What, exactly, are we to make of Bernadette Fox (Cate Blanchett), the dysfunctional slacker architect with the racing tongue and the porcupine disposition who’s at the center of Richard Linkl…
’s “Where’d You Go, Bernadette”? Bernadette lives in a beautiful crumbling mansion, perched on a Seattle hilltop, that she spends her days indolently renovating. Everywhere in the house, there are signs of her visual imagination . But it’s clear that the project stalled a long time ago, because the place is a half-finished wreck, with chipped paint and scarred moldings and barely furnished rooms.
Yet the character, as the film presents her, is preaching from an awfully high-and-mighty pulpit. When she snarls at her next-door neighbor, Audrey , who’s a perilously “progressive” social climber, the words sting, and should, but too much of the time Bernadette tosses her darts with undiscriminating hostility.
It’s clear that Bernadette, while surrounded by all this love, is in the midst of a severe life crisis, one that she refuses to get help for . But the strange thing about “Where’d You Go, Bernadette,” which Linklater adapted from Maria Semple’s 2012 novel, is that we in the audience may feel like we’ve figured out her problem long before the movie does.
True, she and her husband relocated from L.A. to Seattle 20 years ago, when he sold his computer animation program to Microsoft. But it’s not as if she couldn’t have continued her career there. And now, her gripe — that she feels empty and hates the life around her — comes down to the fact that she’s living in a fortress of her own design yet rejects the upper-middle-class life around her. Something has blocked her; she has issues.
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