Finding a romantic partner is easy, but keeping them is much more challenging – a sentiment that often arises whenever the subject of romance is discussed. There are as many films about falling in love as there are about maintaining that spark. Unfortunately, as idealistic as we may want to be when it comes to this conversation, the reality is that not all relationships are destined to work, and in many cases, they are bound to fail. This could be a result of infidelity, or a complete breakdown in trust, or simply the realisation that two people no longer love each other in the ways that they did before. In these instances, it’s less about the efforts to keep the relationship alive as it attempts to survive, and more about the aftermath of what is often a life-changing decision. This is where we find Is This Thing On?, the third directorial outing by Bradley Cooper, who wrote the film in collaboration with Will Arnett and Mark Chappell, who were inspired by the true-life story of John Bishop, the esteemed British comedian who entered into this profession by chance, stumbling into comedy after deciding to participate in an open mic night at a comedy club, his raw reflections on love, life and marriage making him an unexpected star. This is used as the foundation for this film, which follows Alex Novak, who is struggling to grapple with the fact that his wife Tess, whom he has been married to for twenty years, has decided that she wants a divorce. Lonely, aimless and unable to process his emotions, he leaps at the opportunity to try comedy, finding the community and sense of purpose that he knows will help him recover. However, Tess is never far from his mind, and it soon becomes clear that there may be a chance at rekindling what is essentially a long-dead spark. Funny, moving and unexpectedly poetic, Is This Thing On? represents yet another strong effort from Cooper, who is growing into quite an ambitious filmmaker, someone who can take a very simple story and exploring its many depths, leading to a deft blend of pensive drama and offbeat humour, a film as charming as it is deeply captivating in how it addresses themes much larger and more intimidating than its smaller scope would suggest.

There are so many stories across every conceivable medium that propose themselves as the definitive relationship drama, particularly when it comes to showing the trials and tribulations of a long-term relationship. Is This Thing On? is certainly cut from the very same cloth, but in a way that does feel somewhat more inventive, or at least partially more inventive in terms of how it develops on its core themes, allowing them to emerge naturally and with a precise attention to detail that is ultimately not always present in the tackier and more obvious films that tend to go for the low-hanging fruit far too frequently. In the case of this film, we find it essentially being comprised of two overlapping themes – a comedy about performing, and a relationship drama. In terms of the former, this film fits in perfectly with A Star Is Born and Maestro insofar as it may tackle an entirely different field (stand-up comedy, as opposed to music), but these are all films about creation and performance, and how music can be a balm, used to heal both the body and soul when everything else fails. This is where the second theme emerges, with the subject of divorce and the aftermath being used as the impetus for the protagonist’s journey of self-discovery through comedy. Those expecting the most insightful, thorough analysis of the world of stand-up comedy are not going to be entirely satisfied, since while it does provide some intriguing insights (especially considering Arnett co-wrote the film, bringing his own knowledge of the industry), it isn’t overly concerned with an in-depth analysis of how it all works, with Alex’s forays into comedy merely being a narrative tool to explore his efforts to recover from his life being shaken apart through finding a channel through which he could filter his frustrations, anxieties and deep insecurities. The tug-of-war between the protagonist’s two side – his position as a father and ex-husband on one hand, and his steady rise to become a fixture in the underground comedy circuit on the other – are exceptionally well-done, and lead to a film that is daring where it needs to be, while still maintaining a simplicity in terms of its core themes that ultimately do carry an abundance of meaning.

Credit must be given when it’s due, and considering his two previous efforts as a director saw Cooper play the leading role, we have to admire his willingness to step aside and instead allow someone else to take the focus. In this case, it is co-writer Arnett, someone who has more than proven himself as a gifted performer in the past (his voice work in BoJack Horseman alone could stand alongside many of the greatest on-screen performances in television history), but who has not had the kind of showcase that this film is more than willing to offer. He’s terrific in this film – it’s not entirely unprecedented in terms of the kind of performance he is giving, especially since he’s tackled these self-loathing, deeply mediocre men in the midst of a midlife crisis before. However, it is made all the more effective by how committed he is to the role, which requires him to plumb the emotional depths that many would not assume he possesses. The results are absolutely stellar – there’s something so profoundly moving about how he captures the deep sadness felt by this man, resisting all temptation to simply define him as someone who is just a string of hilarious anecdotes, rather than someone complex and engaging, a person with whom the entire audience can relate in one way or another. He’s paired with Laura Dern, who proves to be an exceptional scene partner – like Arnett, she has a lot of experience in comedy, but it’s her dramatic skills that are most impressive here, and which make it such a magnificent, compelling performance. The two have extraordinary chemistry, having similar qualities that make them so wonderfully engaging, and their ability to play off one another perfectly encapsulates what this film represents, which is accurately convey the sense that these are two people who deeply love one another, despite their differences. Strong work from the supporting cast, which includes Andra Day, Christina Ebersole, Ciaran Hinds and Cooper himself, only makes this film richer and more compelling, a tremendously moving exploration of the human condition, seen through the eyes of a couple of people who are simply trying to make sense of a confusing, challenging world.

As Cooper’s first official foray into seemingly more lightweight themes (at least in terms of the tone), we do find that he is fixating quite a bit on the more sombre side of the story – but we do find that part of the reason Is This Thing On? is so effective comes in his ability to handle emotions carefully and with precision. Unlike his previous two films, which were shrouded in a veneer of being these sprawling epics that take place over several years (if not decades), this film is a much simpler, subdued affair. It almost feels as if Cooper was actively trying to do something more straightforward, to prove that he could take on a smaller story and still make it extremely effective. While he is not a comedian by trade, he’s had enough experience in the genre to know what works in terms of humour, while also being entirely aware of the importance of finding a balance. As we sometimes see, some of the most complex, dramatic character studies are those centred around comedians – it comes down to the trope that the funniest people are usually the saddest, since comedy is an outlet for many complex issues. Perhaps it’s not quite that deep, but it is obvious that this film is built to reflect a constant oscillation between comedy and drama, which includes some outrageously funny moments, as well as an abundance of quieter, more subtle sequences that reflect the experiences of these characters. Cooper keeps everything quite subdued and elegant – it’s not a film that strives to be particularly challenging, while still having a sense of complexity in how it examines the relationship between these characters. The director deserves credit for being able to develop a story that feels mature and honest, while never needing to resort to the same obvious tropes and conventions that we always see associated with these stories, which makes Is This Thing On? a far more effective and elegant work, and one that does warrant our attention, even if it can sometimes feel somewhat limited in scope at certain points, which is more to do with the simplicity of the concept (which is not inherently a flaw) than it is the actual execution of these ideas, which are much more solid.

Is This Thing On? is certainly not a film that is going to redefine the genre or change the way we view any of these themes. There are countless films about stand-up comedy (particularly in how it can be used as a means to understand a challenging world), and even more films about the breakdown of relationships. However, what it does do very well – and which indeed is the primary reason to watch it – is that it provides a sense of cohesion and consistency between two very different themes. Cooper has made it very clear that he wants to be taken seriously as a director, and while nothing he has done has suggested that he should not be believed, this is the first time we can fully embrace the idea, rather than reducing it to a vanity project, designed to give him a showcase for his acting skills. It is not an overly elaborate affair, and the direction is simple but effective (although there are a couple of shots that feel genuinely quite brilliant – credit must go to Matthew Libatique, whose cinematography tells a deeply moving story despite the simplicity of the plot). However, the core of this film – and indeed the reason why it works so well – is all to do with the writing, which is quiet and meditative in some parts, and explosive, daring and provocative in others, oscillating between hilarious and melancholic where required, and ultimately just being a very entertaining, complex drama about the challenges that come when navigating a relationship breaking down. It’s a film without any villains – neither side is villainised or put in a position where they are forced to be seen as the antagonist. Instead, both Alex and Tess are deeply human people, driven by the desire to recover from such a sudden, jagged change, while still maintaining their composure. It’s beautifully charming and very effective, and proves yet again that the best stories are often those which are most simple, leaving very little room for any ambiguity or poor interpretation.