About halfway through the film, Gena Rowlands says to James Garner (the reader of the notebook), “I think I’ve heard this story before. More than once.” Honey, we all have. Many times over. THE NOTEBOOK—with its opposite-sides-of-the-tracks small town romance yarn—is about as generic as stories get. Well nearly. Though THE NOTEBOOK may be trite in narrative, the feelings it conjures are surprisingly—and effectively—real.

Knowing the basic premise going in, the film’s opening lush lake photography offers the thought that this will be a Hallmark Hall of Fame presentation on a bigger budget—and that’s basically what director Nick Cassavetes delivers. But with the eye-rolling histrionics of Cassavetes’ previous John Q as track record, I must admit I held little, if any, hope for this by-the-book tale. Well Nick steps up. Indeed, while the story is hell-bent on sticking to formula, it’s the execution of it all that makes The Notebook a rather involving date movie.

By all standards, this film has no business being as engaging as it is. Yet it is. Credit Cassavetes for knowing when to pull the heartstrings, when not to, and mostly choosing restraint over indulgence. The script may be rote but the tone vibrates with authenticity. It does so in spite of the laundry list of clichés, one topped by blue collar boy and rich girl-next-door falling for each other, her parents don’t approve, and thus drama ensues. Many more could be listed at the risk of spoiling plot points (if that’s even possible), but darned if these actors—under Cassavetes’ gentle guidance —don’t make it work.

Ryan Gosling and Rachel McAdams play the star-crossed young lovers and they create a chemistry that truly sparks. As Allie, McAdams—who initially comes off as too-perfect—adds depth to her allure, making for a magnetic yet deeply felt performance. It’s Gosling (Remember The Titans), though, that jumps off the screen. With an unassuming charm and easy-going strength, Gosling unconsciously flaunts a natural charisma. His Noah Calhoun will make women swoon, no doubt, but do so with credibility—and that’s no small feet. But as with McAdams, Gosling brings a life-experience to the charm that resonates.

In love triangles, however, it ultimately comes down to how the third party is played, and James Marsden’s (X-Men) sincere portrayal in that role keeps things grounded even as the plot remains passé. It’s his character, in fact, that goes against cliché. Rather than the rich snob who treats the heroine as a prize rather than a person, Marsden’s Lon is a really good guy. A legitimately tough, rather than obvious, choice results for Allie, and the emotional pull to her—and the men, one of which will inevitably be wronged—more than makes up for the lack of dramatic tension.

Stalwart veterans Joan Allen and Sam Shepard shine in supporting roles, Allen in particular who deftly layers the script’s simplistic imperious mother with subtext and nuance. James Garner and Gena Rowlands do not fare as well, but the material for their modern-day interludes may have proved even too sappy for Fonda and Hepburn. Tech credits—from the sumptuous cinematography to earthy yet elegant art direction, all assembled with an even flow against the backdrop of a mostly unobtrusive score—are first rate.

The movie drags on a bit too long with a coda that, as evidenced by my screening audience having to sit back down once they realized the credits weren’t about to roll, should’ve been completely lopped off. But audiences expect these stories to be tied up in comfortable little bows, I guess, and on that note THE NOTEBOOK stays true to formula (however needlessly). Still, as far as nostalgic tear-jerking chick flicks go, THE NOTEBOOK is about as good—maybe even a tad better—as one could hope for.

-- Jeff Huston

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