The Big Picture

• Closer flips traditional theater expectations on their head by pushing the boundaries with its cast of Hollywood stars.
• The film delves into the shallow nature of intellectuals and reveals the performative aspects of modern relationships.
• Chance encounters in Closer lead to heartbreak and tragic irony, making it difficult not to empathize with the flawed characters.

Generally, film adaptations of iconic works of theater are thought to be old-fashioned, stately dramas with eloquent monologues that have been performed for generations, but anyone expecting something that traditional was in for a shock if they saw Closer. The 2004 drama from legendary filmmaker Mike Nichols took inspiration from Patrick Marber’s hit 1997 play of the same name and featured some of Hollywood’s finest actors spouting inflammatory, filthy remarks that might even make Quentin Tarantino blush. It’s an outrageous take on the notion of “intellectual society,” and it certainly attracted tabloid attention due to an extended sequence where Natalie Portman performs a striptease while wearing a pink wig – a now iconic cinematic image. Although Closer could be dismissed as nothing but an exercise in boundary-pushing at first glance, it’s a satire that cuts much deeper than that.

What Is 'Closer' About?

Set in modern-day London, the film centers on the romances, breakups, and affairs between four people that become obsessed with controlling each other. Portman stars as Alice Ayres, a young woman trying to find herself, who is nearly killed in a streetway collision. Alice is saved by the writer Dan Woolf (Jude Law), who subsequently falls in love with her. After writing a book about their experiences together, Dan begins to lust after the photographer Anna Cameron (Julia Roberts), who rebuffs his flirtations which Alice overhears but does not confront Dan about. Dan continues to channel his desires by goading the British dermatologist Larry Gray (Clive Owen) into a sexually-charged online chatroom that embarrasses him in front of Anna. However, Larry and Anna begin to fall in love after recognizing that they’ve been deceived.

Closer is filled with cacophonous dialogue said behind closed doors; since the film is entirely composed of conversations between these four actors, it replicates the experience of watching a theatrical production. Generally, these constraints can be uncinematic, but it's perfect for the concept that Closer is addressing. We’re getting to know the types of conversations that people have in private, and hear about the desires that they’re so frightened to admit in public. While it reveals the shallow nature of intellectuals, Closer unlocks something deeper about the performative nature of modern relationships. Similar to his past films The Graduate and Carnal Knowledge, Nichols uses shocking stylistic indulgences to show something that is very real. In many ways, Portman and her infamous wig are the summation of Closer’s brilliance; there’s an aura of plasticity that people have when they’re forced to be vulnerable.

'Closer' Strips the Romance Away From Chance Encounters

In fiction, “chance encounters” are often romantic in nature, so it’s amusing that every chance encounter in Closer ends up leading to heartbreak and tragedy. It’s reflective of human nature that despite being given a once-in-a-lifetime romantic opportunity, Dan squanders his relationship with Alice. What Nichols does that is critical is refusing to judge any of these characters for their secret desires. None of them come out as complete victims, and there’s reason to see them all as both detestable and tragic. Initially, we’re supposed to dislike Dan because of his affairs and deceit, but we learn at the end of the film that Alice has been lying to Dan about her real identity. It’s ironic that despite Dan’s obsession with leading people into false relationships online, he doesn’t realize he’s fallen in love with someone he doesn’t really know.

Similarly, there’s irony in Larry and Anna falling in love after a cruel prank. However, this ironic “chance encounter” is also one that’s quickly squandered, as Larry can’t help but feed into his own indulgences when he recognizes Alice’s portrait in a photography gallery of Anna's work. Larry was always driven by his aggressive sexual impulses, which is what Dan initially had taken advantage of. He’s well aware that Alice and Dan are involved with each other, but pursues Alice nonetheless. This is satirically framed alongside Dan’s own affair with Anna. Now, both couples are cheating on each other with their opposite's partners. It’s clever that these sordid conversations take place in a fancy art exhibit intended to show the beauty of human nature.

We Can't Help But Empathize With the Characters

The “chance encounters” they all shared with each other only created obsession and unlocked new desires; they can’t help but wonder what it might be like to be with someone else. No one ends up getting to have it both ways, and they all end up heartbroken. What’s incredible is that, despite every bitter way Larry, Anna, Alice, and Dan undercut one another, there’s reason to invest in all of them. Alice is trying to make it in a society she doesn’t belong in; Dan is trying to create something artistically profound; Anna wants commitment but can’t help cheating; Larry is obsessed with “winning” because he’s terrified of showing cracks in his masculinity. None of them can help being who they are.

Even though they’re all left hurting because of their obsession with one another, they all end up alone through further ironies. Anna and Larry had sworn to sleep with each other for the last time in order to get revenge on their respective partners, but they were fully aware that they would just end up hurting each other in the end. Of course, the affair once again sparks their desires for each other, continuing their loveless marriage. Alice gained nothing from her encounters with upper society, and she’s left to drift through New York alone in the same state she was in at the beginning. Since Dan never knew Alice’s real name, so he has no way to find her. He notices a memorial for the woman Alice stole her name from; he’s fallen in love and is left grieving for someone that doesn’t exist.

By ending the film on such a solemn note, Nichols comes full circle in his critique. He wanted to show us who these people really are, and in the end, we’re guilty of feeling bad for them. If Nichols preys upon the idea that we’re getting to see what people are like underneath, we’re only able to laugh at them mockingly for a short amount of time. As the beautiful words of Damien Rice’s “The Blower’s Daughter” play in the background, it’s as if we’re now guilty of having the same obsessions.

Closer is currently available to rent or buy on Apple TV+ in the U.S.

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