Welcome to the family

The film begins with Kym (Anne Hathaway), who has just spent nine months in rehab, returning home for the wedding of her sister Rachel (Rosemarie DeWitt) to her fiance Sidney (Tunde Adebimpe). The self-proclaimed "harbinger of doom," Kym inevitably reopens old wounds, recalling problems brought about by her prior drug addictions and impetuous behavior. Amid the emotional turmoil, the audience witnesses the planning and celebration of a wedding in scenes that uncannily capture that strange mix of merriment and misery that so often accompanies family gatherings.

The film might instantly call to mind Mira Nair's "Monsoon Wedding," but "Rachel Getting Married" is ultimately a more successful depiction of family relationships. Because it lacks superfluous linear plots, the film provides concentrated doses of tears and angst while allowing the audience to revel appropriately in the sentimental portrayal of jubilant matrimony.

This turbulent swinging between happiness and despair is captured and echoed by the film's erratic camera movements. Director Jonathan Demme mixes conventionally framed shots with unpredictable zoom-ins and unsteady camera handling that not only recalls the "home video" quality of wedding tapes, but also highlights the emotional volatility that resonates throughout the story.

In addition to its innovative cinematography, "Rachel Getting Married" also boasts a powerful cast. Hathaway is convincing as the defiant and damaged Kym, finally succeeding in stripping herself of her innocent, "Princess Diaries" teeny-bopper image.

Though Hathaway might be the show-stealer, the film's lesser-known actors are compelling as well. DeWitt has never held a major role before, barely registering as Sara Wilson in "Cinderella Man." In "Rachel Getting Married," however, she delivers a strong performance as the virtuous daughter inevitably overshadowed and neglected due to Kym's never-ending problems and her parents' messy divorce. DeWitt evidently has the potential to become a powerful player on the indie film circuit.

Another noteworthy performance is Bill Irwin's as the father of both bride and sister. In one of the most memorable family argument scenes, Irwin perfectly captures the gradual erosion of a caring yet stoic patriarch. Irwin's character attempts to mediate the fight, but by the end of the scene, he is bawling uncontrollably, both hands waving vigorously as he fights to gain composure.

On the whole, "Rachel Getting Married" is a compelling movie, simultaneously delightful and heart-wrenching. It forcefully conveys the notion that though a home video camera may be present to record a momentous event, there are always stories unfolding behind the camera. Sometimes they are never captured, but, as this film reminds us, those stories are always present in the human experience.