Post by Admin on Feb 28, 2014 9:18:49 GMT
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The latest version of the teen weepie Endless Love departs so completely from Scott Spencer’s 1979 novel and Franco Zeffirelli’s 1981 film version, it’s less a remake or adaptation than a top-down reinvention. Essentially, what writer/director Shana Feste and her co-scribe Joshua Safran (a.ka. the Smash Season 2 mastermind who gave the world the glory that was Hit List) have done is taken the material and run it through the Nicholas Sparks machine, flattening out the wrinkles that made the original story vaguely interesting and delivering up the same glossy, generic pap that passes for big-screen romance these days.
WATCH ENDLESS LOVE ONLINE FREE
Scott Spencer’s 1979 novel Endless Love was a vividly rendered and totally engaging portrait of a young man engulfed by love. Franco Zeffirelli’s 1981 film made it into a meditation on love as a vital force in the universe capable of transforming not only the lovers but also those around them. Sad to say, this version of the novel, directed by Shana Feste, bungles the intense story of two young lovers by taking us out of their orbit and focusing on the problems of other characters.
On the other hand, let’s not pretend that some classic is being desecrated here. While I haven’t read Spencer’s book, I did recently catch up with Zeffirelli’s movie (which I was too young to see the first time around) and it’s awful in its own way: an overheated, poorly acted (Brooke Shields’s line readings should be taught in acting classes as examples of what not to do) hothouse melodrama that must have seemed dated and campy even back in 1981. More than anything, it feels like a spiritual sequel to the director’s other “Young Idiots in Love” picture, the 1968 version of Romeo & Juliet in which the hormonal title characters frolicked in the buff (scenes that were big hits in my high school English class) and hastened along the end of their doomed love affair with some truly terrible decision-making.
When she begins dating David, her mother revels in her first-love happiness and is positively affected herself by David’s appreciation of a novel she wrote years ago. Jade’s brother (Rhys Wakefield), who is tired of being considered second best to his deceased brother, is equally impressed with this young man. But from the start of the romance, Jade’s father is opposed to it. He’s convinced David is not good enough for his daughter because he works in a garage with his dad (Robert Patrick) and has no plans to go to college.
WATCH ENDLESS LOVE ONLINE But there are a handful of elements that distinguish it from almost every teen romance made before or since, starting with the fact that the Shields character, Jade Butterfield, is only 15 when she falls for the slightly older and far-less-wiser David Axelrod (Martin Hewitt) and welcomes her into her bed for all-night headboard-rocking sessions that unnerve even her self-proclaimed “liberal” hippie-generation parents. Neither kid proves capable of handling the intensity of their young love, especially David, who responds to being barred from the Butterfield house by setting a small fire that burns the whole place to the ground. Things only get more bonkers from there, as the amateur arsonist is locked up in a mental institution for two years before getting sprung and hightailing it to New York to take one last desperate stab at rekindling the flame of his endless love.
Now, just compare that level of craziness with the yawn-inducing arc that new David (Alex Pettyfer) plays out. The son of a working class stiff in a small Southern town, our passionate hero falls for uptown girl Jade (Gabriella Wilde), the beloved daughter of a tight-sphinctered surgeon (Bruce Greenwood) who has been groomed to follow Daddy into the medical profession ever since her older brother — and his favorite child — died. Sheltered for much of high school (that’s right, Jade 2.0 clocks in at 17, much closer to the age of consent), Jade immediately succumbs to David’s “love before all else” attitude towards life, much to the consternation of her father, who repeatedly tries to break the two up.
And while the young lovers are temporarily able to thwart his efforts, eventually he gets the goods on David (he beat up a guy once, but it was the dude who his wanton mother was sleeping with, so you know, totally justified) and uses it to temporarily pry Jade away until love finally conquers all. And while a fire does eventually factor into the narrative, 1) It isn’t started by David; and 2) It metaphorically represents healing rather than destruction.
In other words, Feste and Safran have taken a love story that, in its own eccentric way, defied convention and rendered it utterly safe and sappy like a Hallmark card or a kitten poster. It’s a cynical, calculated move and it plays that way onscreen, failing to generate a single honest moment between the actors, most of whom couldn’t seem less interested in what’s going on. (Pettyfer is the biggest offender on that front, followed by Greenwood, who can occasionally be glimpsed waking up, remembering where he is and promptly falling back into autopilot mode. As for Wilde, she benefits from the fact that it would be hard to be a worse Jade than Shields, though Feste’s camera still rests primarily on her lithe form rather than her emoting face.)
Watch Endless Love Online Free Putlocker Streaming Viooz HQ
Click Here to Watch Full Movie Online
Click Here to Watch Full Movie Online
The latest version of the teen weepie Endless Love departs so completely from Scott Spencer’s 1979 novel and Franco Zeffirelli’s 1981 film version, it’s less a remake or adaptation than a top-down reinvention. Essentially, what writer/director Shana Feste and her co-scribe Joshua Safran (a.ka. the Smash Season 2 mastermind who gave the world the glory that was Hit List) have done is taken the material and run it through the Nicholas Sparks machine, flattening out the wrinkles that made the original story vaguely interesting and delivering up the same glossy, generic pap that passes for big-screen romance these days.
WATCH ENDLESS LOVE ONLINE FREE
Scott Spencer’s 1979 novel Endless Love was a vividly rendered and totally engaging portrait of a young man engulfed by love. Franco Zeffirelli’s 1981 film made it into a meditation on love as a vital force in the universe capable of transforming not only the lovers but also those around them. Sad to say, this version of the novel, directed by Shana Feste, bungles the intense story of two young lovers by taking us out of their orbit and focusing on the problems of other characters.
On the other hand, let’s not pretend that some classic is being desecrated here. While I haven’t read Spencer’s book, I did recently catch up with Zeffirelli’s movie (which I was too young to see the first time around) and it’s awful in its own way: an overheated, poorly acted (Brooke Shields’s line readings should be taught in acting classes as examples of what not to do) hothouse melodrama that must have seemed dated and campy even back in 1981. More than anything, it feels like a spiritual sequel to the director’s other “Young Idiots in Love” picture, the 1968 version of Romeo & Juliet in which the hormonal title characters frolicked in the buff (scenes that were big hits in my high school English class) and hastened along the end of their doomed love affair with some truly terrible decision-making.
When she begins dating David, her mother revels in her first-love happiness and is positively affected herself by David’s appreciation of a novel she wrote years ago. Jade’s brother (Rhys Wakefield), who is tired of being considered second best to his deceased brother, is equally impressed with this young man. But from the start of the romance, Jade’s father is opposed to it. He’s convinced David is not good enough for his daughter because he works in a garage with his dad (Robert Patrick) and has no plans to go to college.
WATCH ENDLESS LOVE ONLINE But there are a handful of elements that distinguish it from almost every teen romance made before or since, starting with the fact that the Shields character, Jade Butterfield, is only 15 when she falls for the slightly older and far-less-wiser David Axelrod (Martin Hewitt) and welcomes her into her bed for all-night headboard-rocking sessions that unnerve even her self-proclaimed “liberal” hippie-generation parents. Neither kid proves capable of handling the intensity of their young love, especially David, who responds to being barred from the Butterfield house by setting a small fire that burns the whole place to the ground. Things only get more bonkers from there, as the amateur arsonist is locked up in a mental institution for two years before getting sprung and hightailing it to New York to take one last desperate stab at rekindling the flame of his endless love.
Now, just compare that level of craziness with the yawn-inducing arc that new David (Alex Pettyfer) plays out. The son of a working class stiff in a small Southern town, our passionate hero falls for uptown girl Jade (Gabriella Wilde), the beloved daughter of a tight-sphinctered surgeon (Bruce Greenwood) who has been groomed to follow Daddy into the medical profession ever since her older brother — and his favorite child — died. Sheltered for much of high school (that’s right, Jade 2.0 clocks in at 17, much closer to the age of consent), Jade immediately succumbs to David’s “love before all else” attitude towards life, much to the consternation of her father, who repeatedly tries to break the two up.
And while the young lovers are temporarily able to thwart his efforts, eventually he gets the goods on David (he beat up a guy once, but it was the dude who his wanton mother was sleeping with, so you know, totally justified) and uses it to temporarily pry Jade away until love finally conquers all. And while a fire does eventually factor into the narrative, 1) It isn’t started by David; and 2) It metaphorically represents healing rather than destruction.
In other words, Feste and Safran have taken a love story that, in its own eccentric way, defied convention and rendered it utterly safe and sappy like a Hallmark card or a kitten poster. It’s a cynical, calculated move and it plays that way onscreen, failing to generate a single honest moment between the actors, most of whom couldn’t seem less interested in what’s going on. (Pettyfer is the biggest offender on that front, followed by Greenwood, who can occasionally be glimpsed waking up, remembering where he is and promptly falling back into autopilot mode. As for Wilde, she benefits from the fact that it would be hard to be a worse Jade than Shields, though Feste’s camera still rests primarily on her lithe form rather than her emoting face.)
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