The entire department is female, except for the vice president, an older, sagging man in a pin-striped suit, long, white mustache. A skirt-chaser. He has a separate office, Mad Men style. The women are in desks lined close together, forming a grid, front of the room to the back. No cubicles. The lights are fluorescent, pens click, papers shuffle.
The woman to my left is in her mid-forties, Greek. She takes a motherly role, shows me what to do, asks about my college plans, my boyfriend.
"Oh, I don't have one, but yes, I'll go to college in September."
She's surprised about the boyfriend part, and from here on in talks about the boyfriend I will have, and eventually marry, not too soon, not too late, and the children, and the house, and the job. She is, in retrospect, dead on.
The supervisor on the floor, our supervisor, is a stern woman, tall and sallow, pock-marked, but neatly put together and I can see that she is beautiful, in her way, as we all are, beneath her frown. On Monday mornings, before she comes in, always a half hour late, the entire room is buzzing, wondering what mood to expect, bracing for the worst. She will, undoubtedly, be hung over.
It isn't something that I can see, as she makes her royal entrance, red scarf loose across her neck; short-handled, oblong ecru purse at her side. Her desk is in the corner of the back row, the rest of us face front. It is my first experience with an entire system openly managing the effects of alcohol, and I am fascinated.
To this day, with all I know. Anyway, I wrote that, for what it's worth.
Sometimes a patient walks into the office and I scent the lingering scent, see it in the eyes, in the face, in the color, a toxic look, and I nod, smile softly. "Talk to me." It is rarely about the alcohol, or the over-use, more likely about the social problems that this is inevitably causing, either with a child or a spouse, a co-worker. And we talk, once more, about the early years, before drinking became a rote thing, and how these early, cliche experiences entered into the equation, and whether or not all of life, from there on in, must be determined from that, or do we have free will. Are we in charge of our destinies, in charge of anything, for that matter?
Some days it feels like yes, some no.
Sunday night ended two days of eating and attempts at drinking (on Passover we're supposed to drink four cups of wine over a five hour ceremonial meal; most of us dilute them by the second, massively.) The first days behind me, I check to see if the Cubs have won, and if there might be anything decent on TV. Amy Schumer's Trainwreck pops up on the menu guide as I check my phone.
|Bill Hader- unlikely romeo|
Cubs 9, Reds 0.. And yes, that is irrelevant, but when your baseball team is scoring touchdowns, you brag.
And of course, Trainwreck has me in the first scene, a parent sits his two daughters down on the hood of their car, one about seven, the other four, to tell them that he is getting a divorce, that marriage is obsolete. Why be stuck with only one doll, forever and ever, when there are so many, many, many other dolls to play with? He goes on and on until Amy and her sister Kim (Brie Larson) get the idea, but only one of the two thinks he's onto something.
Despite the nudity and the raunch (fast forward if that feels like the right thing to do) all else is charming. With a subplot lifted from The Devil Wears Prada, we're drawn in against our will to the versatile Bill Hader as Aaron, the saintly altruist, a Doctors without Borders hero and pro team physician.
Marissa Tomei makes a cameo appearance in a movie within the movie, reminding me, off topic here, of her argument with Joe Pesci in My Cousin Vinnie, a teaching moment if ever there was one, on productive couple conflict resolution, the argument about the faucet dripping in bathroom, if memory serves.
But back to Trainwreck. Affable professional basketball players are the voices in the ears of relationship-hapless Aaron, and they play themselves, LeBron James and Amar'e Stoudemire. A lovable homeless guy supports Amy, knows she's alcoholic, like he is, and that she's a woman without borders, in her way.
|Amy with the homeless guy|
|Amy Schumer with her father in Trainwrec|
Gordon, Amy's father (Colin Quinn), is suffering in a nursing home from MS. Amy is warned, by a nurse, that he's hoarding his medication. He may be older, and male, but the father-daughter team share the same irascible world views. She's so like him, promiscuous, alcoholic, a person who fails others, as alcoholics do, when needed.
She doesn't act on the information that he's hoarding, and he completes the job. She's done nothing with the tip-off, has not got it together to save her father. Life gets busy. Phones go off. Whatever.
We see, from this story, that behavior is reinforced, be it genetic or learned, when parents teach by example, that we have permission to be an alcoholic, permission to be the person who fails to come through, fails to help when needed, if our parents behaved in the same ways.
And certainly, alcohol enters into that equation, the choice to drink at the most inopportune moments, will bring us down.
No surprise to formula, Amy hits bottom, makes new choices.
Throughout, in every moment, Ms. Schumer is hilarious, her timing perfect, her deadpan delivery, so smart, that maybe it is worth the fast-forward, at least to some of us with more conservative, older sensibilities about what should be shown on screen. What Trainwreck illustrates is exactly how a good crash, a therapeutic, critical moment, comes about. "Bottom" is about loss, losing people you love, losing your livelihood, and most poignantly, losing your dignity and self-respect, to alcoholism.
My god how we try want to stop the ones we love from losing all of those things.
It is the kind of thing, we suggest to that patient, the one who is drinking with no intention of ever giving it up, who thinks he or she is in charge, that is likely to happen, the bad result. There's no such thing as a functioning alcoholic. Functioning is only functioning until it isn't. And it likely won't end, the recovery from loss, like it does in the movies.