The Flipcritic

I wonder with gleeful fascination what Richard Curtis was thinking when he wrote and directed LOVE ACTUALLY, a work of such unabashed gooeyness, refined without a hint of malice. He’s one of those rare writers who are oh so very good at imbuing sweetness, and self-mocking wit into their screenplays, filling them with little nuggets of wisdom here and there. He’s so accomplished at it that you can hardly think of a British romantic comedy without stumbling fondly upon his past works (THE TALL GUY, FOUR WEDDINGS AND A FUNERAL, NOTTING HILL, & BRIDGET JONES DIARY).

And here he is again, with a movie bursting at the seams with oodles of love pairings (mostly romantic), each one enough to be its own full-length feature. But Mr. Curtis is just too eager to let just one of them dominate the film. His work here is more of a juggling act, finding the right mix of events and intertwining for the whole shebang to work. And it does, partly due to clever approaches of certain relationships, but mainly because to its cast’s immense likeability. LOVE ACTUALLY is not only a directorial triumph, but a casting success as well.

Oh and what a marvelous cast this is. It has Emma Thompson, Liam Neeson, Alan Rickman, Colin Firth, Keira Knightley, Laura Linney, wonderful supporting actors, and a slew of scrumptious cameo roles. But most of all, it has Hugh Grant, who has got to be, the most charming fusion of good-looks, wit, and whimsical self-ridicule since Cary Grant (What is it about those Grants?). His guise anchors the movie (as it does the best of Mr. Curtis’ screenplays), beginning with his troubles and ending in his happiness.

If I tried to précis every single love angle, I’d have to devote the rest of this review narrating the plot (and where’s the fun in that?). There are several affairs worth noting. There’s Jamie Bennet’s (Colin Firth) lingual-challenged romance with his Portuguese cleaning lady (Lucia Moniz); Sarah’s (Laura Linney) aching want for her fellow co-worker Karl (Rodrigo Santoro); Karen’s (Emma Thompson) vulnerable marriage with her husband Harry (Alan Rickman); and above all else, the British Prime Minister’s (Hugh Grant) unexpected attraction to one of his house servants, Natalie (Martine McCutcheon).

There are other prominent relationships in the movie that are off-key and non-romantic, but serve the purpose of the film’s title. There is the relationship between Daniel (Liam Neeson) and his stepson Sam (Thomas Sangston). Daniel’s wife from a previous marriage has just passed away, and is greatly concerned about his son’s psychological well-being. When he finds out that Sam is in love, he becomes relieved and encourages Sam to go after his crush. We may smile at Sam’s efforts in capturing his heart’s desire, but I was touched more by his father’s encouragement (I wish my Dad was like that at that point in my life).

Then there is Billy Mack (Bill Nighy), an aged British rock star who believes he’s recorded rubbish throughout his career. That of course doesn’t stop him from remaking one of his popular tunes into an uninspired Christmas rehash. He is unapologetic, refreshingly derisive of teenage boy bands, and irascibly droll, with a tinge of regret. His function in the movie seems out of place at times, but aside from the fact that his songs poke fun at the director’s own reputation (you’ll know it once you hear it), he also serves the film’s purpose near the end, with an unlikely partner at that (Apart from Hugh Grant, Mr. Nighy almost steals the show).

Though the movie is ambitious in scope, it is far from flawless. The movie simply has too many storylines to keep track off, even though the director manages to balance his subplots somewhat effectively. I couldn’t help but think through several proceedings, “Gee, I wonder what’s happening with [insert favorite character/couple here]?” There were a few yarns and details that I could have done without. Such as the two soft-core porn artists conversing during work (though it is amusing), and Mark’s (Andrew Lincoln) secret desire for Juliet (Keira Knightley) despite being married to his best friend Peter (Chiwetel Ejiofor).

But regardless of how many storylines Mr. Curtis wants to keep in, the cast always keeps things interesting. The film is a prime example of effective casting, since each actor’s/actress’ familiarity supplies a pre-existing persona. Like Emma Thompson and Liam Neeson with their deep reservoirs of emotion; Keira Knightley with her flawless beauty; Chiwetel Ejiofor with his innate goodness; and Hugh Grant with his charismatic daffiness (his dancing to the Pointer Sisters is worth the price of admission alone). Even down to the surprise cameos, every character is richly defined by the person playing it (take note of the US President and Harriet “the sexy one” in the end).

Those who will criticize this movie for being totally unrealistic, contrived, and indulgent are correct. It is so. But who hasn’t gone to the movies hoping that two people we want to see kiss, will kiss? That a young boy will win the girl of his dreams? That a callous old man will realize who has been there for him? That two people who speak different languages will understand each other? That a British nerd would be come a sex god in America? And that the most powerful man in Europe could also be a fool in love for a simple ole’ gal? If that’s what you came to see, then LOVE ACTUALLY is that good… actually.

Posted by FLIPCRITIC at March 12, 2004 03:02 PM