RACHEL McADAMS

RACHEL McADAMS

We watched “The Notebook,” a 2004 film based on a Nicholas Sparks novel. The film stars Rachel McAdams, Ryan Gosling, James Garner and Gena Rowlands, and is directed by Rowlands’ son, Nick Cassavetes. The premise is that an elderly man (Garner) living in a nursing home regularly reads to a fellow resident (Rowlands) from a romantic story handwritten in a notebook. Flashbacks that make up the bulk of the movie tell the same story, a romance that began in 1940 in Seabrook, South Carolina, between teenagers Noah Calhoun (Gosling) and Allie Hamilton (McAdams). It becomes clear almost immediately that Garner and Rowlands are the older manifestations of Noah and Allie, and that the older Allie – suffering from dementia – is absorbed in the story but seldom remembers who she and Noah are or that this is the story of their own relationship.

 

RYAN GOSLING

RYAN GOSLING

This movie is well cast, well performed, and beautifully filmed and directed. Gosling and McAdams could not be more appealing as the quirky lumber yard worker and the vibrant young socialite. Garner and Rowlands are credible and moving as the aged couple. The only reservation I had was that I couldn’t connect Noah as played by Gosling with Noah as played by Garner. The two men are so dissimilar that it is difficult to make that leap and accept them as the same person. I thought it was particularly ill-advised at a certain point in the film to flash a montage of black-and-white photos of the young Jim Garner, who was nothing at all like Ryan Gosling. Still, the movie as a whole is absorbing and entertaining and avoids the mawkishness into which such a story could easily descend.

PIPER LAURIE

PIPER LAURIE

We watched “The Grass Harp,” the film version of a Truman Capote novel about an orphaned boy, Collin (Edward Furlong) who is sent to live with two aunts in a southern town during World War II. One aunt, Verena (Cissy Spacek) is humorless, insular, and materialistic in the extreme; the other, Dolly  (Piper Laurie) is an eccentric who spends all her time cooking or manufacturing a dropsy remedy in the company of her childhood friend Catherine (Nell Carter). A rare confrontation between the sisters brings on a crisis that permanently alters the lives of the main characters – sending Dolly, Catherine and Collin into self-imposed exile in a tree house. Some of the character resolutions are implausible, even within the somewhat fanciful context of this story. The film also stars Walter Matthau as a retired judge whose family regards him as dotty and Jack Lemmon as a Chicago con-man. It was the seventh of the ten films Matthau and Lemmon made together, but they have very little interaction in this one.  
This is a low-key movie for the most part, despite some borderline slapstick. Charles Matthau – Walter’s son – directed the film, and to say that he did it without a heavy hand would be putting it mildly. Presumably, he was actually on the set when these scenes were shot. The quirky characters – including RoddyMcDowell as a barber who calls all his male customers “honey” and Jo Don Baker as a sheriff who keeps perpetual company with a white rooster – are in themselves worth the trouble. The film, beautifully shot in Alabama, has a strong sense of place.