WARNING: SPOILERS 

“You look ... well.”

It’s a line spoken halfway through “Juliet, Naked” by Duncan (Chris O’Dowd) to his ex-girlfriend, Annie (Rose Byrne), and O’Dowd nails it. His character is an insufferable professor of cultural studies who’s jogging on the boardwalk with his new girlfriend, Gina (Denise Gough), in their small, sleepy, British seaside town, when he spots Annie with some dude and a kid on the beach. So he condescends to say hello. He literally descends to their level. And after they greet, and while Annie’s trying to explain something to him, he leads the conversation to where he wants to lead it, which includes the above line. It should be well-meaning but isn’t. The way O’Dowd says it, eyes showing a faux concern, it implies: You look well for someone who’s been through what you’ve been through. You look well for someone who no longer has me. 

It’s both awful and delicious.

It’s delicious because we anticipate the fate that awaits him. Because the thing she’s been trying to tell him? The dude with her? That’s Tucker Crowe (Ethan Hawke), the reclusive musician Duncan has been obsessed with since forever. Duncan has a rec room and a website devoted to Tucker and considers himself the world’s foremost Tucker Crowe expert. He’s his everything. 

It’s the ex’s ultimate revenge. You leave, but I wind up with your greatest love.

The truth is banal
“Juliet, Naked” is that increasingly rare animal: a small, fun, funny and original movie made for adults.

That said, it felt a little less original when I found out it was based on a Nick Hornby novel. Hornby is like his own genre, isn’t he? He writes of fallible loves and overwhelming obsessions. 

His obsessives have gotten less sympathetic over the years—at least in the movies I’ve seen. In “High Fidelity,” who doesn’t like John Cusack and his obsessive top 5 lists, which are really about obsessing over the girl he’s lost. BoSox fan Jimmy Fallon in “Fever Pitch” is a little less sympathetic simply because he’s played by Jimmy Fallon. And now here, with Duncan, we get the least sympathetic of all. Also the funniest. Most of the laughs in the movie come from O’Dowd’s line readings and reaction shots. He’s both absurd and relatable. So much so, that when Patricia and I were walking home, laughing about this or that bit, I had to ask.

“Do I remind you of him?” 

“Who? Duncan? No! Why?”

“You know. Obsessive behavior. Like me with Lin-Manuel Miranda or Joe Henry.”

“No,” she said, shaking her head, but maybe thinking deeper on it this time; maybe wondering if there wasn’t something there.

Ethan Hawke is perfectly cast as the reclusive rock star who released an album of quiet love songs, “Juliet,” in 1993, then promptly disappeared. He was playing a gig in Minneapolis, took a break, never came back to the stage. He was a handsome young man on the indie rock scene who went poof, and back then Hawke was a handsome young man in the indie movie scene who didn’t. He kept working and growing and taking risks: “Before the Devil Knows Your Dead,” “The Woman in the Fifth,” “Boyhood.” He let his looks sag. Everyone in Hollywood has superhero abs and he’s got a paunch. Hawke has a lived-in quality to him now, like the worn, musty sweaters he wears in this movie, and the air of a dude who finds life more perplexing as he ages.

Tucker and Annie are opposites. He took chances, she didn’t. He left messes. Duncan and the other fans parse the rumors about why Tucker left and what’s become of him, but the truth is banal. He fathered five children by four women, but was never much of a father. Some children didn’t even know about the others, which leads to this bit of dialogue with one of his eldest:

Tucker: Parenting. Sometimes I think I could use a manual.
Lizzie: Or tips such as, “Always tell your kids they have siblings.”

Lizzie (Ayoola Smart) is visiting him in ... is it New England? Pennsylvania? He lives with his son in a remodeled barn behind the house of his latest ex. We actually see him at his best. He’s raising a child rather than running from one. The child, Jackson (Azhy Robertson), is endearing. The actors work well together. Tucker seems both father and younger brother. He’s teaching the boy about life but also seems more broken. Maybe that’s the nature of Ethan Hawke now: to seem broken. 

Tucker and Annie get together for the same reason Duncan and Annie break up. Someone mails Duncan a demo of “Juliet” called “Juliet, Naked” (Cf., Paul’s “Let It Be ... Naked”), and she has the gall to: 1) listen to it first, and 2) not like it. When Duncan posts his glowing review, she, in the comments field, tears it down. Then she gets an email from someone agreeing with her. Tucker, of course.

Is it odd that Annie is the central character but we know the least about her? She curates at the local museum, and sees herself in a1964 photo of two couples on the beach. Specifically, she’s drawn to the face of one woman, who, she finds out later, regrets all the chances she didn’t take—the timidity with which she approached life. Not enough carpe diem, or seizing the day—if we want to back to “Dead Poets Society,” the movie that helped Hawke break out. But that’s about all we get of her. It’s a weakness in the film—and particularly odd since two of its three screenwriters are women: Tamara Jenkins and Evgenia Peretz. The director is Jesse Peretz, who also directed “Our Idiot Brother” and episodes of “Girls.” 

I also didn’t buy why Tucker left the music scene in 1993. It’s the movie’s big reveal but it lands with no weight. It just glances off. It’s just, “Oh ... I guess?”

Opposites exist
Is it a weakness that there’s a tonal difference between the two men? Duncan/O’Dowd is coming from a place of comedy while Tucker/Hawke is closer to drama, romance. Hawke is muted, O’Dowd broad. But I think that’s a plus. And it feels real. In any group you’ll find your broad-comedic types and your muted-romantic types. It’s particularly true with our perceptions of significant others. The one out the door is the clown, the new one is serious and vulnerable.

It’s a shame “Juliet, Naked” didn’t find a bigger audience. Roadside Attractions released it in mid-August, but in four theaters. It waited two weeks before expanding to 300/400+. I don’t get the delay. It’s adult romance. August is perfect and September too late. But it will find its audience after its theatrical run. It’s too funny and sweet not to.