Humane, Honest 'Happens'

'Love Happens'

Review: 3/5

While a lot of cliches may be derived from the trailers for 'Love Happens,' I am happy to report that, while these trite adages may be comfortably hidden in the film's sub-plot, the principal story is focused on a widower turned self-help guru, Burke Ryan (Aaron Eckhart), and his three-day tenure at a Seattle seminar. Eckhart, on the surface plays the charming, charismatic guru much like he did 'Nick Naylor' in the effervescent 'Thank You For Smoking.' Yet, once the film's first fifteen minutes pass, it becomes wildly evident: this guy has problems. 

The film then delves into a candid psychoanalysis of Eckhart's emotionally tormented protagonist with the genuine aid of Jennifer Aniston's 'Eloise,' a florist with an odd infatuation with unusual language (a brief scene with her utilizing sign language to evade Ryan's passes at her immediately defines this practice). Carried on as one of the film's signature motifs, these unusual words seemingly mirror the metaphysical distance between the two, which tends to, unusually, expand as the film progresses. This is an astute move by co-writer and director Brandon Camp, as it allows the characters to act according to their emotions, and not by the demands of a formulaic script.

The film's standout is Eckhart as a man constantly hidden behind a self-induced facade, and unwilling to come to terms with reality. Eckhart's ability to discreetly transcend emotions of remorse, bliss, rage, and desperation makes the film hard not to watch; it's as if we're witnessing a slow-coming personal enlightenment, and we feel for him. And believe me, he could have easily been written as a detestable character. Again, credit the co-writer and director.

Aniston is essentially typecast as the love interest that piques Ryan's diligent enthusiasm in finding a new love, doing all that is necessary of her character to do. In essence, she hits all the right notes for a film that requires an empathetic supporting character, more 'guru' herself it turns out than Eckhart's 'Ryan.' Martin Sheen, as Eckhart's estranged father-in-law is presented in stereotypical form, until the film's climax when a reversal is revealed, not only layering Sheen's performance, but reminding the spectator that even the most stubborn of humans are compassionate.

The film is cast in grey, white and green tones thereby establishing a dreary setting, dynamic in its sparse beauty; fascinating if only one views it from the right perspective.