Kristen Wiig stars in the new indie dramedy Welcome to Me, written by Eliot Laurence and directed by Shira Piven. IMDB describes it as “(a) year in the life of Alice Klieg, a woman with Borderline Personality Disorder who wins Mega-millions, quits her meds and buys her own talk show.”
MORE ABOUT THE PLOT OF WELCOME TO ME
John DeFore, Hollywood Reporter, on her change of diagnosis to BPD:
Wiig’s Alice Klieg was diagnosed as a youth as a manic-depressive. While the diagnosis changed over the decades (her shrink, played by Tim Robbins, currently calls it Borderline Personality Disorder), Alice didn’t: Shelves of VHS tapes and a collection of ceramic swans attest to a lifelong fixation on a shallow sort of self-examination, the kind of hear-my-voice empowerment daytime TV was built on. When she wins an $86 million lottery, she seems less excited about the money than about the chance to read ‘a prepared statement’ about the story of her life to news cameras.
WHO IS ALICE?
Betsy Sharkey, Los Angeles Times: “Her particular brand of disorder means she is, as the saying goes, honest to a fault. Sometimes, that means reminding a good friend of her teenage bikini phobia on national TV, at others, it’s more graphic — like when a sexual urge hits her. Fortunately, this doesn’t happen a lot. More common is her raw emotional vulnerability.”
Christopher Gray, Slant: “Beneath her acts of character assassination, Piven and Wiig suggest a searching in Alice that makes her both palatable and sympathetic. (The film only seems to look down on her when using her penchant to mispronounce words as a crutch for additional, unnecessary laughs.)…Wiig affords Alice with an occasionally startling range of false confidence and emotional vulnerability…”
Justin Chang, Variety: “There’s no doubt that Alice is effectively enacting a very public, very expensive form of self-therapy, but what makes Piven’s sophomore directing effort…such an offbeat delight for much of its running time is the way it privileges comedy over catharsis…Alice isn’t a puzzle that needs solving — she’s more fun unsolved, frankly — and the filmmakers seem well aware that of all the things this woman may need, our sympathy isn’t one of them.”
HOW MENTAL ILLNESS IS PORTRAYED IN WELCOME TO ME
Justin Chang, Variety: On her TV show, Alice, among other kinds of kooky segments, “proves astoundingly articulate on the subject of her illness and her treatment; and watches in critical dismay while younger actresses re-enact formative/traumatic episodes from her life.”
Christopher Gray, Slant: “The film rejects a fawning (or even particularly detailed) account of mental illness in favor of a plunge into the deep end of Alice’s bottomless ego.”
John DeFore, Hollywood Reporter: “The film is in no rush to ask whether Alice’s tsunami of ego is eccentricity we can enjoy or a serious illness that merits our concern. Dr. Moffet regularly urges her to get back on her medication, but casting Robbins in the part is like a signal that we shouldn’t take his lefty nanny-state advice too seriously.”
Susan Wloszczyna, rogerebert.com:
While some fine performers like Jennifer Jason Leigh get lost in the shuffle, others manage to stand out: Tim Robbins as Alice’s long-suffering if naggy pill-pushing shrink; Linda Cardellini as her one and only friend; Wes Bentley as the on-air infomercial spokesman whose company produces Alice’s show and who becomes her lover; and James Marsden as his opportunistic brother who serves as the film’s Faye Dunaway counterpart as he encourages Alice’s crackpot decisions no matter the consequences.
Leave it to Joan Cusack—has she ever been less than terrific?—to be the one person to be able to divert our attention from Wiig as the show’s disgusted director who nevertheless occasionally engages in a lively on-air back and forth with Alice as a kind of unseen God-like persona from beyond.
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