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THE NOTEBOOK is an mature care for sage with the topical subject of Alzheimer’s Disease thrown in to heighten the Hankie Factor.
The film opens in the note at a genteel, riverside, Southern facility for the long-term care of the feeble. An ragged man, “Duke” (James Garner), is in the habit of reading from a book to an fair, but chronically confused and distant, lady (Gena Rowlands) of equal antiquity. The memoir concerns two teenagers during a hot, carefree, South Carolina summer preceding World War II. They are (in extended flashback) Noah Calhoun (Ryan Gosling) and Allie (Rachel McAdams) .
Noah, working in the local sawmill, is the uneducated son of a dirt-poor father (Sam Shephard) . Allie, in these months before she’s off to a prestigious Current York college, is the only daughter of snobbishly wealthy parents, John (David Thornton) and Anne (Joan Allen) Hamilton.
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The book’s residence is that hoary one about two young lovers of disparate backgrounds and financial resources, who are subsequently separated by circumstances, objection and obstruction by the wealthy parents, and the subsequent engagement of one to another – in this case, Allie to a devilishly glowing and perfectly decent, rich, young, Army officer wounded during WWII, whom she meets while serving as a volunteer nurse in a Stateside military hospital. Will Noah and Allie ever find attend together? That’s what Duke’s lone listener wants to know.
At midpoint point in this review, and midway through the film, it should be apparent that Duke and his lady friend are Noah and Allie in the winter of their lives. The latter is now suffering from Alzheimer’s and only occasionally recognizes her husband, who reads her the sage of their courtship over and over in the hope of stimulating her memory.
THE NOTEBOOK is an exciting care for record that even Guys might relish. I did. James Garner is one of the most beloved mask veterans, and Ryan Gosling as Noah’s younger self is totally likable. McAdams as Allie is effervescent and positively fine. As a period part, i.e. that section taking set before and immediately after the war, it’s sumptuously photographed with contemporary costumes, hairstyles, music, and lots of vintage automobiles. And the sequence shot in the sunken forest amidst the migrating waterfowl was breathtaking in its beauty.
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The film does stumble occasionally. While Joan Allen is obliging as the witch mother you savor to abominate, at least until she reveals a secret of her fill unhurried in the movie, the John Hamilton character is a virtual non-entity. And I didn’t gain his moustache for a second. (It reminded me of the beards in the Civil War story GETTYSBURG.) Then, in a very brief sequence showing Noah off at war with Patton’s Third Army, he barely bats an explore when his best friend is killed. What was that all about? Finally, the Hollywood ending, written by a screenwriter who must have wet him/herself out of giddiness in the melodrama of the moment, was absurd. Under the circumstances, such a passing is a fine trick if one can pull it off, but it’s sadly not the case, I panic, for most people in True Life. Impartial ask Nancy Reagan.
I doubt that THE NOTEBOOK will receive any Oscar nominations, except for perhaps adapted screenplay (from the current) . But the admission effect is smooth money well spent if you’re weary of special FX-laden silliness and you want to glance a couple of aging pros, Garner and Rowlands, before they, too, leave us. And girls, consume an entire box of Kleenex.
THE NOTEBOOK has long been my approved of Nicholas Sparks’ many books, so it is a gratified surprise to me that the extraordinary anecdote transferred to the mountainous cover with all the sweetness, warmth, and tenderness that made the book a runaway best seller.
The best section of this movie was the astounding chemistry between Rachel McAdams and Ryan Gosling as the young lovers Allie and Noah. Their myth was told by an elderly couple in a nursing home. James Garner and Gena Rowlands were outstanding as the devoted “Duke” and the woman with irreversible dementia. As Duke recounted the legend of Allie and Noah from the notebook he carried with him, the lady’s memory began to near succor and she could remember.
The movie always changes the book but the one major change (the ending) which had the audience letting out a collective gasp and reaching for the nearest tissue was, in my understanding, really pleasurable even if it was pure Hollywood melodrama.
Why does a movie like THE NOTEBOOK appeal to so many? Is it that every woman longs for a man who loves as deeply as Noah? Is it that every one wants a treasure that transcends all problems—those of class, education, family objection—-and lasts forever? Or unprejudiced maybe in a world of high-tech gizmos and high security alerts, it’s nice to accept attend to basics with a really suitable admire sage….and this is definitely that.
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