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Title :Love, Rosie (2014)
Release : 22 October 2014 (UK)
Runtime: 1h 42min
Genre :Comedy, Romance
Stars : Lily Collins, Sam Claflin, Christian Cooke
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With its 12-year narrative timeframe, comfortable middle-class Britishisms and sparky pairing of striving, pure-hearted woman and raffish, self-oriented man, “Love, Rosie” evokes Rob Reiner’s aforementioned 1989 hit far lower than it does Lone Scherfig’s “One Day” (2011) — one other polished adaptation of a megaselling romantic novel, however one which fell oddly wanting business expectations. Collins truly evokes that movie’s lead, Anne Hathaway, in her porcelain physicality and warmly klutzy comedian persona; even the looks on the soundtrack of Okay.T. Tunstall’s “Out of the blue I See,” the tune that launched Hathaway’s breakout flip in “The Satan Wears Prada,” appears calculated to forge the connection. (In contrast to Hathaway’s notoriously wobbly stab at a Yorkshire brogue in Scherfig’s movie, nevertheless, the half-American Collins’ English accent is daintily exact.)
The place “Love, Rosie” differs from “One Day” — and, certainly, from the comfy Richard Curtis pressure of British romantic comedy from which it descends — is its streak of surprisingly bawdy humor, generally tipping over into outright intercourse farce. Ditter demonstrated his aptitude for broad comedy in his 2006 debut, “French for Rookies,” although he doesn’t all the time hit the best be aware right here: A disastrous condom-related accident that ushers in a key plot growth is wince-inducingly frank and humorous, however a later comedian setpiece involving S&M handcuffs appears awkwardly imported from a extra heightened bed room romp.
Papering over such tonal lapses is the persistently affecting, plausibly protracted core relationship between Rosie (Collins) and Alex (Claflin), two shiny younger issues who’ve grown up in shut proximity within the movie’s picture-perfect, geographically muddled slice of suburbia. (Shot in Dublin and County Wicklow, Eire, the setting evokes the novel’s Blarney roots, although many of the characters seem to have been teleported from North London.) So deep is their mutual affection that they threat taking it without any consideration, as they comply with accompany passing crushes to the high-school promenade as an alternative of one another. It’s a blithe pact with far-reaching penalties: On promenade night time, Rosie is by chance impregnated by callow dreamboat Greg (Christian Cooke), halting her plans to comply with Alex throughout the pond to Boston, the place they’d deliberate to review lodge administration and drugs respectively.
From this important separation, the would-be lovers’ lives diverge fairly dramatically. As Alex climbs the Ivy League class ladder, scoring an immaculate Sort A g.f. (performed with gleefully manicured unpleasantness by Tamsin Egerton) to match, Rosie is thrust blind into the challenges of cash-strapped single motherhood. Whereas the movie’s depiction of her predicament is undeniably romanticized — we’re nonetheless within the sort of film utopia the place nobody want ask how Rosie affords her shabby-chic Victorian walk-up on a chambermaid’s wage — the spry script by Juliette Towhidi (“Calendar Ladies”) nonetheless conjures honest pathos from its pile-up of missed probabilities and paths not taken.
As appealingly humanized by Collins and Claflin, Rosie and Alex are sufficiently flawed, three-dimensional beings for his or her continued attachment to one another to persuade, whilst their circumstances (together with a pair of dangerous marriages) make it ever more durable to maintain. Required to hold the characters from their late teenagers to their early thirties, each actors deftly pull off that difficult transition, aided significantly by Tony Cranstoun’s fleet, springy modifying. Collins, who made such a shiny, fizzy Snow White in 2012’s “Mirror Mirror,” proves a very agile comedienne, displaying womanly wit and gumption beneath the requisite, radiant ingenue exterior. The narrative consequence might by no means be unsure, however “Love, Rosie” makes its heroine work more durable than most for her genre-mandated future.
In a bracing break from the insipid televisual pastels of most comparable comedian fare, Ditter has opted for a richly stylized mise-en-scene that enlivens the fabric with out overwhelming it. Recent from collaborating with Wim Wenders on “Cathedrals of Tradition,” d.p. Christian Rein isn’t afraid to saturate the body with brash major tones and ambient lighting schemes, typically boldly externalizing characters’ emotions within the course of. It’s a movie youthful and frisky sufficient to assist such daring pop textures, whilst Ditter’s route verges on the over-literal: In a movie heavy on upbeat tune cues, the selection of Salt-N-Pepa’s “Push It” to soundtrack a childbirth scene was maybe pointless.