Despite their fame and fortune, movie stars are just ordinary folk who lead lives that aren't that different from everyone else. Okay, maybe that's not exactly true. It's quite likely, however, that many try, or would otherwise love to be able to go to the store, out for a walk, or on a date with their significant other without being identified by everyone, asked for their autograph, or having their picture taken by tourists or the professional paparazzi. It's most certain that they don't like their lives -- especially their failed or successful romances -- appearing in tabloid print.
That's the underlying gist of "Notting Hill," a sweet and mostly winning romantic drama/comedy that reunites actor Hugh Grant with the writer and producer of the smashingly successful "Four Weddings and a Funeral."
Comparisons between that movie and this one are inevitable and somewhat justified, what with Grant essentially playing the same sort of character who's surrounded by somewhat eccentric friends -- one with a disability -- and meets and falls for an American woman but is flustered by the complications of romance.
Yet, where "Four Weddings" played as a romantic comedy and focused on the title's descriptive events, this one comes off as more of a bittersweet romantic drama with some comedic elements thrown in for good measure.
While it has the initial signs of being a traditional romantic comedy -- the romantic setup, the charismatic supporting characters, the witty writing and clever dialogue, and the awkward, initial attraction between the two lead characters -- much of the lighter material dries up about half way through this two-hour long film.
That's when it begins to focus more on the pitfalls of being famous. Taking a somewhat more realistic view of "celebrity-dom" than the recent "EdTV" or last year's "The Truman Show," director Roger Michell ("Persuasion") wisely chose two performers who not only click together, but are also no strangers to the paparazzi, tabloids, and having every minute detail of their lives -- usually the less favorable incidents whether true or not -- being exposed.
As such Julia Roberts and Hugh Grant are believable in their roles and the chemistry between them feels realistic enough that you'll happily root for their success. In addition, few will be surprised when the filmmakers throw various obstacles in their way and have their relationship behave in the on-again, off-again style most romantic comedy fans are long accustomed to.
Of course, that's to be expected, but some of the reasons/rationale for their reuniting occasionally feels a bit awkward or forced, with too much of screenwriter Richard Curtis' ("Four Weddings and A Funeral," "The Tall Guy") fingerprints on them.
Nonetheless, the cast is what really make this film work. Roberts ("Conspiracy Theory," "Pretty Woman"), who can still wow audiences with a flash of that huge smile but can similarly touch them with a glance of vulnerability, is essentially playing this character in near autobiographical terms.
While I'm sure she's not the same person as Anna, she's certainly experienced the pros and cons of being famous. It clear that her celebrity status has infringed upon her romantic life -- all of which has been exposed for all its glory in the press -- which clearly allows Roberts to play her character with both empathy and a "battlefield" edginess that doesn't seem out of place after years in the unforgiving spotlight.
Hugh Grant ("Extreme Measures," "Nine Months"), who returns to the genre most suited for his usually somewhat reluctant, but sweet natured persona and character, is also no stranger to the repercussions of fame and bad decisions. Thankfully jettisoning the stammer that was cute in "Weddings" but became increasingly irritating in his later films, Grant delivers another good performance. Like Roberts, Meg Ryan and Tom Hanks, he's now cemented in the upper echelon of romantic comedy performers.
The film's true scene stealer, however, is Rhys Ifans ("Dancing at Lughnasa," "Twin Town") as William's uninhibited and earthy flatmate. While some might complain that his character feels a bit too artificially constructed as a comic-relief creation, Ifans plays him with so much goofy gusto that you can't help but grin whenever he shows up.
His appearance and then posing for the throngs of paparazzi in front of William's flat -- and just in his briefs -- is an instant and surefire audience pleasing moment. Other supporting bits by the likes of Tim McInnerny ("101 Dalmatians"), Gina McKee ("Naked") and Hugh Bonneville ("Tomorrow Never Dies") are all fine and perfect for a film such as this.
The picture does offer some truly funny scenes, such as when William shows up at Anna's hotel to meet her, but is mistaken for a reporter on her latest film's press junket. Quickly scrambling for a periodical affiliation -- he chooses the first he sees, "Horse and Hound" magazine -- Grant offers some delightfully amusing moments as that impromptu and bumbling fictitious reporter. Forced to ask questions of the cast while keeping some of them related to the horse and hound theme, the sequence is quite funny.
Another involves William's sister and his friends meeting Anna for the first time. That leads to some funny bits, but after a while the film begins to lose its overall humorous tone. Although some humorous moments do later occur, and the film retains the seesaw relationship factor found in most every romantic comedy, it decidedly turns into much more of a straight drama in its second half.
While that's certainly not a fatal flaw, and the sheer charm and chemistry between its lead characters keeps the film afloat, fans of traditionally cheery romantic comedies may ultimately be a bit disappointed by the transition.
Beyond the somewhat melancholy turn of events, the film does have a small detail problem. Not until they're needed as a plot catalyst do the paparazzi show up, an odd fact considering all of the time Anna spends outdoors or on the streets with nary a camera or gawking fan in sight. While it's understood that the characters needed time together by themselves to better contrast the press invading moment, I kept finding myself wondering where in the heck they were.
It's a small point of contention, but others may have the same reaction. They may likewise wonder, despite several months passing by, why William -- after being discovered as Anna's "nighttime friend" -- suffers no paparazzi-related problems. After all, one would imagine that press coverage would be intense after the world's most famous actress has spent the night -- presumably for more than sleeping -- at your house.
Nonetheless, and despite the obligatory, but still satisfying predictable ending -- as well as the inevitable and impossible to dismiss comparisons to "Four Weddings" -- this film still manages to be quite enjoyable and benefits greatly from good writing, a great cast, and the hard to resist romantic comedy genre. As such, we give "Notting Hill" a 7 out of 10.
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