Ruby Sparks

Though it skirts intriguing ideas about relationships and culture, quirky dramedy remains tonally fractured

Roe McDermott, 18 Oct 2012

“Quirky, messy women whose problems only make them endearing aren’t real.”

Finally! A filmmaker addresses the misogynistic infantilising of women that is the ‘Manic Pixie Dream Girl’ phenomenon. Writer Zoe Kazan penned and stars in Ruby Sparks, an intriguing, ultimately disappointing dramedy that addresses the danger of archetypes.

Paul Dano is Calvin, a Salingeresque prodigy whose creativity and love life have floundered since the raging success of his first novel. So he begins to write about his dream girl: a quirky, impish creation that wears coloured tights and impulsively jumps in pools.

Though less a fully-rounded character than a collection of idealised attributes, somehow she miraculously becomes a real live woman, who Kazan plays with charm. The first half of the film is a light, magical rom-com, with Calvin nobly resisting his brother’s pervy suggestion to edit Ruby to his will.

Until, that is, Ruby begins to develop wishes, hobbies and desires independent of Calvin. His ensuing insecurity is amusing as he attempts to (pardon the pun) write Ruby’s wrongs.

But as the film unfolds, Kazan’s ideas prove too ambitious for her abilities. As Calvin abuses his power over Ruby, his evil puppet master actions lay bare an emotionally abusive relationship. It’s a disturbing and powerful scene, but marks a whiplash tonal shift from which the film never recovers. The infuriatingly tidy resolution that follows offers no redemption for either party. Instead it panders to Hollywood’s need for a Happy Ever After.

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