Before the McConaissance

Searching for signs of greatness in the tepid rom-coms of this year’s best actor.
Illustration by David Palumbo

“Listen to me,” Matthew McConaughey instructs Kate Hudson during one of several peculiarly intimate scenes in How to Lose a Guy in 10 Days. “If you’re going to name my member, you’ve got to name it something hyper-masculine, something like Spike, Butch, or Krull the Warrior King—but not Princess Sophia!”

Generations from now, when all the books about the McConaissance have been written, scholars will still be debating whether the lowest point of the actor’s troublesome Middle Period was the “name my member” speech or the scene in Failure to Launch in which he is the victim of the first chuckwalla attack in the history of motion pictures. Let them quibble. After assigning myself the task of watching not just How to Lose a Guy in 10 Days and Failure to Launch but also The Wedding Planner and Ghosts of Girlfriends Past, I’m here not to parse but to bear witness: the McConaughey Miracle is even more miraculous than we thought. If he could emerge from these movies to achieve the dark majesty he now enjoys, anything is possible.

It’s too facile to say that McConaughey has hit a winning streak. It’s more like he’s turned himself inside out. Forget about the Oscar for Dallas Buyers Club. His work in the HBO series True Detective alone singles him out as the most watchable actor alive. One searches in vain for historical analogies, for anything resembling his startling career rejuvenation. It’s as if Dean Jones, the so-bland-he-almost-wasn’t-there star of sixties comedies like The Love Bug and That Darn Cat!, had gone on to play Travis Bickle in Taxi Driver

McConaughey first came to notice in 1993 for his eerily unactor-like portrayal of Wooderson, the high school hanger-on in Richard Linklater’s Dazed and Confused. He became a star a few years later with A Time to Kill and Lone Star and followed with high-profile roles in prestige movies like Contact and Amistad. But for whatever reason, the magic didn’t linger. He began off-gassing charisma at a steady rate, and eventually The Wedding Planner and its cousins brought his reserves down to a critical level. These four romantic comedies, spanning the years between 2001 and 2009, gave the impression that McConaughey’s fate was sealed, that he had become a harmless hunk oozin’ and snoozin’ his way to that zone of Hollywood respectability once occupied by George Hamilton and Burt Reynolds. They provided no indication of the drive and discernment that, beginning in 2011 with The Lincoln Lawyer, would lead him out of the slough and to recent best-actor honors from both the Golden Globes and the Academy Awards. His faultless choices— Bernie, Killer Joe, The Paperboy, Mud, Magic Mike, Dallas Buyers Club, The Wolf of Wall Street, True Detective—demonstrate a remarkable nose for material. This feel for scripts that are edgy and unsettling or simply good might have been there all along, lying dormant, or maybe it just sprang into being from the frustration of having to deliver lessons-learned, end-of-act-three lines like “I think that maybe happiness comes from caring more about people, rather than less.”

There was not much to suggest in these four movies that their male star could ever achieve escape velocity, or would even want to. They have their moments—a gag here and there worth a distracted chuckle, a slightly cleverer-than-expected premise, a line of dialogue every twenty minutes that is sufficiently weird to wake you out of your slumber (McConaughey to a lust-struck bridesmaid in a hotel bar: “Why don’t

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