Letters to Juliet (2010)
Directed by Gary Winick
An American girl on vacation in Italy finds an unanswered "letter to Juliet" -- one of thousands of missives left at the fictional lover's Verona courtyard, which are typically answered by the "secretaries of Juliet" -- and she goes on a quest to find the lovers referenced in the letter.
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Redgrave brings her trademark wit and gravitas to the proceedings, and her onscreen reunion with Nero, whom she met on the set of "Camelot" (1967), is the film's emotional highlight.
And when Redgrave, the aging still beautiful Juliet, meets up again with her one time Romeo and we see that it is her real life love Franco Nero (the two originally met while filming Camelot in 1967) – the passion between the two is palpable and practically leaps off the screen.
That one of the Lorenzos here happens to be Franco Nero, her real-life husband (and Lancelot to her Guinevere in the 1967 film version of Camelot), adds a layer of art-imitating-life frosting to the cake.
For devotees of the 1967 film version of Camelot, it is a glorious treat to see Guenevere reunited with her Lancelot once again, 43 years later – a love that might even impress Romeo and Juliet themselves.
Well, here's another romcom with one dimensional characters in the foreground triangle, but this one's raised up a notch by glorious Italian locations and the regal warmth of Vanessa Redgrave searching for a lost love in a subplot which mirrors the actress's own (Redgrave had a son with her "Camelot" costar Nero back in 1969, but married him years later, in 2006).
Late in the going we’re treated to a reunion of Redgrave with Franco Nero, the Lancelot to her Guenevere in 1967’s “Camelot,’’ and the ease with which these two portray mature passion is deeply touching.
Europe’s rejuvenating effects on a staid American tourist have been depicted many times before and in far better films (Dodsworth, 1936; Before Sunrise, 1995; American Dreamer, 1984; Under the Tuscan Sun, 2003) but Letters to Juliet’s narrow focus and fumbled execution don’t warrant comparison with the best of them.
She is the most compelling reason to see Letters to Juliet, which reminded me, just the tiniest bit, of Sir Laurence Olivier's A Little Romance if only because both feature the talents of a legendary British actor and Italian settings that have you ready to book your seats on Alitalia this minute.
She is the most compelling reason to see Letters to Juliet, which reminded me, just the tiniest bit, of Sir Laurence Olivier's A Little Romance ?
Europe’s rejuvenating effects on a staid American tourist have been depicted many times before and in far better films (Dodsworth, 1936; Before Sunrise, 1995; American Dreamer, 1984; Under the Tuscan Sun, 2003) but Letters to Juliet’s narrow focus and fumbled execution don’t warrant comparison with the best of them.
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With her saucer-size eyes and winningly warm persona, Seyfried has the charisma of "Pretty Woman"-era Julia Roberts.
Europe’s rejuvenating effects on a staid American tourist have been depicted many times before and in far better films (Dodsworth, 1936; Before Sunrise, 1995; American Dreamer, 1984; Under the Tuscan Sun, 2003) but Letters to Juliet’s narrow focus and fumbled execution don’t warrant comparison with the best of them.
Europe’s rejuvenating effects on a staid American tourist have been depicted many times before and in far better films (Dodsworth, 1936; Before Sunrise, 1995; American Dreamer, 1984; Under the Tuscan Sun, 2003) but Letters to Juliet’s narrow focus and fumbled execution don’t warrant comparison with the best of them.
Director Gary Winick (2009's " Bride Wars ") and cinematographer Marco Pontecorvo (2006's " Firewall "), taking advantage of their exotic locations, shoot the rustic villages and sun-dappled vineyards of Italy with loving care.
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Seyfried is not only a chameleon, able to play a wide range of roles?just take a look at her fascinating, diverse work in 2004's " Mean Girls ," 2008's " Mamma Mia! ," 2009's " Jennifer's Body ," and 2010's " Chloe " for proof?but there is a soulfulness in her eyes that instantly brings depth and plausibility to even vaguely written roles.
Her Sophie is an independent, kind, admirable heroine, and so the disappointment that comes from director Gary Winick's and screenwriters Jose Rivera's (2004's " The Motorcycle Diaries ") and Tim Sullivan's (2006's " Flushed Away ") treatment of her is that they assume she must instantly need a man to be happy.