(Prime) There’s a moment early on in Julia Hart’s (FAST COLOR) I’M YOUR WOMAN where Jean (THE MARVELOUS MRS. MAISEL’s Rachel Brosnahan), while making breakfast for her husband as their baby cries, cracks an egg into a frying pan and you can see how her nail punctures the shell, resulting in a broken egg yolk. I noticed and muttered to myself: ‘I wonder how intentional that was.’
As you might suspect, it was very intentional and turned out to lack subtlety — hell, it’s in the trailer I failed to watch beforehand — but it’s a brisk character detail.
I’M YOUR WOMAN is a 70s period piece about Jean, a young wife who has a baby literally handed off to her by her charismatic, but criminally-minded, husband. Before she’s even had time to acclimate to the baby, one of her husband’s friends rings her doorbell, tells her she has to leave her home right now, and passes her off to Cal — played by Arinzé Kene (HOW TO BUILD A GIRL) who he says will watch over her. Matters spiral from there as Jean attempts to shine light on the underworld events that fractured her life.
The film moves quickly and swiftly establishes just enough about the characters involved to keep you wanting to know more, while managing to tease you through to the end without being needlessly frustrating. That said, at times certain events can be off-putting and needlessly bleak and, for such a character-centric movie, the supporting personalities often outshine Jean and her ‘newly independent’ arc.
I hadn’t planned on recommending it upon watching it a month ago, but its smaller moments have lingered in my mind. While it I’M YOUR WOMAN doesn’t always balance its character and genre work, it’s still a noteworthy attempt in a year full of similarly high-minded crime thrillers.