Network

Reviewed by: CalGal

June 28, 1999

Return

Julia Roberts has returned to her specialty--sad, plucky heroine. Hugh Grant has returned to his roots--neurotically normal shy guy with a circle of dear but idiosyncratic pals.

With both adorable stars playing to their strengths, Notting Hill really can't miss, even if it is never anything but predictable--it's sweet, sincere, wistful, and delightfully funny.

William (Hugh) is the owner of a travel book shop; Anna (Julia) is a movie star. They meet cute; they meet messy; they meet irregularly; they meet with much effort and finangling; and for all that they still spend far too much time in the movie *not* meeting. But hell, if people fell in love and got together at the beginning of a romantic comedy, what sort of movie would it be?

After the attraction of the couple, the most critical aspect of a movie like this is the device used to keep the couple apart. Is it believable? Do we care? Notting Hill wisely chooses to make stardom the device in Anna's life that keeps her away, distant, distrustful, and remote. It's new, it's different--and it's completely believable. Given the stars of this movie, both of whom who've had more than their share of privacy invasions, we are reminded in every shot about just how unlikely it is that these two could easily meet and be left alone. If the dual presence of Grant and Roberts isn't enough, the movie throws in Alec Baldwin, photographer puncher, to hammer the point home. (Baldwin, incidentally, now has another kick-ass cameo to add to his list of accomplishments.)

Notting Hill gives a great deal of detail about of movie stardom--the tedium of waiting for the next shot, the press conferences, the press junkets (William pretends to be from Horse and Hound and assures Anna that she is his magazine's favorite actress. "You and Black Beauty. Tied."). In one scene, Anna describes just exactly what her life has been like for the past 10 years and if it's not the same as Julia's life, it may as well be.

The clan of friends are all delightful. The reaction of one friend upon learning that he has just made a *complete* ass of himself in front of Anna Scott is hysterical; the ex-love in a wheelchair is very nicely done (like Grant's deaf brother in FW&AF, she is merely a character with a disability, not defined by it). Grant's roommate (Rhys Ifans) is a dizzy delight; he reminded very much of my mother--and I liked him anyway. A compliment indeed.

The screenplay is witty, funny, and knowing. A few false moments, but nothing catastrophic.

One of the things about Roberts I find quite interesting is her willingness to portray herself in an unattractive light. In My Best Friend's Wedding she is scheming and manipulative; in Notting Hill she loses her temper (under extreme provocation) and turns on Grant cruelly and unfairly--with nary an excuse for misunderstanding given.

The movie has one ending too many. Still, one of the better romantic comedies in a while. Keep it well in mind for those times when a compromise selection is desperately needed.

 

1