DIR: Christian Ditter • WRI: Juliette Towhidi, Cecelia Ahern • PRO: Simon Brooks, Robert Kulzer • ED: Tony Cranstoun • DES: Matthew Davies • CAST: Lily Collins, Sam Claflin, Tamsin Egerton, Suki Waterhouse, Jaime Winstone, Christian Cooke, Art Parkinson
According to the trailer for Love, Rosie, the film adaptation of Cecilia Ahern’s Where Rainbows End, “sometimes you don’t see that the best thing that’s ever happened to you is right under your nose.” However, that’s surely only the case for the protagonist Rosie. Indeed, in the one and a half hours of “missed” romantic opportunities that the audience is subjected to, there’s really no doubting what the “best thing” is for Rosie. Yes, you guessed it – it’s her best-friend-that-she’s-always-been-friends-with-but-maybe-really-fancied-but-never-thought-about-it-until-it-was-too-late.
However, I’m not going to lie and say I didn’t enjoy this film. It’s no Oscar-winner, but it’s certainly a good-natured tale of romance between two very attractive protagonists – Lily Collins as Rosie and Sam Clafin as her best friend/romantic interest Alex. In fact, associating Cecilia Ahern adaptations with the incomprehensibly terrible P.S I Love You (Richard LaGravenese, 2007), which comprised of Hilary Swank wandering from Wicklow to Whelans in the blink of an eye and Gerard Butler’s heinous attempt at an Irish accent, Love, Rosie is a breath of fresh air. However, the Irish setting remains slightly problematic insofar as the two protagonists have extremely proper English accents, while it is very clear that it was filmed in Ireland.
The opening scenes of the film are perhaps the most enjoyable part. Indeed, I was suitably impressed with the film’s attempts at cringey Girls-esque body humour, in which Rosie ends up in hospital with a condom stuck in her nether regions after a night spent with school stud Greg (Christian Cooke). Despite the promise of an innovative approach to the romantic comedy with such explicit gross-out scenes, it is a pity that Love, Rosie falls into an ever-so-formulaic narrative structure.
Added to the boredom of such a formula is the fact that Rosie ends up pregnant and decides to have the baby because – even though she doesn’t believe in all “that stuff” – her parents are Catholic so of course she’s having a baby. This narrative trajectory seems a little out of character for Rosie who appears to be full of ambition, knows where she’s going in life and who ends up pregnant after a one-night stand with a guy who does a runner when she admits she’s pregnant. Anyway, she has the baby, wheareas the male protagonist is allowed to go off and fulfil his dreams in Boston. Meanwhile, Rosie becomes a cleaner.
The years go by, the protagonists don’t age except for some quick hairstyle changes, Rosie’s daughter grows up into a rather precious brat and Rosie continues to be a cleaner. The baby-daddy returns, there are many tearful moments akin to a Douglas Sirk melodrama and Rosie and Alex just can’t seem to get it together. Will love prevail throughout the years of heartbreak and missed opportunities? Can life ever be good again? I won’t ruin it for you. Everyone loves a good cliff-hanger.
15A (See IFCO for details)