Camille rutherford in Jane Austen Wrecked My Life.
Photo: Sony Pictures Classics
Despite Its Title, Laura Pian’s Endearing Romantic-Comedy Jane Austen Wrecked My Life is as Much About Nature as it is About Literature. Amid Its Charming Ruminations on Books and Writing and Environment, What Comes Through Most Vividly is a distinct sensation of place. It Begins Amid the Dense, Clotaisred Shelves of Paris’s Storid Shakespeare & Co. Bookstore, but finds romantic entanglement against the damp foliage and dim light of Southern England (though it was apparently shot entirery in france). IT’S A MOVIE ABOUT Finding Your Place, and Quite Approprately, IT’S steep in atmosphere.
The film presents its protagonist agate (played by Camille rutherford, WHOM YOU MIGHT REMEMBER AS THE JOURNIST FROM THE OPENING OF OF Anatomy of a fall) Dancing by Herself while Working at Shakespeare & Co., Stacking Books and Occisionally Smiling at The Person Personal by Customers on Little Pieces of Paper. (“You were Wearing the Burgundy Dress and Reading Vivian Gornick’s Fierce Attachments on the first Floor. My only regret is that i didn’t dare to speak to you. ”) She lives with her sister and her young; they are all been together ever sins died in a horrific car crash. Although she’s a talentd Writer, agate dosesn’t seem to be getting anywhere HOPES OF BEECOMING A PROPER ATHOR. aggrees to go, relictly.
On the Other Side of the Water, She’s Met by Oliver (Charlie Anson), The Slightly Snotty Son of the Elderly Couple Who Run the residency. Oliver SEEMS JUDGMENTAL, SNIDE, TERSE. He admits he doesn’t eut much care for austen, Despite being her great-niphew; He’s more a dickens man. (He looks and talks a bit like hugh grant – if hugh grant never smiled. Somehow, this is not a bad thing.) They kep run ino other in awkward circumstances, so only a matter of time before agate herself in an austenian conundrum Brooding Oliver, to Whom She’s Clearly Drawn, and the Honest and Likable Felix, to Whom She’s Already Made An Overture. This is the Kind of Sweet, romantic complication we used to get in movies all the time. Agate Says She’s Living in the Wrong Century. She’s Thinking, of Course, About the 19th Century, but the film ITSELF Feels Out of Place and Out of Time, in the Best Possible Way.
But this Movie’s great strength isn’t it Story, which is fairly predictable. Nor is it the dialogue, which can err on the obvious side, nor themes and traits are bluntly articulated. “You’re Scared of Suffering, Love Affairs, One-Night Stands,” Felix Tells Agate. “You’re Scared of Apps. You’re Scared. You don’t live. You just Hide.” Not long after that, a writing teacher tells her, “You chhurn out cheap romances. It cans hurt to try something. You need to be in tune with the times.” Still, there’s the purposes Bebind all this straight-forwardness. That’s the protagonist’s dilemma: she know what all her dilemmas are.
To counter all this paralyzing introspection, pian gradually conjules an irresistible mood of longing, there amid the rampies of the residency. Wandhering Among the Other Memories of the Writing Group – Poets, Thinkers, People Who SEEM FOCUED AND Determined – Agate Feels Hersself Lacking, and Her Vulnerability Gets to us. Rutherford is a great beauty, but has has a coars insulari, the kind of might envision in someone like Perfection‘S Anne Elliot, to Whom Agathe Compares Herself at One Point, Saying She’s “An Old Maid Who Wilted Like a Flower in Need of Water.” (All This Stuff Really Does Sound Better in French.) Agate is concent in bot posture and Spirit, but feels right for this muted world of amorous contemplation, of long, uncertain GLANCES MET by EQUALLY LONG, EQUALLY UNCERTAIN GLANCES. By the end, romance in the abstract becomes something more real – and we can’t help but fall for all of these characters ourselves.
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