Love, Actually



A cushy ensemble cast in six or seven inter-twining stories, set at Christmas: this definitely has the makings of a future classic. What makes a film a classic?
My definition: the characters in a story which, combined, trigger an impulse to watch these characters and their story over and over again.

Despite its sometimes predictable route, Love Actually wins for its charm and basic life-affirming message of connectivity.

If there’s a familiarity to the breezy yet befuddled appeal of the participants that’s because they were written by Richard Curtis of Four Weddings and A Funeral and Notting Hill fame. If you liked those – as I did – you will probably love this, actually.

I do, but with reservations. In some ways the film feels too easy - too glib, too cute, too patented. One can imagine Hugh Grant’s voice delivering some of Keira Knightley’s lines, for instance. The liberal use of music to push the story forward and the obligatory applause scenes don't feel fresh and new.
The bored, work-a-day porn star thread is the weakest.


Still, it is lovely to see Colin Firth, Liam Neeson, Emma Thompson, Laura Linney and Alan Rickman in a “Hugh Grant movie”. The host of other players are all good, most particularly the wonderful Thomas Sangster who plays the love-struck 10 year old Sam. Bill Nighy is also note perfect as the over-the-hill British rock star, raggedy slurring demenor and all.

While flexing clichés and stretching credulity at times – as in the story of Colin the sex god on the wrong continent and Natalie the gal inexplicably hired to work in the Prime Minister’s residence – two characters dig a little deeper. That would be Emma Thompson fending off a mid-life marriage breakdown and Liam Neeson, recent widower.

In fact Thompson’s story line and her ultimate “I’m fine. I’m fine”, said with a knitted forehead, is what grounds this confection and makes it more than just a pretty casting call for Brit charm, circa 2005.

Recommended.