The Age of Adaline (2015)
What happens when you mix the films of Douglas Sirk with a heavy dose of magic realism? The results might just look like The Age of Adaline, a throwback with a science fiction twist that’s surprisingly appealing and intelligently developed. The titular Adaline (Blake Lively) has a freak accident in the early twentieth century that stops the aging process. The premise and the trailer had me scoffing about how hokey it all seemed, and yet I found myself retracting most of my prejudicial broadsides. While focused primarily on the topic of romantic love, the movie credibly explores Adaline’s hardships and how she must keep reinventing and moving to a new home so often, lest people suspect. She’s purposely stopping herself from making deeper human connections. She’s afraid of being abducted and experimented on but she’s also afraid of her cursed condition harming those she cares about. Her daughter (Ellen Burstyn, now playing two consecutive daughters older then their parent) poses as Adaline’s “grandmother.” They have conversations dealing with end-of-life care. The film doesn’t duck the more grueling aspects of immortality and it provides a degree of substance to go along with the more fleeting fairy tale aspects of the plot. It’s the third act where the movie gets even better, when Adaline unexpectedly reunites with an old boyfriend played by the unexpectedly great Harrison Ford. He’s convinced he’s seen her face before. It’s driving him mad, and even though it’s decades hence, he still has yet to fully get over Adaline. Lively gives her best performance since 2010’s The Town. She has a beautiful melancholy that she carries with the character that doesn’t overplay the tragic elements. It’s clearly a melodrama, but it’s far more measured and tame that the larger elements feel grounded and sincere. Not everything works, including the superfluous narration from a future historian and the all-too-neat ending. There are probably more interesting stories that can be told with this premise since much of it is Adaline hiding from the world, and the specific focus on her romantic entanglements feels a little myopic for the material. And yet, I found myself engaged and wanting to see what happened next, appreciating the earnestness and the focus on the consequences of choices made and choices avoided. If you have to choose one Age of movie this summer, maybe try Adaline instead of Ultron.
Nate’s Grade: B