It sounds good rooting for Lindsay Lohan these days. Some people didn’t stop, of course. For everyone else, the wake-up call came earlier this year, during the Superbowl, when Lohan starred in the blink of an eye. Planet Fitness a trade where the seemingly universal response, spoken on the internet, was, She looks beautiful! That was the line of speech: our shock. “What happened to Lindsay?” asks a room full of gyms at the top of the ad, as a sweaty but glowing Lohan works hard on the elliptical like a road runner stuck in place. He’s been “dealing with DIY DUIs,” we’re advised. He has leisure activities now, which means he has time for his hobbies, now: He has the luxury of time to do nothing. He has healthy habits. We see him succeed Danger! with a question about Dennis Rodman, another enigmatic celebrity whose life has been given an unusual circus treatment by the media. A crying paparazzo sent outside the nightclub cries that he misses Lindsay. He doesn’t give her much these days; he can’t get money from disaster. There will be no more crimes remembered in court or sordid stories from Hollywood recounting the misfortunes that have kept them out of movie insurance policies. Those days were far enough in the past that we can laugh about them now. Lohan is in on the joke, which is part of the reason it works. It’s even more effective because the once unstoppable star really seems to be back. Even the bright aura that follows him at the end of the ad, a bit of special effects embellished to encourage a knowing chuckle, cannot detract from the sincerity – and, for anyone who remembers the dark ages, the imperfection – of reality. shine.
Lohan’s new Netflix holiday movie, Fall on Christmas, is not as rich as the commercial one. It’s not meant to be a high-profile work in his canon – who cares. When the movie tips its hat Mean Girls, in the form of “Jingle Bell Rock,” seems to agree very much; how could it not? This wholesome Christmas camp town, by Netflix holiday movie standards, is set to give Lohan something to do. That’s the point, and that’s what the movie does so convincingly. Fall on Christmas it’s a holiday romance, a silly mix of fish-out-of-water comedy and amnesia. (It’s not, the movie doubles as a crude subtextual warning to women who clearly don’t have gaydar.) The title, of course, is a fun wordplay. A hell-on-wheels hotel heiress is asked to a snowy peak by her first friend, Richie-rich; he falls off a cliff, which he probably deserves; you lose your memory; and it ends up in the home (if not the bed) of a red-cheeked cherub, who is a widow, and happens to have a young daughter who desperately needs a mother and wants to gain a lot. , who is very rich.
That’s why we love movies. Lohan stars as the heiress, obviously, in a minor role Mean Girls‘ Cady Heron back: from mean girl to good girl, there’s no way around it. Her new master (played by Chord Overstreet) is in the hospitality business, too, but more modestly than the heiress’s family, making this story about the redemption of a rich girl, more than anything else. We push him off the cliff so that he forgets that he is rich, learns to do laundry, and falls in love when he finds it. Only then can he get his identity (and money), and at that point, we want him to have it more than he wanted it, because he has been proven worthy.
It’s a role that deserves Lohan because the worst version of this star on screen can never be truly likable – that’s the joke, the quality where Lohan has always been the glue that holds the genre together. No one ever expected Cady Heron to remain a mean girl or completely jump the shark at the end of that movie – she seems too good, too good, for it. You know better because you know the jokes are the same Mean Girls it is not meant to deny us an end we feel good about. But you actually know it because Lohan’s best quality as a star is a radiant goodness, a genuine, unflinching joy that can be easily imitated, let alone replicated, and which feels perfectly at home in a bright, luscious, only ridiculous setting. of the go-lucky comedy. It was there The Parent Trap: I think of the moment when the Lindsays’ twins, separated by birth and upbringing, meet for the first time, and the whole movie seems to slow down to live in Lohan’s infectious joy. Just my luck saw him face off against Chris Pine in a shared plot Fall on Christmas‘ rom-com flair of the plot, with its twist-of-fate haunting of a down-on-his-luck New York distributor whose fortunes are as good as Enron stock. Once again, pure Lohan: a character whose bad luck makes you morbidly endearing, rather than resentful, who inspires envy instead of repulsion, with happy consequences that you get rid of in the first place. This is a beautiful girl who is successful enough to attract the most handsome guys in movies but she can’t be in danger of getting bored, herself.
Perhaps that’s what made him appear in public for so many years: they couldn’t feel their absence. The painful inner life of the stars is perfectly visible in their performances, even if it is a secret, even if everything the actor does is subtle, a wonderful distraction from all the darkness that we are not supposed to see. Lohan was not there. The community struggles, starting with the leak of a letter about his behavior on the set of Georgia Administration (2007), where he was considered a “spoiled brat” and accused of costing the movie “hundreds of thousands of dollars,” he initially felt out of step with his image. Then they became his image. Movies are still trying to portray him. It’s 2012 Liz and Dick (a Lifetime a biopic of Elizabeth Taylor) and 2013’s The Canyons (a popular direct-to-video event that director Paul Schrader used Kickstarter to fund) both came when his career was on the wane and marred by mainstream stories about his behavior (The Canyons in a wonderful way, thanks to the surreal New York Times An article about the making of the movie and leaked audio of him criticizing his co-star). I watched again The Canyons Lately, I’ve been amazed at how out of place Lohan seems in all of that, how vulnerable she is under the weight of the movie’s unsavory atmosphere, which is more of a movie than it seems to get credit for. There’s something about seeing an ex-Nadir Lohan take her breath away as a victim of Los Angeles, a willful participant in her own destruction who can’t help but see that destruction, that feels uncomfortable. Although in the role of a bad girl, she serves something more difficult to put a finger on, something very painful, and a person’s disappointment, a feeling of failure that can only be found by falling from high places.
It goes back to what we value about Lindsay Lohan as a star, what it is Fall on Christmas, Netflix’s comeback story, is trying to figure it out, to its credit. Here, as in Planet Fitness commercial, like all her work, Lohan will shine. It’s a good enough first step – it’s more important what it means (Lindsay in the public eye again, doing late nights and reviewing her podcast, a known figure again, for the right reasons) than what it is. The film is part of a multi-picture deal with Netflix; The sequel is set to be released next year. Doing this, with any luck, is the beginning of a new phase. That would be nice. Lohan deserves a second chance.