Movie Review - Infinitely Polar Bear

Infinitely Polar Bear ***1/2  (out of 5) (R) For openers, this is not a documentary on Arctic climate change. It’s a dramedy (with the scales tipped well towards the drama side) about a bipolar hippie dad (Mark Ruffalo) raising two daughters in the late 1970s, as recalled by the adult version of the elder. His character came from old Boston wealth, but years of the wildly erratic, self-destructive and embarrassing behavior his mental illness produced, plus his marriage to a smart, beautiful Black woman (Zoe Saldana), left him cut off from the family, financially and socially. Though brilliant, he could never hold a job, landing them squarely in the poverty zone. Finally, Zoe decides to get her MBA in New York, reluctantly entrusting their girls to his care. Their hope was for responsibility to help him stay grounded, since his love for them was true and deep.

True to bipolars (then known as manic-depressives), during his ups, he was the most delightful, loving and creative parent any child could want. But no one could predict his downs of depression, distraction or various bizarre episodes that ranged from humiliating to dangerous for himself and others. When taking the meds he was OK. His intentions were the laudable, especially accepting the Mr. Mom role when it was far less common than today. But, like many with that condition, missing the joyful high times leads to skipping the meds, hoping to manage without them, rather than feeling doomed to spending every day in that bland middle ground drugs like Lithium maintain.

Ruffalo has a couple of Oscar nominations for supporting roles. Some might see this role as his bid for Best Actor, since characters with major mental or physical impairments tend to draw that sort of attention. Bipolar is ideal in that regard, showcasing the gamut from childlike glee in every little mundane activity, to frenetically creative bursts of energy, to near catatonia, to booze or drug-fueled episodes of rage or neglect. The latter creates recurring tension over what serious damage his loss of control will cause to himself or others. Ruffalo carries the burden well, believably showing us the full spectrum without overdoing either extreme. The scenery emerges un-chewed.

For a first-time director, whose previous screenplays have plied light comedic waters, Maya Forbes delivers a commendable product, avoiding cliches and conveniences that have ruined other films about protagonists struggling with illness, like the dreadful cancer-themed romance, Dying Young, a slew of Lifetime Channel movies, and a fair share of daytime soaps. Or the last half of Moulin Rouge, in which its dazzling musical romance abruptly lurched into a sappy remix of Camille. This film is not exactly easy to watch because of that recurring threat of disaster, but its treatment of the family’s situation is relatable, with the humor and heart elements firing on all cylinders.

Ruffalo’s acting chops are matched by the rest of the cast. The daughters (Imogene Wolodarsky, Ashley Aufderheide) play their multi-dimensional roles without hyperbole. As is usually the case after one of her films, I wonder why Soldana hasn’t become a bigger star? She’s gorgeous and versatile, with a resume spanning ballet (Center Stage) to sci-fi action (Avatar, Guardians of the Galaxy, Star Trek’s latest Lt. Uhura), in comedies and dramas. Yet all her awards and nominations have come from relatively low-profile entities. She certainly deserves better roles. Can’t anyone help her find a sharper agent?????? (7/24/15)