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The Age of Adaline ties in with the
fantasies of most adults to stay young forever. There is an amusing “scientific” explanation for how this
happens in the movie that will make you smile. Although most of the film is predictable, it is fun to play
with the idea of the kinds of repercussions a person would have to deal with
should it happen, and the choices one might make.
Without
going into the details, let’s just say that Adaline (Lively) does not age, and
she makes the choice to keep it a secret, stay on the move to avoid detection,
and avoid long-term relationships.
This means she can only see her daughter Flemming (Burstyn)
occasionally, and as the years go by Flemming looks more like her grandmother
than her daughter. But also
through the years, Adaline becomes more depressed and lonely, and when her path
crosses that of a persistent Ellis (Huisman), she is sorely tempted to change
her course, especially when Flemming urges her to indulge herself and grab onto
some happiness.
I
could have done without two major coincidences toward the end of the story that
the writers J. Mills Goodloe and Salvadore Paskowitz inserted, which made me
think it was merely a way to have the story end on a good note. A more interesting conclusion would
have been to simply follow Adaline and Ellis continuing on the journey as it
was set up in the beginning.
Blake
Lively captures well evasiveness and sidestepping the truth when Adaline is
confronted with the curiosity of new and old acquaintances. Her own beauty makes it plausible when
others seem to be awestruck by Adaline’s appearance. At the same time, Adaline can’t resist showing off her
memory and intelligence when she gets a chance, and Lively does this just as
well. Huisman’s natural charm and
attractiveness make him an ideal love interest for the main character, and he
maintains a good balance between genuine caring and playful flirting. Ford and Burstyn as his parents are up
to their usual standards of quality.
Director
Lee Toland Krieger keeps the film moving in a light-hearted, entertaining
manner, and although the film might not appeal to everyone, it certainly will
to those who enjoy romantic fancies.
A major strong point is musician Rob Simonson’s soundtrack, which gives
us a sampling of music from early 20th Century (Ella Fitzgerald)
through the ‘60’s and ‘70’s (Bob Dylan, Jefferson Airplane) to 2010 (Stephen
Lu).
An interesting romantic fantasy.
Grade:
C+ By
Donna R. Copeland
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