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by Robert Schwartz |
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directed by Roger Michell
stars Hugh Grant, Julia Roberts
Personally I’m not big on romantic comedies so the fact I loved this quaint, little flick means it really does possess the ability to charm. In a sense we get Four Weddings and a Funeral part 2 because we have the main star, Hugh Grant, the screenwriter Richard Curtis, and the producer Duncan Kenworthy of that success all reunited. Grant’s character, William Thacker, falls in love with an American in this version too, but that’s about where the similarities end.
Here, William emerges as the owner of a little travel bookshop in the trendy, but still fun, area of London known as Notting Hill. A corner of London famous for the (Portabello) vegetable market, its antique and bric-a-brac stores, lazy cafes and a wonderful cinema or two, Notting Hill remains a slacker’s paradise. It’s long been a wonderful place to spend a relaxed afternoon and this unhurried vibe pulses though the film, creating a soothing atmosphere for the proceedings. William is going about his daily, not very busy, business when in walks Anna Scott (Julia Roberts), the most famous person in the world. An actress whose image appears on every passing bus, the beleaguered lady is trying to avoid publicity for an afternoon. When William accidentally spills juice on her outside the shop, he convinces Anna to wash up at his very nearby flat. Thus the lives of these very different people are entwined and, against the odds, the romantic spark feels real. Anna comes along to a birthday party for William’s sister and meets his wacky clan (after having been subjected to William’s buffoon of a roommate, Spike). There’s a great scene where all the party guests are making their case for why they deserve the last dessert and Anna is pretty convincing on how a celebrity’s life is annoyingly difficult. This exchange typifies the down-to-earth, natural quality of the dialog. At the party, Anna meets William’s ex-flame, Bella (Gina McKee), who is wheelchair bound, and upon leaving she immediately quizzes him on her disability, just as real people are likely to do in a similar situation. The portrayal of this handicapped character is as honest, straightforward and accurate as you’re likely to see in any film.
Both the building of the relationship and the pitfalls that stand in Anna & William’s way feel authentic and familiar. Pretty soon we forget that Anna is supposed to be famous and relate to her as just another woman deciding if a relationship is for her or not. This and some wonderful cinematography, like when William walks down Portabello road yet experiences all four seasons, make for fine filmmaking. No doubt many of the issues hit close to home for Ms. Roberts, so she must be commended for undertaking this risky and honest work. Notting Hill comes off as a romantic comedy for both the romantic and the pragmatic alike.