"Love, Rosie" is a frothy, run-of-the-mill, but charming romantic dramedy based on Cecelia Ahern's novel, "Where Rainbows End".
The narration literally starts off by asking the audience a rhetorical question, "What do you get when you fall in love?"
For those who don't have an answer to the question, this film is a response of sorts. And for those who know the answer, this is a reiteration of events that has touched their lives at some point of time.
Narrated in a non-linear fashion, "Love, Rosie" is the tragic saga of Rossie Dunne (Lily Collins) and Alex (Sam Claflin) of how, the two inseparable childhood friends take each other for granted and remain 'best friends forever' and star-crossed lovers. It is after a fleeting shared moment that they part ways. The realisation dawns that despite their flaws and flings, they are meant for each other and fate has decided to bring them together.
Though the eventuality is predictable, it is their journey, packed with misunderstandings and ill-fated circumstances that makes the viewing interesting. But then the plot loses its fortitude in terms of logical balance of the character graphs.
Similarly, the script emphasises heavily on dreams -- literally, as well as in terms of ambition of both the characters. It is when Rosie's father advises her, "There is nothing you can't do if you put your mind to it, so keep chasing your dreams", the advise seems apt. But in the overall context of the film, this message seems forced as Rosie was never fiercely chasing her dreams or her man!
The performances of every character are fresh and bubbly. Lily Collins as Rosie Dunne and Sam Claflin as Alex are likeable. Their chemistry is palpable. But it is their transition, physically and mentally, from teenagers to adults in their early thirties that is unconvincing. Nevertheless, both of them make a loveable pair.
They are aptly supported by Suki Waterhouse as Bethany -- Alex's girlfriend in college, Tamsin Egerton as Alex's sexy wife and Christian Cooke as Rosie's one night stand and a mistake, have their moments to shine.
The humour surfs up sporadically in a formulaic situational manner. There are precisely two memorable scenes; both involving Rosie's sexual endeavours. These scenes induce laughter and remain etched in your memory much after you leave the theatres.
On the visual front, with his complex camera movement, few of director of photography, Christian Rein's frames are worth a mention. Especially the shot that captures a close up of a melancholic Rosie, then gradually zooms out to capture her within the frames of the window and go beyond that to showcase the whole house and the lane. This image metaphorically shows Rosie's loneliness. This technique is repeated twice in the film.
The numerous, frisky and mindless soundtracks actually add to the frothiness of the narration. The film is worth a watch if you have nothing better to do.