Respond to these rapid questions in our The Age Of Adaline quiz and we will tell you which The Age Of Adaline character you are. Play it now.
There aren’t that many movies that can go from “meh” to “wow.” One of these is a book called “The Age of Adaline.”
Blake Lively, who stars in “Gossip Girl,” plays the role of the show’s title character, a woman who meets and loses her husband during the construction of the Golden Gate bridge, then miraculously survives a car accident and emerges as an ageless being whose appearance is frozen at age 28. She can be killed, but she will never die of natural causes or succumb to the typical ravages of time. Because of this, her relationship with her daughter (who is portrayed as an older woman by Ellen Burstyn) has an element reminiscent of a fairy tale or horror movie. (The only thing missing from this movie is the vampires sucking blood.) Adaline will spend the rest of her life trying to avoid getting involved in any kind of relationship. She disappears into the night whenever anyone figures out that she does not get older and begins to wonder if there is something strange about the fact that she does not age, and then she begins a new life as someone else.
At least at the beginning, this appears to have a more captivating appeal than it actually does. “Adaline” was written by J. Mills Goodloe and Salvador Paskowitz, and it was directed by Lee Toland Krieger. The film’s opening sequence is visually appealing but lacks dramatic impetus. The narration of the storybook is told in the third person and comes and goes as necessary. The imagery, despite being shot through with fairy tale special effects and meticulous re-creations of period cityscapes, cars, and costumes, feels more literary than cinematic. It is as if a slide show were being used to illustrate a novel that was never written. There isn’t much of a spark added by the casting of the leads. The script treats Lively’s character as a figurine with no discernible interior life, and the actress does nothing to contradict that impression. Lively is a beautiful woman who maintains her poise and restraint throughout the film. She is neither awful nor exceptional; rather, she is merely capable and present. (There are times when the storybook narration brings to mind films like “Amelie” and “A Very Long Engagement,” both of which keep their heroines at a distance from the audience, but Blake Lively is not Audrey Tatou.)
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Michiel Huisman is not successful in his role as Ellis Jones, the first man to win Adaline’s heart in the past several decades. Despite the fact that he displayed off-kilter charisma in HBO’s “Treme” and “Game of Thrones,” he is being asked to play a conventional 2015 male ingenue here: a vanilla dreamboat with kind eyes, a well-trimmed beard and mustache, and rock-hard abs. Ellis has expressed his hope that the two of them will be able to spend the rest of their lives together, but Adaline, who now goes by Jenny, is unable to work up the courage to explain to him why this is not possible. She is nice, and he is nice, but together they just can’t be nice. The situation is unfortunate, but there is no drama to be found in it.
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After that, Harrison Ford and Kathy Baker make an appearance as Ellis Jones’s parents, William and Kathy Jones, who have been married for four decades. Suddenly, “The Age of Adaline” finds its footing and stays there, rarely deviating from its intended tone. William is taken aback by Jenny’s striking resemblance to Adaline, the woman with whom he had a fleeting but passionate affair in the 1960s. During that time, William was in love with Adaline. When Adaline recovers, she tells William that Adaline was her mother and that she passed away a long time ago. William is just as shaken up by her as he is by her. Instead of helping to diffuse the tension, William’s lie sends him into a downward spiral of depression that includes drinking, agonized flashbacks, and awkward confessions that put his wife on edge. She tells him, “You should see her face when you talk about her.” “You should see her face when you talk about her.” We are familiar with his appearance. It has a devastating effect. The strength of Ford’s always-low voice, which has been lowered an octave by age and another by William’s yearning, has only increased. Since “The Fugitive,” and possibly even since “Witness,” Harrison Ford has not been this good in a role.
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It is possible that Sigmund Freud’s “Mourning and Melancholia” was another screenplay that was considered for the movie but was ultimately scrapped. Uncanny notes are struck as a result of the arrangement of characters and mysteries that take place in the Jones house, which causes the movie to enter a tender state of fugue. A husband has a rekindled love affair with a woman who (in theory) no longer exists, and whose absence he had accepted a long time ago. This causes a stable and mutually nourishing marriage to be thrown into disarray all of a sudden. This is not a romance that lasts from May to September. Things have been going on for far too long and there have been far too many complications and mysteries for things to be resolved in that manner. The heartbreak of a love that can no longer be is a tragic story.
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This twist causes a flood of straightforward but profound feelings, and “The Age of Adaline” tackles it head-on, laying out the predicaments of all four major characters with compassion and intelligence, and never shying away from the sentimentality that lies at the heart of every scene and line. Both Lively and Huisman come into their own; rather than dismissing them as harmless eye candy, you begin to respect them as actors and see nuances in their characters that weren’t obvious before. The direction that Krieger is taking also becomes more acute. The final half an hour of “The Age of Adaline” has a symphonic purity of feeling, piecing together straightforward closeups and elegantly choreographed wide shots in such an instinctive manner that the story appears to be telling itself. There are some scenes that might make viewers think of “Somewhere in Time,” which was another tragic love story. However, the film’s obvious flaws became less noticeable once it began to play on the audience’s emotions like a virtuoso cellist. (Christopher Reeve, are you there? John Barry, indeed! (About that cent!)
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The film gives the impression of being a glorified self-help manifesto about the importance of commitment, when in reality it is a dream about love that has been lost, found, and redefined. This is because the concluding moral diminishes what came before it. Despite this, I must say: wow. I have never seen a movie that is less involved suddenly become compelling at the precise moment when you have resigned yourself to writing it off as merely okay. What came to pass? Perhaps the lived-in authority of Ford and Baker served as an emotional tuning fork and assisted the second half of the film in finding its pitch, and this was made possible by their presence. Or, it’s possible that this is just another example of a high-budget film that got so preoccupied with making beautiful images that it overlooked the fact that the first half of the movie was a failure. It makes little difference: regardless of its flaws, this is an impressive movie. You go into it with the intention that it will break your heart, and it does.
For more personality quizzes check this: The Gift Quiz.
