Love is timeless.
Director Lee Toland Krieger‘s THE AGE OF ADALINE (2015) is a concept romance film about a woman who find that love and near-immortality as an insignificant predecessor to romance. She embellishes her long years pursuing the art of learning foreign languages, her love of reading books to occupy her time and avoid every aspect of the mortal construct of love and love eternal. Too soon it seems that the very thing Adaline (Blake Lively) tries to avoid appears unexpectedly. As these things often do when trying to deny the most humanly natural of circumstances. Love. It happens and in Adaline’s particular indifference, too soon.
Ann Marie Bowman (Lively) was born at 12:01 am January 1, 1908. She was the only child of her parents. She got married and had a daughter. After the tragic death of her husband, Adaline is in a near-fatal automobile accident. While submerged in the frigid river, she dies, but only briefly. A bolt of lightning struck her vehicle and miraculously, jolted back to life. This occurrence somehow altered her body’s ability to age and lives long enough to witness her very young daughter become an elderly woman, played magnificently by Ellen Burstyn. The movie depicts vivid instances of Adaline’s past and how it intermingles with the present through brief dramatic encounters. Through less thoughtful instances witness Adaline’s attempts at feigning love or for that matter, the men who fall in love with her. Fortunate for her, love happens. During one of these particular experiences, she meets and falls in love with Ellis (Michiel Huisman), extremely handsome as he is charming. He is familiar, and perhaps it is because his father, William (Harrison Ford), with whom she dated and was very much in love with long ago. It was impossible to attempt, in only a few short-lived scenes, to illuminate the immensity of their lives abandonment. These awkward moments, quite possibly, the films’ attempt to reconcile Adaline’s past with her present. However, were hollow.
The film isn’t without its cliches and predictability and it is hard to get a sense of how the effects of time weighs on the principal character. The film compensates by period delusions in fashion, classic cars, and occasional visits to a chest teeming with black and white photographs of people and other irreplaceable memories. There were a few forced scenes where love for Adaline was inconsequential. But she soon realizes that nothing appears to make sense, without it.
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