J.K. Rowling, Stephen King and Nicholas Sparks: All three have seen their creative stories adapted to the big screen, and all three have fallen victim to creative differences. As a result, my feelings for Sparks' latest adaptation, Dear John, are somewhat mixed as I found myself harshly disappointed that so many things had been changed for the sake of a motion picture.
Those that have read "˜Dear John,' Sparks' best-selling novel, know that the story relies heavily on a series of intertwined relationships. Through these relationships, the characters begin to grow on us, sharing their darkest fears and ultimate dreams through actions, words, and letters. Sadly, when the film takes to the big screen, many of these important relationships have been altered if not left out all together.
In what felt like a ninety page build-up, the coveted first kiss between our two leads was a true moment of passion. It was well thought out, placed and carried through. In the movie, it occurs during the couples' second meeting, making it a casual thing and ruining the tenacious build-up that Sparks worked so hard to create. It was a sucker punch to everyone's romantic side as Savannah's innocence was shredded, leaving nothing special or mysterious about the woman of John's dreams.
Additionally, Channing Tatum (who has become hit or miss in terms of performance quality and believability) never fully grasps his role as John Tyrre. His movements seem predetermined, his words a bit forced, and his relationship with his father a bit vague (though I can't entirely blame him for the film's lack of depth and maturity).
On the other hand, Amanda Seyfried continues to impress me, this time embodying the fragile yet confident Savannah Curtis. While the film Savannah is entirely different from the book Savannah, I feel Seyfried's look and demeanor fit the bill for both. Her candid good looks make her appear both approachable and obtainable, giving every guy in the theater the dream of landing her heart. She stands out in this film, in large part, thanks to a script that doesn't come close to embodying the power of Sparks' novel, and if she continues on her current streak, she could easily pivot her way to A-list status.
But, and I must sadly admit this, Dear John, as a film, is not that great. Sure it has its moments, and Tatum and Seyfried work hard to sell their relationship "“ but for me, it just didn't come together as fluidly as I expected.
Key plot points were vaguely touched upon, relationships that needn't be altered were transformed entirely, dialogue was a bit shaky, and oh, did I mention that the ending has been changed as well? Yup. Sure it has a few key points that point to a slight recollection of what happened in the book, but in terms of the ultimate finale, director Lasse Hallstrom opts to write her own "˜fairy tale' ending and do a complete 180-degree turn-around.
It really is a shame. Though Sparks rarely strays from his typical formula of love, loss, and redemption, he hit the ball out of the park with this novel. The ending is what made it so creatively enticing and humane. Gone are those characteristics, and gone is my good grade for the film.
Those who aren't familiar with the story should find the film stereotypical and somewhat entertaining. Adorers of Sparks beware. You are in for a whole new experience "“ one that, to an extent, disrespects one of the world's most adored writers.
