Generally, it’s very easy to make a romantic comedy. The screenwriter
just plugs their characters into the formula plot. But to make a film,
which abides by the rules of this genre, with style and flair is
unheard of. Adding in a great ending twist to the mix is even more
insane. Down With Love brilliantly executes, and goes the extra
mile, by mixing and matching a blend of sugar and spice that consists
of the three traits a screenwriter must have to deliver a descent
script—creativity, ingenuity, and the ability to take risks. Eve
Ahlert and Dennis Drake, the man and woman behind all of the witty
wording and cute lines, make Down With Love the movie that it
is. But, of course, the visionary direction and great performances
help quite a bit, too.
Barbara Novak (Renee Zellweger) is a
feminist writer, who is determined to show ladies of all sorts, that
they don’t need love to satisfy their needs. In her book, Down With
Love, she discusses how marriage and long-term relationships just
aren’t worthwhile. But this isn’t to say that they shouldn’t have sex
lives, however. Novak wants to convince the world that women can treat
sex just like men. They don’t have to love the man that they are
having intercourse with, to get pleasure out of it. All they need to
do is allow themselves to accept the good feeling without being
attached to their partner, and of course, keep repopulating the world
with other little girls that will continue this tradition.
But, while her book jumps off of the shelves
like crazy, trouble is a brewing. She falls in love with a man, who
she would like to spend the rest of her life with. What she doesn’t
know, though, is that he is really Catcher Block (Ewan McGregor).
Catcher is disguising himself as Barbara’s true love, because he is a
hungry columnist for a men’s magazine, and would like to write an
exposé on Miss Novak’s real personal love life. Will Barbara continue
to fall for him, or will she be able to stick to what she preaches in
her book, and simply play him for some nice pleasure? The story, which
might seem formulaic, is lit up by a scrumptious ending twist. The
writing is so tastefully pleasing; most won’t even guess that Down
With Love is a remake. Even I didn’t know, until reading up on the
production.
While it twists and turns, fancies us with
delicious dialogue, and sets the mood for the time which it takes
place in; the writing in Down With Love has even more to offer.
The little, quirky bits of humor help tremendously. This movie is an
early 1960’s piece, and it plays out exactly like one. The jokes are
written in exactly the same way they were in that time period, and
this is what makes the film so extraordinarily funny. The way that the
writer’s, Ahlert and Drake, words glisten about the movie so
beautifully, is really, an incredible achievement, nonetheless. I’ve
said it a million times, but I’ll pound it into your helpless noggins
one more; the creative script is what makes Down With Love the
movie that it is. As the character Barbara Novak would say, “It’s as
pleasing for a woman as chocolate.” To be honest, I’ve never heard a
warped line of movie dialogue, that was so right. (20th
Century Fox—I’m always available for that marketing job you’ve got on
hand.)
What would a good early ‘60’s script be
without some quality direction, either? Nothing. I must say, what
director Peyton Reed does behind the camera is pretty miraculous. It’s
his work on the film, aside from the top-notch writing, which makes it
so enjoyable. Down With Love is one of those well-made flicks
that you can just sit back and relax to. The reason you are able to do
such is simply because it’s done properly. There are no shaky shots,
bland moments, or repetitive one-liners to deal with. Treat yourself
to some fifteen dollar popcorn, a coke, and a few peanut M&M’s and
you’ll be having a great time. Viewing Down With Love is like
eating a good meal at a nice restaurant. By the end of the film,
you’ll have licked your plate clean.
Zellweger and McGregor are fabulous, and
each of their performances is flawless. The two leading roles, which
could’ve been ugly miscasts, are filled by the right peoples shoes (or
more accurately, costume designer Daniel Orlandi’s). Zellweger
delivers a performance, pitch-perfect, for what it serves. She is
funny, cute, and charismatic. Nominated for ‘Best Actress’, and the
star of many successful movies, Zellweger really doesn’t get enough
credit. She is a very talented and appealing actress. Her co-star,
McGregor, also plays his cards right. His character is the
best-written of the bunch, and he is able to shine in the role.
Onscreen, the duo is a knockout. They share the screen beautifully,
and star in a movie that is sweetly cooked to perfection.
Superbly entertaining, Down With Love
is a wonderful trip through early ‘60’s cinema, and a very enjoyable
one at that. Ahlert and Drake’s writing is a creative and often
ingenious adaptation of the real 1960’s film. Reed’s direction sets
the mood and tone just fine, and proves that a well-made film is much
easier to view than a choppy one of the same sort. Zellweger and
McGregor excellently perform, and exhibit an extreme amount of
chemistry. Down With Love is just a great flick. To quote the
old-and-overused cliché, “Sit back, relax, and enjoy the show!”
-Danny, Bucket Reviews