By Delia Paunescu
In the spirit of self-analysis and pop psychology, playwright Tyler Perry brings to the screen “Why Did I Get Married?”-a film that breaks down the relationships of four separate couples, all of whom have been friends since college.
The film opens with Patricia (Janet Jackson), as she talks about her latest book to a group of college students. It is during this lecture that the story’s couples are introduced. The acting within this opening is forced, both on the part of the various students and on Jackson’s, whose portrayal of the psychoanalyst is too manufactured.
Patty and her husband, Gavin (Malik Yoba), are avoiding each other after the loss of a child-an issue Perry intentionally avoids though he could have done so in a more delicate matter-but that doesn’t stop them from putting up the “Perfect Patty” front for their friends.
The couples are shown as they make their way to a cabin in Colorado where their annual reunion is to take place. It is here that the film’s eight characters will spend a week of soul-searching and re-bonding, or that’s what they think. Diane and Terry (Sharon Leal and Perry himself), are a lawyer-doctor couple who argue about spending time together. He’s a pediatrician who wants a son but she’s just made partner and doesn’t understand why having her secretary call every five minutes is unacceptable. Marcus and Angela (Michael Jai White and Tasha Smith) must deal with control issues fueled by his lack of work and her constant drinking. Angela’s combativeness toward her husband, and everyone else for that matter, is only excused by the fact that her sharp tongue provides comic cynicism in what would otherwise be quite the sap-fest.
As the weight-challenged friend, Sheila (Jill Scott in a padded suit) is sufficiently hurt and tortured by the words of her insensitive husband Mike (Richard T. Jones). Scott has the somber, melancholy look down and noticeably avoids eye contact throughout her performance. But when the time comes to lighten up, and even flirt with the attractive Sheriff Troy (Lamman Rucker), Scott’s acting and Perry’s directing are not yet strong enough to blend the wounded wife routine with the everyday Sheila.
These are people of a certain demographic. They are award-winning psychologists with book deals, lawyers and pediatricians with Land Rovers, the film’s women are draped in fur from head to toe during their time on the mountain and even the less-fortunate couple drives a Mercedes.
Perry’s trouble as director continues with his use of shots that are too close for too long. Through these, he insists on creating drama in everyday scenarios but only succeeds in making viewers uncomfortable. When he finally pans out, the shots are choppy and too quickly return to their ultra-tight counterparts.
All of the film’s problems are solved in one sweep at a gala for Patricia’s new book. The resolutions are too convenient and instead of giving the audience a glimpse into the private lives and intimate discussions, the resolve, much like the whole of Perry’s work here, seems purposely created for exposition, as if acted out to teach a lesson in proper conflict resolution in relationships.