Between the Temples

That, at least, is the partial premise of co-writer/director Nathan Silver’s Between the Temples, in which a widowed music teacher (Carol Kane) reconnects with a former student (Jason Schwartzman) and reaffirms her commitment to Judaism. Why she feels compelled to do so is unclear, as is the nature of their relationship. All of this happens shortly after Ben is knocked out in front of Carla at a bar, leading to the realization that she taught him several decades ago — and that he’s now in a position to return the favor.

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The first scene is a double psych-out that feels deeply, hilariously emblematic of both Ben’s tragicomic plight and Silver’s sensibility. After being told by his moms that he should see a doctor, he’s surprised to find out that one is already at the door — doubly so when he realizes she’s a cosmetic surgeon, not a therapist. “Do you think I need work done?” Ben asks the room in confusion, missing the point yet again: the doctor is not in for an appointment, but rather a blind date that his mothers have taken the liberty of arranging on his behalf. After an awkward intro that includes touching his face, she asks, “Ben, do you cry a lot?”

That kind of droll, laugh-so-you-don’t-cry humor is present in nearly every scene, as are Schwartzman and Kane. Between the Temples is a two-hander propelled by this exceptional duo, whose characters are lost in a way that leads them to each other; how positive that trajectory ends up being for the two wayward spirits, especially in the eyes of their respective families, remains a matter of opinion. Anyone who’s seen Harold and Maude will instantly recognize this dynamic and the will-they-won’t-they questions it raises, a tension that Silver expertly stretches like a bowstring.

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Those who can’t handle the secondhand embarrassment that accompanies cringe comedy might turn away at times, especially during a third-act dinner so awkward you’ll be tempted to watch through your fingers. But the humor, bittersweet though it may be, finds its way through the cracks.

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Ben is a cantor at his local temple, if not a very good one; recently widowed himself after an alcohol-related accident, he seems to have lost his singing voice. Not that Carla minds: having become reacquainted with her faith, she considers Ben the perfect tutor. Schwartzman, a longtime collaborator of Wes Anderson who made his debut (and an incredible first impression) as the lead in Rushmore, has also made a career of playing just this kind of neurotic sad sack. It’s possible that watching him embody characters of this sort will eventually grow old, but that seems a far time off.

The humor, bittersweet though it may be, finds its way through the cracks.

It helps that he's sharing the screen with an Oscar-nominated comedy legend whose resume includes everything from Taxi and Unbreakable Kimmy Schmidt to Annie Hall and When a Stranger Calls. With her raspy, never-not-funny voice and wild blonde curls, Kane is an inimitable presence most viewers will recognize from supporting roles despite her leading-lady credentials. She’s her usual laugh-riot self here, playing brilliantly against Schwartzman and making Carla’s unorthodox request feel like more than a mere flight of fancy.

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The same can be said of Between the Temples itself. Silver, a veteran of New York City’s indie scene, has made a number of odd, thoughtful movies over the years. But he's never made one never one this accessible or broadly funny. That he’s done so without altering his sensibility or compromising his vision makes the feat especially impressive. It might not be kosher, but it is hilariously uncomfortable.