As social media becomes more and more ubiquitous in our lives, Hollywood has sought to replicate the fast burning popularity of viral content in its film productions, hoping that lightning strikes twice. Cat Person closely follows the 2017 viral short story written by Kristen Roupenian for The New Yorker. College sophomore Margot (Emilia Jones) goes on a date with the older frequent visitor to the movie theater she works at named Robert (Nicholas Braun). Margot begins their courtship with high hopes over his potential, but soon finds that who Robert really is doesn’t live up to the Robert she has been flirting with over texts.
Cat Person utilizes the psychology of how women interact within the dating world to power the psychological thriller aspects of its story, examining the assumptions that women make when selecting potential partners, both good and bad. Through Margot’s burgeoning relationship with Robert, we see the apprehensions and fear that women have about spending time alone with men whom they barely know; having to make educated guesses on who these men really are, all the potential grandeur and romance, and what these men have the capability to do to them. It’s a roll of the dice that potentially puts their safety in jeopardy, but a lottery that must be played in order to strike gold and find a long-term partner. It’s a balancing act that usually has minimal aftereffects that result in hurt feelings and wasted time at worst, but in the extreme can play out as a horror show which the film depicts. The resulting story is a statement that is sure to resonate with many female viewers in today’s culture that puts feminist theory and thought at the cultural forefront that is sure to speak to also what they project onto their love interests overall, including grandeur and potential. Although this reviewer is not female, Cat Person still managed to include social commentary that is relatable outside of its main target demographic in its depiction of the modern dating scene. The film points out the lack of communication in modern relationships and its trickle down effect on how male-female interaction plays out.
Cat Person’s dynamic between Margot and Robert also includes an interesting sort of Rorschach test element tthat I’m not sure even the filmmaker intended. Robert is an awkward, nerdy, not highly experienced man and that comes across in his behavior. Some people may dismiss it as being such, but if you have a less charitable view on men and their intentions in interacting with women, his demeanor could also be interpreted as callousness and aggression. This line between innocence and awkwardness versus being dangerous hinges entirely on the likelihood of the observer to give the benefit of the doubt to men instead of suspicion. It’s a bit of social commentary that provides a fullness to the film’s theme and prevents it from venturing too far into the preachy, reinforcing the point. Interacting with the opposite sex can be a gambit for women where in the interest of safety, they’re constantly second-guessing themselves. It’s an interesting point to consider and well depicted in the film.
As a story about the relationship between two people and how it encapsulates larger societal and dating trends, the success of Cat Person hinged a lot on the performances of Emilia Jones and Nicholas Braun. The two are able to create the awkward chemistry necessary for the story and accurately portray the character quirks of Margot and Robert respectively, allowing the film to remain entertaining even though its hyper specific themes may not connect with those outside of its targeted audience. This is a film that does lose its strength the longer it continues however, culminating in a complete tonal shift during its third act that is frankly considerably jarring, but does expand on the film’s theme. Still, what it does in trying to reinforce the film’s point also serves in turning Cat Person into an entirely different film. All in all, this film has its positive aspects that make it a serviceable watch.
Image: Rialto Pictures
