by Frank Calvillo
I love the story of how My Big Fat Greek Wedding came to be. The fact that Rita Wilson happened to be in New York and, on a whim, decided to check out the then-unknown Nia Vardalos’ one woman show about her crazy Greek family led to her and husband Tom Hanks turning the act into what would become one of the highest-grossing independent films of all time, is the kind of story that only happens in the movies.
Unfortunately, all dreams must succumb to reality at some point, as evidenced by Vardalos’s failed shot at major movie stardom with the buddy comedy Connie and Carla and her short-lived attempt to prolong her star-making vehicle’s popularity with the ill-fated TV series My Big Fat Greek Life. Thankfully, though, Hollywood is in an era of nostalgia, resurrecting most beloved film and TV properties which proved audience winners at one point, leading to this week’s theatrical arrival of My Big Fat Greek Wedding 2.
In the un-anticipated sequel, Vardalos is back playing Toula, who is still married to Ian (John Corbett) and is raising her college-bound daughter Paris (Elena Campouris). Despite trying to find time for herself, it seems she can’t escape her large Greek family and their constant involvement in her and her daughter’s life. All that comes to a pause however when its discovered that Toula’s parents Gus (Michael Constantine) and Maria’s (Lainie Kazan) marriage isn’t legal since the priest who married them back in the day forgot to sign the wedding license. Naturally this calls for a parade of shenanigans and mishaps on the way to planning another big fat Greek wedding.
It’s to be expected that a number of the jokes within My Big Fat Greek Wedding 2 strive to be so relatable that they end up falling flat. However, that isn’t the main problem here since there are a handful of comedic moments which do succeed. The biggest strike against the film is that it tries in vain to pack too much into its 90 minute runtime. There’s the main dilemma of Gus and Maria’s impending wedding, Toula and Ian trying to put the spark back into their marriage, Paris’s frustration of being part of a large family while also trying to decide what college to go to, and a big secret that cousin Angelo (Joey Fatone) is keeping from the rest of the family. With so much going on, not to mention the various other subplots such as Gus’s lineage and what to do about Toula’s grandmother (Bess Meisler), the only option for the audience is to give up trying to follow along and just sit back and let the proceedings wash over them.
Flat jokes and bloated script aside, it’s a pleasure to report that the two elements which made the first film so endearing, namely love of family and pride in one’s heritage, are present and accounted for in the sequel. It’s incredibly refreshing to see a family so steeped in culture and proud of their traditions to the point that it’s in their blood, while also managing to carry it by their side throughout modern American society. However it’s the strength of the family’s bond which is truly a marvel to behold, especially in an era where so many family units remain fractured. You take one look at Toula and her family and there’s no doubt that nothing will ever tear them apart. They simply wouldn’t allow it.
The film also succeeds largely because of the likeability of the main character. In Toula, Vardalos crafted a woman who is relatable to virtually any person who feels like the black sheep of their family, the one who hasn’t quite figured it out but is trying desperately to. There’s not a person watching either film who can’t sympathize with both her harried frustrations and her devotion to the ones she loves. Although nearly 14 years have passed between the two films, Vardalos’s character is so ingrained in her, it was a true joy to see her slip right back into Toula as if she’d never left her.
It’s clear that the entire cast (nearly all of whom returned from the first film) are in love with the material and as a result are at their most playful and game, with the standouts being beloved longtime character actors Constantine and Kazan, who peel back the layers of what might have otherwise been stereotypical meddling parents to reveal individuals with hopes and dreams of their own. Equal praise should be given to Andrea Martin as Toula’s Aunt Thea, who steals every scene she’s in with a unique comic presence no one else in the film can come close to touching.
The question is up in the air as to whether or not Vardalos can ride this throwback wave into other projects. The actress certainly has enough talent within her to carry her to other vehicles apart from her cherished franchise (the Vardalos-scripted Tom Hanks/Julia Roberts vehicle Larry Crowne is still a favorite). Whether or not anything better comes along, in the end, My Big Fat Greek Wedding 2 exists in all its comically jumbled, yet honestly sentimental glory.
