TRAINWRECK

US, 2015, 125 minutes, Colour.
Amy Schumer, Bill Hader, Tilda Swinton, Brie Larson, John Cena, Norman Lloyd, Daniel Radcliffe, Marisa Tomei. Le Bron James, Method Man.
Directed by Judd Apatow.

There are two kinds of train wreck. There is the devastation when the train goes off the rails, ploughing into the countryside, destroying the carriages and the environment. Then there is the crash on the rails, devastating as carriages plough into each other, causing destruction, injury and death.

Probably best to keep these two aspects in mind in considering the title of this film and how it applies to Amy Schumer’s life. Amy Schumer is in her mid-30s, has had a successful career on television and with stand-up comedy. Now, she has written a screenplay loosely based on her life and her family, her difficulties in relationships, her work. And she stars in this alter-ego version of herself.

But, she has put the direction into the hands of veteran Judd Apatow (The 40 Year Old Virgin, Knocked Up, This is 40), who brings his considerable comedy talent to the film, though this is a rare outing for him where he has not written the screenplay. What usually happens in an Apatow comedy is that things start out pretty raucously, even with some devastation for the characters, touches of train wreck, but, after a while, with interactions, they begin to change, even becoming more human, employing a bit more common sense, yet not losing their sense of humour, and finally some kind of rather moralising ending: The Judd Apatow Syndrome.

The film opens with Amy’s father talking to his two little daughters, an extensive ramble, rant at times, about how monogamy is impossible. This seems to have different effects on his two daughters, Amy growing up, rather loose-living, having many one night stands (shown in successive glimpses) with a wariness about falling in love, a seeming inability to love. Yet the younger daughter, played by Brie Larson, is the opposite, marrying a man she loves, becoming a loving stepmother to a precocious little boy, baffling Amy as to how two daughters could end up so differently.

Amy works for a magazine, one of those magazines that likes to dig up some dirt on celebrities. Her immediate editor is Dianna – played by an at first unrecognisable Tilda Swinton, different hair, different look, certainly different voice, very English, dominating, insensitive, demanding – quite a funny performance. Amy has to take on an assignment to interview a doctor responsible for sports medicine. He is played by Bill Hader, a regular in stand-up comedy (excellent in The Skeleton Twins, as well is one of the voices in Inside Oit, Fear). Is involved with basketballers – and some of the key basketballers in the US play themselves, showing quite a flair for screen presence and comedy, especially Le Bron James.

The doctor, Aaron, is a pleasant man, not pushing himself, but somehow rather attracted to Amy, moving into a relationship and love. This is not what she imagined for herself and puts up quite some resistance, yet bonds with Aaron, undergoes something of a crisis, especially with the influence of her father who is now in a home, visited by his two daughters. This is a real challenge for her, her feelings, admitting that she could love, breaking with Aaron, but finding some kind of reconciliation – the Judd Apatow ending.

Amy Schumer is certainly an impactful screen presence and audiences have responded well to her, as well as to her styles of frank and earthy humour, her sardonically satirical approach to comedy, with clever lines, humorous situations. She is beginning to salvage her early trainwreck life and get back on some kind of rails.

1. The reputation of Amy Schumer, the television shows, stand-up comedy, writing scripts, starring in this film, her character as an alter-ego of herself?

2. The work of Judd Apatow, raucous comedy, stand-up humour, the touch of moralising by the end?

3. Los Angeles, an LA story, the city, characters, work in magazines, sport and medicine? Clubs?

4. The comedy style, of Amy Schumer herself, spoofing herself, spoofing situations, the raucous and earthy touch?

5. The screenplay based on Amy Schumer’s life, her father and his advice, motorneuron disease, his treatment of his daughters, his old age and in the institution?

6. The effect of sharing Amy Schumer’s life? Empathy with her? Sharing the humour, her observations, the satiric touch, self-deprecation and criticism?

7. Amy, the collage of men and one night stands? Her resisting relationships? Her inability to love? The athlete, Steven, and the relationship, sex, breaking with him, musclebound and his not understanding?

8. Her work, the magazine, curiosity about celebrities? The possibility of promotion, her friend and rival?

9. The editor, Dianna, a comic performance by Tilda Swinton, her voice, look, manner of speaking, overriding people, wanting sensation, the issue of promotions, her behaviour?

10. The issue, sports and medicine, Amy not being interested, her being in told to investigate? Her attitude towards sport?

11. The sports background, the actual basketball stars, their presence, personalities, on television, the comic styles? The plot development? American audiences appreciating the presence of the stars? Aaron, in himself, Bill Hader’s presence, comic style, voice? His work, ideas, research, medicine? His interaction with the sports stars?

12. Amy and the talk, her quips, the jokes, the emphasis on female behaviour – with the touch of the earthy, bodily functions and crass?

13. Amy and Aaron together, the effect, his being a touch more passive, yet his response to her, falling in love, the encounters? His sometimes embarrassment?

14. The changes, in both, the possibilities for love? Her writing the article, the discussions with Aaron, with Dianna, her decision not to push forward the article?

15. The comic touch with the film within the film, with Daniel Radcliffe, Marisa Tomei, the encounter, the pets…?

16. The background of the opening with Amy and her sister, her father, his long discussion about the impossibility of monogamy? The effect on Amy and her promiscuity? The completely different effect on her sister, her marriage, stepchild, domestic and ordinary?

17. The character of the father, the impression at the beginning, his illness, in the home, the visits of his daughters, his friend Norman, their discussions? The daughter’s response to his illness?

18. The development of Amy’s character, change, the break with Aaron? The effect on him? The reconciliation?

19. Judd Apatow films, starting with raucous jokes, touches of spoof, change in awareness, a more conventional and moralising ending?