The Notebook (2004)

I’ve never been a big fan of romances because all too often they fall victim to clichés and stereotypes in the worst ways. Whether it’s the all-too-perfect mushy dialogue or the highly unlikely turn of romantic events, romance films rely on women’s lack of caring about these things in order to see a love story play out that they wish were their own. Often times this brings big bucks too. The Notebook was a very popular and very successful romance film a few years ago and I was pleasantly surprised to see how unlike other romances it was.

For starters, this film doesn’t focus explicitly on the couple’s time together. Most of the film covers their time apart and the issues they faced during this time. They coped with the separation and even had come to terms with it when their lives were suddenly and unexpectedly thrown back together. Their reunion is anything but harmonious and that’s what is so remarkable about this film. It is one of the few honest portrayals of love I’ve seen outside of a traditional drama.

The Notebook shows both sides of love. There are the romantic and thoughtful moments we’re accustomed to seeing, but there are also dark places that love can lead us: obsession, denial, despair. Granted, not all of these moments are deftly acted by such the film’s young stars, but they get it right more often than not, so kudos to Rachel McAdams and Ryan Gosling. The passion they display is one of a kind and the freewheeling, playful side of love they show is actually done right for a change.

But the story doesn’t just exist in the defining moments of their youthful love. As with real life, the story goes on. The real story is a mix of joy and sadness and is so different from anything I’ve seen before in the genre. Author Nicholas Sparks understands that happy endings aren’t real endings, which I appreciate.

One thing I definitely enjoyed (especially coming off the previous review) was the fact all the clothing looked like the characters actually wore it. Everything seemed real: the clothes, the sets, everything. I liked the choices for on-location shots and the filmmakers didn’t overdo it on the music either. Nothing too sappy or melodramatic. It was all pretty well in line.

There’s really not a whole lot more I can say or get into without giving away much about the film (which I am not in the business of doing). The only other thing I can say is that the older actors in the film did an impeccable job and were just as good, if not better, of conveying a deep-seated love that solid movies are built around.

The Notebook is a solid film and I definitely recommend it, if you are into the romantic side of the movie spectrum. Good stuff here.

RATING: 3.5 out of 5

Hairspray (2007)

I’ve run into a slight problem while trying to write a review for this film. I still remember it very clearly, so that’s not the problem. I hit a roadblock in trying to compare this movie-musical to its original incarnation, which I have not seen. Hairspray is a movie-musical based off of a Broadway musical which was based off of a non-musical cult film from Director John Waters. Waters is one weird dude and his films typically reflect that. Waters had little to no involvement with this musical version and I think that was a mistake.

Even though I have never seen the original Hairspray and have only seen bits and pieces of Waters’ work, I was expecting more of his signature weirdness to come through. Instead, we’re treated to a glitzy Broadway confection that fancifully portrays a coming-of-age story during the early days of civil rights and integration. It’s bright, it’s loud, and it’s Broadway.

If you're new to my site, allow me to point out to you that I am not a big Broadway fan. At least not neo-Broadway. Movie musicals based on bright fluffy Broadway hits don’t turn my stomach, but they bore me to tears. I’ve never been a big glitz and glam kind of guy and all the Hollywood tricks that serve to cheese up an already cheesetastic production grow on my nerves with amazing quickness. Silly transitions, extra digital grading, overdone lighting- it’s all just too much for me to appreciate.

Combining the excesses of Broadway with the excesses of Hollywood grinds my gears. It’s gross, it’s gaudy, and it’s gratuitous. People complain about the excess of blood, gore and nudity in today’s string of successful torture porn films, like the Saw and Hostel series. Yet, nobody calls films like Hairspray on their needless excesses. In fact, most embrace them. Hypocritical, paradoxical- I don’t quite know what to call it. Basically, the excess of schmaltz and camp pull me out such films.

While I understand that Broadway likes vibrant colors and crisp looking costumes, I found myself unable to get past the fact that virtually all of the clothing in the film looked like it had never been worn before. The colors I can get past, because I don’t know if those styles didn’t exist back in the day, but when only a few characters actually look like they live in those clothes, my suspension of disbelief checks out.

The inclusion of John Travolta as an obese, middle-aged woman also didn’t earn any points with me. I do know that in the original version of Hairspray, a notorious cross-dresser played the part now played by Travolta, but Travolta just seems to be there for the yuck-factor. Of course it’s funny to see a famous actor dress up like a woman, but the joke overstays its welcome rather quickly. After the first few scenes, seeing Travolta in a fat suit had no effect on me.

Overall, it just feels like this film is missing something and I think it’s the edge that John Waters’ films are known to contain. By adding songs and removing Waters from the creative process, it seems like they watered down the tone of an otherwise better film. And we all know that hairspray and water don’t work well together.

To really give an accurate review I’ll need to watch the original Hairspray and then re-watch this version. Until then, my rating is mostly subjective.

RATING: 2.5 out of 5