What a shame it would be to look like Blake Lively for the rest of eternity.
At age 29, Adaline Bowman (Blake Lively) was involved in a tragic car crash just off the side of the road. However, because of a strong lightning bolt strikes her, she, for one reason or another, lives. There’s only one catch: She will forever be 29. She won’t age a day, while everyone around her that she either knows or loves, will die away, while she stays the same age, with the same look, and same memories of everything has come and gone in her long, momentous life. This also makes Adaline’s life a bit of a lonely one – with the exception of the times she spends with her daughter (Ellen Burstyn). That’s why when a young, handsome dude named Ellis (Michael Huisman) clearly becomes smitten with her, she’s initially against it. She knows that nobody will be able to handle her condition, let alone even believe it. But against her free will, Adaline decides to give it a go and wouldn’t you know it? The two end up getting very serious together; so serious that Ellis introduces Adaline to his parents (Kathy Baker and Harrison Ford), one of whom, just so happens to have had a relationship with Adaline back in the 60’s.
Family drama is soon to follow.
Is this a dopey-as-hell premise? It sure it. But didn’t the Curious Case of Benjamin Button have one too that was relatively similar to this? And didn’t that movie actually turn out to be “alright”, in at least most people’s minds? Pretty much, yeah. So what could ever be wrong with the Age of Adaline?
Well, for starters, not much. In all honesty, it’s easy to have something against this movie already before even seeing it. It’s premise is wild; it deals with sappiness; involves a love story of two people who can’t be together; and it stars Blake Lively, who hasn’t been in much lately, because she’s so busy with writing thought-pieces about god knows what. However, somehow, through some way, it mostly all comes together, and heck, even Lively’s not all that bad.
Who woulda thunk it?
Indie director Lee Toland Krieger probably did because after making two very impressive, very low-key indie flicks in the past couple years (the Vicious Kind, Celeste and Jesse Forever; check them out now if you haven’t done so already), he decided to make this is his big, mainstream break-out and given the scope of the film, you’d think he’d mess-up an awful lot. Surprisingly though, he doesn’t and that’s because he doesn’t really have too much to handle. The movie steps away from making this a Forrest Gump-clone in which Adaline goes throughout her long, storied-life, touches certain people’s life along the way and continues to make herself feel better, while, at the same time, still coming to terms with her existence.
This is the same sort of path Benjamin Button went down and it’s familiar by now; so to play around with that formula is really something incredible. However, not to bother with that formula to begin with, is all the more interesting, especially because it makes sense when you get to think of this story and the themes it’s trying to convey. Because Adaline lives with such an extreme condition, she’s forced to practically separate herself from the rest of the world; she does this not just because she doesn’t want to freak those out around her and possibly hurt them, but because she will forever and always be chased after by the feds, where she’ll no doubt be some sort of human lab-rat that’s constantly prodded with and practiced on. It would have been nice to see more of the sorts of shenanigans that Adaline got into throughout her long life alive, rather than just learning that she’s really good at trivia and history, but that said, we don’t get overkill on the back-story. So yeah, it makes sense as to why the story doesn’t expand so much – Adaline needs solitude, and while it’s a sad existence for her to live, it’s the only one she can live with in order to feel safe, sound and happy.
Also, this does a solid job in making us feel more for Adaline, the character.
While Adaline may not be the most engagingly complex character, the life she’s been living makes her interesting enough that you want to see where her story goes. She can either fall in love, fall out of love, or just end up without any sort of love in her life – whatever it is, there’s something to be invested in. She’s simply just living; if she changes somebody’s life in the process of doing so, then so be it.
Another aspect as to why Adaline works as well as a character is because Lively is actually very good in this role. While watching this movie, there was a weird thought that went through my head: Why did I ever think Blake Lively was a bad actor to begin with? Truly, there’s been one performance where I’ve been impressed by her, right? Well, actually, there was one and that was in the Town, where she not only dressed herself down to absolute, grimy perfection, but made herself unlikable and sympathetic at the same time. It worked for her character and showed that Lively was a solid worker, if only for maybe a supporting role.
Now, here, as Adaline, Lively is put into the spotlight and gets a whole lot more to do. It’s a challenge for someone who hasn’t been in a movie for nearly three years (Savages was released in the summer of ’12 if my memory serves me correct), but it’s a challenge that Lively is more than willing to stand up to. There’s a sympathetic route to this character that works well because you feel bad for her, and also realize that she’s not necessarily asking for your sympathy either. She sticks up for what she wants and believes in and Lively does a solid enough job showing her strong-armed emotions in a way that isn’t obvious, nor is too subtle to ever get a sense of. It’s just the right amount of showy-but-not-so-showy either, if that makes any sense.
Basically, Blake Lively is good here and from now on, I’ll make sure to not doubt her, or her skills as an actress.
As for the rest of the cast, everybody’s fine, but the one who really surprised me the most with how far and willing he was able to dig into this character was Harrison Ford as one of Adaline’s past loves. Ford hasn’t been this good since 42, but whereas that was a showier role, this one’s more subtle and touching in a way that touches a raw nerve with anyone who has ever felt that sense of love come back into their life, full-on and with absolute brute force. The scene where he initially stumbles upon realizing that Adaline is his son’s new girlfriend is tender, sweet and emotional in a way that’s bound to make some tear up.
Not saying that I did, but whatever. I’m a softy.
Consensus: The Age of Adaline may appear as a sappy piece of romantic-drama, with a Benjamin Button-ish gimmick, but dig deeper, and there’s some genuine heart and emotion to be found, in both the material, as well as the performances.
7.5 / 10