she makes us feel something inside Mona fighting to break out and be seen.
She channels this in Mona’s ever-growing desperation. Jerry’s attention feels like a drug for Mona. She’s been deprived of meaningful attention for so long, she can’t get enough now that she’s actually had a taste.
As Moore descends on this spiral, she picks up pieces of this new Mona along the way. Some pieces stick, some do not, but they’re all in service of her overdue self-actualization.
In one particular monologue, Moore opens the floodgates and breaks Mona wide open. The Chicago International Film Festival audience erupted in rapturous applause mid-screening and rightfully so. It was a visceral reminder that Moore truly is one of the greats.
Giamatti is equally as brilliant, balancing Moore at every turn.
Jerry initially feels like an obvious character. He relishes his power and, at times, teeters into a power trip when things are not up to par.
Eisenberg’s screenplay allows Jerry the space to be just as nuanced as Mona and Giamatti runs with the opportunity. There’s a world of regret and longing in his gaze. Despite the fact that he is the one who gives the performers approval, he still wants it himself.
The Debut feels like a drastic pivot from Eisenberg’s previous efforts in just about every way. What doesn’t change, though, is his ability to fill it with a soul.
This world is zany and ridiculous. The fictional show Nosey Neighbors and its musical numbers (all penned by Eisenberg) effectively parody every musical trope in the book to hilarious effect.
But Eisenberg does this all with an abundance of affection. He respects that theater is ultimately a place to find yourself and challenge yourself. A show tune as ridiculous as “This Town May Have Chewed Me Up (But It Hasn’t Spit Me Out)” can, in fact, speak to your personal journey.
As much as The Debut is about its characters finding themselves, it also feels like Eisenberg has done so as a director and writer. He’s gotten better with every outing, but he’s done something truly special and singular with The Debut.
The Debut opens in limited release December 11.
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Adam Patla
Adam grew up less than 3 minutes away from a movie theater so he was always destined to love all things entertainment. He studied Broadcast & Cinematic Arts at Central Michigan University before working as a talent agent in the Chicago area until 2020. During lockdown he began discussing film and television on TikTok where he cultivated a platform of over 50,000 followers. He is currently a member of Chicago Indie Critics.