I can't review "Eat, Pray, Love"

(from http://macleans.files.wordpress.com)

I am one of those people. I like to read the book before I go into a film adaptation at the theater. Problem with the release of EAT, PRAY, LOVE, is that I was more prepared than usual.

There are very, very few books I've read more than once. EAT, PRAY, LOVE is one of them. Aside from that, I was lucky enough to go with Anya to Frederick, Maryland this past April to actually meet Elizabeth Gilbert.

Okay. "Meet" is a strong word.

We had tickets to go to an art gallery in this quaint college town (nice place to visit, really) and have cocktails and appetizers with the one and only Elizabeth Gilbert (and maybe 40 other women). Anya and I put on our artsy best to go and strike up a conversation with the author... but, at the moment of truth, we panicked.

We suddenly had no idea what to say to this tall, lovely, gracious, smiling woman who wrote an international bestselling memoir on its way to the big screen. Anything "smart" I had thought of to say on the walk to the gallery evaporated.

At least I was not as pathetic meeting Elizabeth Gilbert as I was meeting Andrea Marcovicci. When my turn came to chat with the woman, ask her about her career, I just broke down and cried. Andrea, lovely woman that she is, eventually put her hand on my shoulder and asked if I was okay. SHEESH. I was fortunate to merely observe that specific crying basket case when I met Elizabeth Gilbert. Across the room, a short woman (well, we were all sort of short compared to Ms. Gilbert) was sobbing and choking on her gratitude for... well, who knows? I thanked my lucky stars I wasn't doing that again and waited my turn in the signing line to shake the author's hand.

We had front row seating at the interview later that evening in the college theater. Beautiful old building with a stage set for two with big comfy chairs, a coffee table, an absurd flower arrangement, and cups of water. I often feel bad for authors asked to speak in front of college kids and the public... Writers tend to write for a reason and you can see the stilted nerves peeking through the well-written speeches. But, this talk was quite enjoyable. A man sat across from the author and interviewed her. It felt like we were invading on a discussion between two friends.

That being said, we had a chance to see the woman in action. Her mannerisms, the tone of her voice, the flip of her hair, the face she makes when she's caught off guard (like when this lady had the nerve to take her turn at the Q&A mic to ask Elizabeth Gilbert whether or not she should up and move her family to India... WHAT?!), etc.

So, naturally, I had some big expectations walking into the film.

Before I get to my non-review (due to my experiences, I think my opinion in evaluating the experience of the story would be unreliable), I'll say that the interviewer did ask Elizabeth Gilbert back in April how she felt about Julia Roberts portraying her in the movie. The author smiled, took a brief glance to her black flats, and said, "You know, I think it's really great. Julia Roberts has staff- she can take the pressure off of me being me. People might start to associate the book with her so I can just grow my peas in peace."

Honestly, it still took me about 30 minutes to get over the fact that Julia Roberts was trying her darnedest to overcome her own personality and become a sweet, friendly, emotional person. However, she did win me over. This might be her best work. She clearly spent time observing the author, because some of those mannerisms, tones, gesticulations did come through in her performance. More impressively, I think she captured a very feminine horror... that feeling that comes along in our love stories where we realize we've made a big mistake and yet so desperately wish we could get out of it without hurting the other person... knowing it's not possible. Wanting not to, knowing we have to, walk into the mouth of hell. She got that.

The casting was excellent. Wonderful performances. Some weird choices were made in the series of events that deviate from what happened in the book, but, nothing I need to rant about here... save for the final portion of the film. Bali is the sloppiest section of the movie, in terms of adaptation. The director/screenwriter really pumped up the volume on the drama of Liz, the character, finding love again in Felipe from Brazil. In the book, it seemed like a thoughtful, yet, natural transition. They carefully but willingly fell into their love affair. The movie makes it so... well, Hollywood.

I still think it was a brave thing to do, to make this film at all. Most divorce stories inspire our lust for the vengeance we would never take on a person in real life. Ever see The First Wives' Club? Are we not completely delighted to see each nasty ex-husband finally get pushed around by the wives they so callously cast aside for younger women? Of course we are! But, that's not Liz's story. Liz wanted to seek out peace, forgiveness, resolution.

I think that's risky, to stick to that idea in a modern motion picture. She finds a way to make peace with her husband who made her divorce so hard, who said some hateful things that would disturb the most tough-skinned of women. While I'm not sure why they chose to make the husband's character such a goober in the movie (I'd go into it, but, it makes me tired... such a cheap Hollywood trick to make all other romantic options deplorable so you make your audience want the girl to go for the guy you chose for her), they handled this idea of forgiveness after heartbreak pretty well, pretty close to the real Liz's standards, I'm daring enough to say. Suck it up, America. We're putting our money where our mouth is and cultivating peace rather than seeking empty retribution.

One thing I truly don't like about the film, now that I've seen it a few times, is the soundtrack. It's all popular songs. It needed a composer to write a score that would tie everything together. The soundtrack is so jarring and abrasive that it makes the movie seem more like four little films smashed together and less like one continuous journey. A talented composer could have created themes that grow and change with the landscape and the scope of Liz's experience rather than leaning on goofy, emotive pop songs. I liked the opera used in the pasta eating scene in Italy and the lovely Brazilian music used in Bali... but most of it was obtrusive to the experience and made for a bumpy ride. (I especially disliked the use of Neil Young's Heart of Gold during the Thanksgiving turkey breakfast in Italy... out of place.)

It's a good movie overall. The book is better, of course, and the movie runs a little long, but, it's worth a gander if you're into personal journeys...