Jesse Eisenberg’s The Debut marks his third feature-length film as a writer and director. His directorial debut, When You Finish Saving the World, didn’t receive much attention outside its Sundance premiere, but his follow-up, A Real Pain, certainly did with several Oscar nominations and a Best Supporting Actor win for Kieran Culkin.
Eisenberg has been one of my favorite actors since I first saw him in one of his earliest roles in Roger Dodger. He is the kind of performer I find captivating whenever he appears onscreen. While many people first recognized his brilliance through his Oscar-nominated performance as Mark Zuckerberg in The Social Network, Eisenberg has repeatedly proven that he is such a gifted and versatile performer who can tackle almost any role in any genre.
When I first heard about The Debut, I immediately knew it would be right up my alley. As anyone who follows me knows, I’m a huge fan of musicals and theater. I grew up in New Jersey, right outside New York City, so seeing Broadway shows was a major part of my childhood. Eisenberg also grew up in Jersey and was immersed in theater. Some may not know this but he began his career onstage before transitioning into television and film.
From the very first frame, you can tell that The Debut was made by someone who not only loves the stage but has experienced that world firsthand. Anyone who has studied theater or participated in a stage production will appreciate the little details and nuances found throughout the film. Eisenberg understands the personalities, insecurities, egos, and strange sense of community that emerge whenever a group of people comes together to put on a show. Theater attracts a very wild variety of individuals to it and I think the characters in The Debut truly captures all of those personality types.
For those unfamiliar with the story, The Debut follows Mona Friedman (Julianne Moore), a shy and neglected New Jersey housewife who auditions to play Miss Danielle in a community theater production of Nosy Neighbors. Mona does very little to impress the show’s demanding director, Jerry Blankenbuehler, played brilliantly by Paul Giamatti. However, when his original choice unexpectedly drops out, Jerry begrudgingly gives Mona the role. Once rehearsals begin, he pushes her to her limits, causing Mona to lose herself in the production and take the idea of “living the part” to a whole new level.
When it comes to the performances, it will be difficult to top the ones delivered by Julianne Moore and Paul Giamatti in this film.
There is one scene in particular that has already generated plenty of buzz on social media. It is a scene where Jerry pushes Mona to her breaking point and tells her to “go off script” and lay into him about the rent. Moore takes the scene to an entirely different level, creating a monologue that is not only hilarious but cheer worthy. If you have ever attended a hit Broadway show and felt the energy in the room when an audience spontaneously bursts into applause, you will understand the reaction this scene has received at every screening so far.
Moore has always been one hell of an actress, but this feels like the role of a lifetime because it allows her to showcase just how funny she can be. There is such joy in watching a performer of her stature cut loose while still bringing rich emotional depth to the character. It is the type of performance that reminds you why Moore has constantly been labeled one of the greatest actresses of all time.
At TIFF premiere, Giamatti joked that he always plays a grumpy, middle-aged white guy. While it is difficult to deny that there is some truth to that statement, I don’t think many actors could play that type of character as brilliantly as he does. Giamatti can portray an asshole like no other, but he also brings genuine depth and humanity to even the most difficult or flawed characters. He is an extraordinarily gifted actor who consistently stands out in everything he does. I think he is every bit as good here as he was in The Holdovers, even though the two performances couldn’t be more different from one another.
Bringing everything full circle, we must return to Jesse Eisenberg. As already noted, he wrote and directed the film, but he also appears in a supporting role and wrote all 13 of its original songs. If you can’t appreciate how creatively gifted Eisenberg is after seeing The Debut, I don’t know what will convince you.
And honestly, the songs are pretty damn great. They are funny, clever, memorable, and completely connected to this strange little musical Eisenberg has created. At least one of them deserves to be part of the Best Original Song conversation. I think what is so standout about The Debut is how Eisenberg hasn’t simply made another terrific movie but rather poured every part of himself into this project and created something that feels oddly personal, endlessly entertaining, and something unique that only he could have possibly brought to life.
The Debut is one of those rare films where I struggle to find anything to criticize. The runtime doesn’t overstay its welcome, and the film never attempts to bite off more than it can chew. Eisenberg’s screenplay is wonderfully written, with plenty of laughs and crowd-pleasing moments. Even viewers who know absolutely nothing about theater should still be able to appreciate and enjoy what he has created.
If I had to nitpick, I would have liked to see a little more of Mona’s home life. However, expanding that part of the story would have made the film longer and potentially shifted too much focus away from the play itself. I only mention it because more background might have helped viewers outside the theater world connect with Mona on a deeper level. We understand that her marriage isn’t great, but a little more insight into that relationship could have made her emotional transformation even more powerful. Yet, this is a minor criticism of a film that gets almost everything right.
While its only September and I still have plenty of films to see, I can honestly say that The Debut is one of the best films of the year and further proof that Jesse Eisenberg has become one of the most exciting filmmakers working today. It is hilarious, heartfelt, perfectly acted, and filled to brim with love for the theater world. Julianne Moore and Paul Giamatti deliver two of the year’s most award worthy performances, while Eisenberg’s screenplay and direction deserve equal recognition. This is a sure-fire awards contender, and I fully expect multiple nominations in the near future. Believe the hype everyone: The Debut is totally the real deal.
Grade: 9 out of 10
Awards Buzz: You can safely add Julianne Moore to the top of your Best Actress predictions and Paul Giamatti to your Best Supporting Actor predictions. I also believe that Best Original Screenplay nominations are a lock for Eisenberg along with Best Original Song. While Best Picture seems very likely, there are still about 6-8 films that I need to screen before locking the film in but as of right now, I would slot it at like number 7 or 8.
Trailer:
