When one thinks of Sam Mendes, we normally associate him with more large-scale filmmaking that is produced on a much larger scope than many of his peers, whether it be multiple entries into a beloved spy action franchise, or his forays into the world of war in a couple of well-received films that made him one of our most interesting directors of major productions. What we don’t often see him as is someone who would be helming an intimate independent romantic comedy – this is a director who has frequently proven to be more interested in the spectacle than he is the substance, with his efforts in the latter being much smaller films like American Beauty (which remains one of the greatest debuts of the past few decades) or Revolutionary Road. Even in these instances, they’re bold works – so when we see that his name is attached to a film like Away We Go, a very small comedy written by Dave Eggers and Vendela Vida, we are likely going to be taken by surprise, since this is not necessarily the kind of film we expect from Mendes, who has peddled more notably in bigger films. Produced in the slight dry spell that existed between Road to Perdition and Skyfall (where Mendes made a few divisive films), Away We Go is a peculiarity, an attempt on the part of the director to make something much smaller and more intimate, but not any less impressive in terms of the ideas that exist at the centre, making it an anomaly in the director’s career, but not one that is without merit.

What one can see in terms of Mendes’ qualifications as a filmmaker when it comes to Away We Go is his origins as a director of stage productions, which was initially how he started as a director, being behind several well-received plays and musicals over the years that may vary in terms of quality, but are all intriguing in their own way. Away We Go is a very theatrical film in the literal sense – the film is propelled more by the interactions between characters than they are the widespread spectacle, which is where the film is most likely going to differ from our expectations of what a Mendes film looks like. Telling the story of a couple searching for the right place to raise their soon-to-be-born daughter, the film is a radical departure for the director, but only in the form – the same element of human curiosity and deep fascination with creating memorable characters that we see in most of his work exists here, and while he himself is not responsible for some of the more interest elements (which fall to the screenwriters, who compose a wonderful and witty script that makes great use of both the actors and the director’s prowess), we can see that he was actively experimenting with form and content in a way that is incredibly unique, perhaps not when looking at the genre as a whole, but certainly in reference to the director’s own style, which seems diametrically opposed to the narrative he was weaving with this film, proving it to be a playful exercise in seeing whether he can produce something that depends less on the concept, and more on the characters, which is what he successfully did with American Beauty, but on a much grander scale – here, the aim is to simply explore without the risk of failure, since its very difficult for a film like this to not have some degree of merit in some way.

Away We Go is built on the performances delivered by a pair of the most exceptionally gifted and charismatic actors working today, and very little else. Maya Rudolph and John Krasinski are the kind of hardworking performers that can occupy roles of any size and steal the film, regardless of how much they’re given to do. They’re exceptionally endear and carry a genuinely interesting set of qualities as performers, which Mendes does manage to evoke for the sake of this story, without which it may not have been as effective. It’s not revolutionary work for the actors, who really just have to show up in order to have half of the assignment completed, since the screenplay handles a lot of their development, as long as they adhere to the guidelines designed to make Burt and Verona seem like interesting characters. In the hands of less-gifted actors, its likely Away We Go would have been a much less successful film, and whether it be the two fantastic leads that anchor the film, or the endless array of great supporting roles (which include Catherine O’Hara, Jeff Daniels, Allison Janney and, in one of her very best performances, Maggie Gyllenhaal), the film benefits from strong characters – most of the individuals on the periphery serve to be thin-archetypes that are used very well, and the decision to not have them recur outside of their dedicated segments of the film contributes to the feeling of impermanence. It may seem simple until we take a few steps back and marvel at precisely how detailed this film is when it comes to its character development, which is certainly one of its most notable merits.

There seems to be an active attempt by a small but vocal minority to have Away We Go cited as Mendes’ masterpiece – and while it is a significantly charming film, it is not much more than we see at the surface, which is part of the appeal, but which prevents it from reaching the heights of his more notable works. There are some inherent flaws, both narratively and conceptually, and while they don’t weigh the film down too much, they are distinct enough to prevent it from reaching greatness. For instance, the entire premise is about a couple whose lives are quite literally in flux – they’re travelling through the United States and Canada, trying to find the perfect home to settle down, looking out for the right people to call their friends, and a location that will likely be where they daughter will take her first steps. This is promising enough – but when the entire film is built around the concept, and there isn’t any clear indication of what they are looking for exactly – potential friends are seen as absolute loons, and nowhere seems to have the specific elements they’re looking for. They’re flighty characters that are barely defined, and outside of the charismatic performers taking on the roles, they’re honestly not all that interesting. The film concludes in a way that does make sense in context of how fervently it is searching for meaning without actually needing to find it, and while this may have been smarter in a better-conceived film, it doesn’t work all that well here, since we are invested enough in their adventures to want to actually see them achieve what they set out to do – but perhaps Mendes is subscribed to the idea that what the audience wants is not necessarily the best option for the story as a whole, which is likely why this is one of his more divisive works.

It’s a hackneyed phrase, but Away We Go truly embodies the idea of the journey being more important than the destination. By the end of the film, these characters have not found their home, and we aren’t sure if they ever will. In our minds, they simply leap from city to city, trying to find the perfect place, which continues for eternity – and this is perfectly acceptable, since the film doesn’t need to give these answers, since everything is a lot more meaningful. It’s not so much about the resolution as it is as about the specific ideas that they represent. With a slightly tighter third act, and perhaps a few more grounded ideas, Away We Go could have been quite close to revolutionary, granted it was able to realize the wealth of ideas that simmer beneath the surface. Well-made but frequently falling short of true greatness, the film is a charming depiction of two wayward individuals going on a voyage of self-discovery, getting to know each other through the process of trying to find their new home. With stellar performances, a good script and a tone that is the right balance between sentimental and hilarious, Away We Go is a real gem, and proof that when given the opportunity, any director can benefit from a stark departure of style, with Mendes’ work here not necessarily being his strongest offering, but certainly one of his most intriguing.