With the seasons come cynicism. As major holidays approach,
it is inevitable to suspect that whatever movie studios prepare to shovel out
will be a recycled story from last year.
So it is with Valentine’s Day, this year headlined by “Endless Love,” a remake of a 1981 film of the same name.
Gabriella Wilde stars as Jade Butterfield, the daughter of a wealthy surgeon who falls in love with simple mechanic David Elliot, played by Alex Pettyfer. While trying to get over the death of her brother, Butterfield became a social recluse, until Elliot inspires her to reenter society. Their love quickly becomes forbidden when Butterfield’s father, played spectacularly by Bruce Greenwood, does all in his power to prevent Elliot from seeing her.
In true “Romeo and Juliet” fashion, the entire film chronicles Butterfield and Elliot’s continued attempts to pursue their love while her father foils said love.
The characters are essentially cookie-cut from every other cliché love story. The beginning narration makes sure to tell the audience that Butterfield is a beautiful outcast who enjoys the company of books to people.
Elliot is the poor boy, whose life aspirations shun riches in favor of idyllic domestic life.
He always wants what is best for Butterfield, even when she does not want it herself. In true white knight fashion, during his first tryst with Butterfield he insists on protecting her virginity. Despite her insistence, he still has to tell her that they don’t have to go “all the way” just yet.
However, none of this is in detriment to the movie itself, whose sole purpose, understandably, is to cater to the idealism behind Valentine’s Day.
It presents two characters who are completely unselfish in their love, making it easy to envy their purity. While presenting nothing revolutionary in story or filmmaking, the film appeals to a latent romanticism within viewers.
Yet, the movie straddles a dangerous line between romantic and cheesy. The two lovers share intimate eye contact after Butterfield drops her yearbook and bends down at the same time as Elliot to pick it up. Even worse, after their first kiss, Butterfield, slow-motion runs through a field of sprinklers with her arms spread.
Such overused romantic tropes reflect lazy writing, and make it seem like the film is just checking off boxes to ensure it remains formulaic.
Despite these weaknesses, the film does approach some serious topics well, such as Mr. Butterfield’s failure to cope with losing his son. Greenwood’s ability to magnify the character’s heartbreak and loss is a true testament to his ability as an actor.
Unintentionally alienating his family with his emotional distance and over-protectiveness, Butterfield’s father is an enlivened role in a sea of flat characters and poor writing. Greenwood’s effectiveness is depressing because he is wasting his talent on such a cardboard movie.
This film is best viewed in the scene with the most emotional tension: a confrontation between Greenwood and Elliot’s father, played by Robert Patrick, whose film credits include “Terminator 2: Judgment Day” and “Walk the Line.” As two veterans of the industry, it is a shame that they squander their ability with a junk movie.
Although “Endless Love” is just a reincarnation of many other love stories, it cannot be penalized because that is all it aspires to be. It feeds our desire, not to be enlightened, but to be convinced of a reality that does not exist.
It entertains idealistic fantasies of a world where first kisses happen just as romantically as we imagine them and love always is realized.
This is epitomized by the fact that Butterfield and Elliot never spoke throughout all of high school and still knew they wanted to love each other. The film refuses the conception of a world where missed chances actually matter.
Despite a million lost opportunities through years of failure, there is still always another one waiting around the corner.