The Notebook

Film Review by Robert McEvily



Love’s not easy to get right. Old school love, the truest of the true. Never mind the complexities in conveying its depth and subtleties, forget the inadequacy of mere language in nailing its passion – it’s an emotion practically sneered at by contemporary audiences. Countless films, game to take it on, eventually miss the mark and veer toward the forgettable – neatly wrapped packages with nothing inside. Some, looking to appease the hip and the jaded, duck what’s considered embarrassing, dated, and uncool about love. Not "The Notebook." Directed by Nick Cassavetes and based on the best selling novel by Nicholas Sparks, "The Notebook" is another story. It gets love right.



Much of the credit goes to Ryan Gosling, a master of nuance who was extremely effective as a cocky, seductive high school student in 2002’s "Murder By Numbers." Gosling uses his charms here in a gentle manner, sure of what he wants, certain of whom he loves. In the hands of a lesser actor, Noah Calhoun may have come off as a fixated stalker. Gosling brims with lighthearted mischief and affection – his Noah is a man to trust, a man whose love begs to be returned.



Rachel McAdams, fresh from a shallow run in "Mean Girls," reverses field and brings depth to Allie Hamilton, the love of Noah’s life. McAdams also gives a terrific performance, spontaneous and fresh, and finds recognizable truths in moments large and small. The film is driven by her plausible chemistry with Gosling, and she shoulders its trickiest responsibilities – reacting to its plot turns – with grace and verve. Where Noah is clear of purpose and supported by a loving father, Allie is humored and eventually thwarted by her stuffy yet well-meaning parents.

The story’s predictable trappings – poor boy, rich girl, disapproving parents, separation, reunion – are less noticeable thanks to Jan Sardi, who adapted the novel, and screenwriter Jeremy Leven. The predictable elements play second fiddle to the richness and development of the characters. You’d think once Allie meets Lon, a dashing suitor from a wealthy Southern family, he’d surely be revealed as a materialistic lout, but as played by the well-cast James Marsden, Lon turns out to be a nice guy. Complications ensue. To its credit, "The Notebook" doesn’t look for easy answers.

Cassavetes smoothly intertwines dual narratives. Set in the 1940s, the Allie-Noah romance is told in flashback by an old man named Duke, who reads the story to a nursing home patient suffering from Alzheimer's. As Duke, James Garner is reliably touching. Gena Rowlands – a stirring actress – seems slightly miscast, perhaps reaping the perk of being the director’s real-life mom. Perfectly cast though are Joan Allen and Sam Shepard, as Allie’s mom and Noah’s dad. Allen’s tightly restrained contempt for her daughter’s relationship is suitably countered by Shepard’s affability. Both get to play to their strengths.



"The Notebook" – a literal cinematic page-turner – is love the way it ought to be: romantic and messy and heartbreaking and passionate and unapologetic. So leave your hip, jaded friends at home. And don’t forget the tissues.