A well-meaning but rather inept angel named Gabriel meddles in the lives of a struggling gig worker and a wealthy venture capitalist.
Chuck says:
Near Perfect “Fortune” Hindered by Conclusion
There’s a tempered optimism in Aziz Ansari’s “Good Fortune,” and for good reason. When his film “Being Mortal” was cancelled in mid-production due to accusations of impropriety leveled towards its star, Bill Murray, the writer/director needed a fresh start. Turning lemons into lemonade, he was able to pivot and began filming another script at his disposal, a role-reversal comedy with a sacred angle.
Taking a page from “Here Comes Mr. Jordan” (1942) and its remake, “Heaven Can Wait,” (1978), Ansari’s “Fortune” is a decidedly old-fashioned fable that tackles modern concerns. Wearing its heart on its sleeve while sporting wry humor and social commentary, this is a film that has you quietly smiling to yourself from the first moment to the last. Yet, Ansari is responsible enough to take a hard look at the social and financial inequities in our country, an approach that is so well-done it dulls his optimistic ending.
Ansari is Arj, a documentary filmmaker adrift in Hollywood. Unable to find steady employment, he dives headfirst into the gig economy, taking any job that comes his way. One of his assignments takes him to the home of Jeff (Seth Rogan), an investor in the tech industry and various other ventures. He has more money than he knows what to do with and fills his days basically doing nothing. Cleaning up his garage is beneath him, a chore Arj completes and parlays into becoming Jeff’s assistant.
Unfortunately, a misunderstanding occurs, Arj is fired and he’s back to living in his car. Enter Gabriel (a deadpan hilarious Keanu Reeves), a well-meaning angel who’s been watching over our hero and longs to help. Though his assignment is to sit unawares in the back of people’s cars and warn them when they’re about to get into an accident because they’re texting while driving, Gabriel feels he has a greater purpose and sets out to save Arj. Making his presence known, he grants his charge’s wish to switch places with Jeff, who suddenly finds himself trying to navigate a way of life he was blissfully unaware of.
Though done through a comic lens, Ansari’s depiction of those struggling to survive on the margins of society rings true. Jeff realizes very quickly the system is stacked against the working class, the rising cost of living making it nearly impossible for many to earn enough to stay afloat. The instability of employment, the impersonal approach companies take towards their employees and ever-increasing prices are all cited as causes for Arj’s struggles, as well as the accumulation of Jeff’s riches.
Yet, Ansari tries to put a positive spin on things with a subplot involving Elena (Keke Palmer), a woman struggling as Arj is, attempting to organize a union at her workplace. A romance is possible between them opposing views on the importance of money and status get in the way.
Circumstances occur that render Gabriel human and as a result he discovers tacos, dancing and friendship, all of which he takes great joy in. In this way, Ansari stresses the importance small things like these, as well as the value of love and family, give meaning to our lives. Yet, when Gabriel gives Arj a glimpse of his future with Elena and sees it will be filled with more than its share of financial struggles, the film’s hopeful message becomes muted.
In the end, Ansari writes himself into a corner. Ultimately, Arj is given the choice to stay in Jeff’s life or return to his own, a decision that one would think would be obvious. And while the outcome is sweet and well-meaning, it lacks realism. Overall, I liked “Fortune” and the message it contains but it regrettably feels out of step with the times. Then again, one of the purposes of any fiction is to portray a vision of what we hope can be, which Ansari does with conviction. Here’s hoping someone is listening.
3 1/2 Stars
