:: Tom Magazine

This Nicholas Sparks adaptation begins like The Notebook 2: Modern Era. Maybe I just noticed the connections more because The Notebook happens to be by the same author. Either way, it eventually separates itself as an equally tear-jerking and original story on its own. While on a summer break, the young, beautiful, and sweet Savannah (Amanda Seyfried) meets John (Channing Tatum), a soldier on leave, visiting his father. They begin a whirlwind romance, and fall spectacularly in love, spinning some corny lines that are delivered so expertly they feel natural. After only two weeks, they are condemned to a year apart, as John goes back to his mission. It may sound all-too familiar, but the main difference here is that the letters they send each other don’t go unanswered. At the end of the year John returns, but eventually agrees to re-enlist after the September 11 attacks. This signals another two-year stretch apart after only 18 hours together. The film seems to be going nowhere as we see numerous montages of them writing their love letters, trying to get on with their lives. That is, until, John gets a letter after a long stretch of silence that is a classic ‘Dear John letter’- as Savannah admits she has become engaged to someone else.

What comes next defines Dear John as apart from other romances, with dramatic elements that give it more substance than could be expected. Loss and the damaged tendrils of the relationship left behind is a motif. This is seen in everything from Savannah’s close relationship with her neighbour Tim and his autistic son, Alan, whose mother left them. The dual storyline of John and his father, a sweet, mildly autistic man whose fanatic and obsessive behaviour causes tensions between them, takes the forefront for parts of the film. Richard Jenkins beautifully portrays the father, in a surprise for those who haven’t seen him in too many serious roles. This seems more the story of how a young man finally comes to terms with his father’s character, and how love - even fleeting ones - can shape our lives than a textbook ‘boy meets girl’. Seyfried gives a wonderful portrayal, and Tatum, despite having one tone of voice for all emotions, plays John well.

It’s easy to like this film, but in seeking out things to criticise, it would seem the tricky conversion from page to screen has left some holes. The character of Savannah is somewhat two-dimensional; she is generous to a fault, perfect in almost every way and not quite human. Her actions later in the story seem rushed in explanation and untrue to the character that was established, probably the fault of cutting and editing to fit the medium. This stumble in plot barely registers in what is an otherwise natural sequence. This is a wonderfully realistic exploration of long-distance love, of the relationships we are born into, and those we forge out of necessity. There were only one or two cringe-worthy lines in the whole script, more tears than a viewing of the Titanic (the sound of sobbing, popcorn crunching, and noses being blown was an unavoidable soundtrack), and a lot of life behind the storytelling. If, like me, you saw the trailer and it made your internal cynicism churn, go see it. Everything I had preconceived was proven wrong, and there’s enough material to sustain even those who despise the flowery scent of romance.

Dear John in cinemas 4 March.

ENDS