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Every aspect of her life is a struggle – except when she is performing.When we hear her making up obscene limericks with her beloved but ailing grandmother Nana (Cathy Moriarty), we realise her way with words. One of the pleasures here is the barrage of acerbic, foul-mouthed and very witty dialogue.The Romanian brings out a gentleness in his lover that wasn’t at all apparent before.Even the landscapes, which had previously appeared hard and oppressive, seem to soften.Patti is an overweight young white woman, leading a dead-end existence in the New Jersey suburbs. The family has medical bills they can’t afford to pay.She’s working in a bar and her only chance of career advancement is getting a part-time job waitressing at weddings and parties.Macdonald plays her in utterly winning fashion, capturing her indomitable spirit, her fieriness and her heroism, as well as her occasional tendency to feel very sorry for herself.In spite of the rough, tough New Jersey settings, the film soon takes on a fairy tale aspect.
The scenes in which Patti, Bastard, Jheri and the wheelchair-bound grandmother record their own single are whimsical in the extreme. She is stuck in “dirty Jersey” where everything is a struggle and no one does her any favours.
Lee shoots as if it’s an observational documentary, with Johnny as its subject. The director emphasises the harshness of his existence.
Nonetheless, when Johnny and Gheorghe spend time together on the moors, the feuding stops.
The filmmakers go out of their way to emphasise Patti’s underdog status.
One of our first glimpses of her is of her brushing her teeth. She may fantasise about sharing the wealth, power and adulation enjoyed by her favourite hip hop artists, but everything about her life is oppressive. She is a rapper with an ability to improvise quickfire rhymes that puts Eminem to shame.
“You don’t have a musical bone in your body,” she sneers when Patti reveals her own ambitions. I thought I could be someone,” she says late on as she begins to succumb to self-pity.