Noah Baumbach has never made a bad movie — even the movie he disowned — but the highs and quite-highs of his career tell a story of an artist who’s constantly evolving
Noah Baumbach’s career nearly ended barely after it got started. After his first two movies, 1995’s Kicking and Screaming and 1997’s Mr. Jealousy, didn’t get much traction from critics or audiences — they have since, properly, been reassessed — and Highball, a low-stakes indie comedy, was released under a pseudonym, Baumbach spent eight years in the creative wilderness before finally resurfacing with The Squid and the Whale in 2005.
12. Highball If you were to watch all of Baumbach’s movies without knowing when they were made, you’d never guess that Highball was his third feature, produced in one primary location over six days with money leftover from Mr. Jealousy. With its hard shadows and rudimentary staging, the film plays like a crude rough draft of the much richer career that followed, rounding up his troupe at the time for a semi-sophisticated comedy of manners.
9. Mistress America When Greta Gerwig entered into Baumbach’s films, first as a easy-going counterpoint to Ben Stiller in Greenberg, and later as the star of Frances Ha and Mistress America, it profoundly scrambled their DNA. Baumbach cast her as variations on a vulnerable flake, the type of person whose personal magnetism tends to mask the human underneath the urban eccentric.
6. Mr. Jealousy Released the same year as Kevin Smith’s Chasing Amy, Baumbach’s massively underrated second feature didn’t get nearly the acclaim or the indie box office, but it was the far more perceptive and funny treatment of male jealousy and the self-destructive pathology that goes along with it. Baumbach stages Mr.
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