Review of The Holiday (2006) by Jen R — 22 Jun 2012

Where do the screenwriters stand when it comes to the casting choices? That question popped into my head somewhere in the beginning of this film. It would be only natural to to let them have some kind of vote, with the character up there on that screen being a part of them and all. And if they do have some influence in that area, how can anyone who's serious about his writing be willing to accept the kind of a casting crime that happened in this movie? Yes, but this was in the beginnig of the film, first 20 minutes or so. As it progressed, I realized the participation of the writer doesn't really matter. Nancy Meyers, who wrote and directed this movie, is the worst kind of hypocrite: not only did she made this garbage; she dared to implicitly place it in the category of the classics of the genre (romantic comedy).

Yes, she pledges her etternal loyalty towards the classic Hollywood cinema. This picture was entirely based upon the oldies and the many kinds of pleasures they bless us with. But did she know that mentioning the names of Cary Grant, Barbara Stanwyck or Irene Dunne will probably only make audiences see how inferior Jack Black, Cameron Diaz or Jude Law seem in comparison? That too doesn't matter. Her picture was targeted towards the audiences who can hear the name Cary Grant only like this - used as some distant, romantic figure you needn't bother finding anything about.

But wait till you hear this plot! See, Kate Winslet lives in England and Cameron Diaz in Los Angeles. They don't have much in common exept that they are both wounded by love. The agreement is reached and they decide to swich their homes for a while, having in mind the positive effect of change and all. But what happens they couldn't imagine in their wildest (read corniest) dreams. When Cameron arrives in London she finds out that Winslet's brother is non other than Jude Law. Lord does bless us with his mercy sometimes, doesn't he? In LA, Kate meets Jack Black, but don't worry, she seems to have no problems with that! She also encounters a sweet old man who turns out to be a legendary Hollywood screenwriter (Eli Walach) who then becomes her guide through the strength of on screen female characters of the forties.

Mayers did one good thing with Jack Black here - she gave him just enough screen time that makes his screen presence bearable. The second key ingredient - putting some funny lines in his mouth - was, apperantly, not even intended. Why? Seriosly, that's not even a rethorical question. I would really like someone to answer this!

The scenes between Kate Winslet and Eli Walach are nowhere near as poignant as Mayers would like you to believe. His dwelling on the utopia that is the Golden Age of Hollywood quickly becomes tiresome (there were many people working in that sistem who would have few words to say on the subject). But their moments can't be looked at objectively. I mean, she's Kate Winslet and he is, well, almost 100. That fact alone elevates them above anytheng else seen here. Including and esspetialy, the biggest crime..

In one part of the story, they chose Jude Law and Cameron Diaz, two of the most dependable actors in movies today, Orlando Bloom not counting. If they are to be bareable in a romantic film, it's because their screen partner worked a double shift. Like this, they couldn't keep the engine running even if their hairstyles dependen of it. Strangely enough, this doesn't have to be that much of a dissaster. Pay attention to the house and the area they spend their time in. It looks like created by Disney in the moment if inspiration. If you can imagine these two as animated characters, you may even get some kind of a kick out of it.

So, fans of Kate Winslet, skip this one! I like her work too so you can trust me: it isn't worth it! As for those of you who like Jude Law and Cameron Diaz, I won't bother you much. You have enough problems as it is!