Safe Haven – Film Review
Director: Lasse Hallstrom
Starring: Julianne Hough, Josh Duhamel, David Lyons and Cobie Smulders
Released: 1 March, 2013
Chick flicks are a mystery to most guys. Time and time again, I’ve had the concept and appeal of such films explained to me, but I just don’t understand them. At times, I wonder if this is how some (not all) girls may feel about action films. Both these genres are quite gender specific and, odds are, if you’re a guy going to see this film, it’s probably because your girlfriend is making you. (Or because it’s a press screening, and sometimes sacrifices have to be made in this job…). And also, this is a Nicolas Sparks movie which, I’m told, is the chick flick equivalent of Arnold Schwarzenegger movies from the 80s. But whatever, let’s see if we can give an adequate account of how it holds up for all audiences. *gulp* Here we go…
The film opens with Katie (Hough), a terrified looking young woman running through the rain to catch a bus in a bus station. She is being pursued by what looks like an emotionless cop (Lyons), but fate hath deemed that she gets away. After travelling for many hours, she stops in an idyllic little fishing village, where she eventually decides to hide from the law. She sets up house and, while staying, she catches the eye of a rugged and handsome single father, Alex (Duhamel).
It has to be said, as comfort films go, this will probably win a noble prize. It is, without a doubt, one of the laziest films you could hope to find, but not in a purely negative way. Long sweeping shots of the beautiful locations dominate this film, giving the audience a warm cozy feeling not unlike getting under a blanket after being caught in the rain. One entire scene in particular seems to have been lifted directly out of Disney’s The Little Mermaid. Predictable and entirely risk-free dialogue is exchanged by quirky characters, hurrying them along towards plot developments that would be highlighted in bold, neon letters in “How to make a romantic film”. Fittingly, Safe Haven is one of the safest films you’ll come across this year, and that’s OK.
It won’t win awards for originality, this could easily be almost any other romance film, but it is very good at what it does. It is a consistently beautiful film, expertly shot and with very warm lighting for the most part. The film occasionally shifts to what’s happening with the cop, Tierney, who is pursuing Katie. These sections are usually quite dark and cold, but never very long. The film glimpses these sections quickly, then cuts back to Katie’s story, just to remind us that how incredible her portion of the film looks. Considering how little actually happens with Tierney in his sections, this is certainly the most feasible explanation for why the film jumps back and forth so often.
How much the predictability of the film will annoy you depends entirely on how easily you can lose yourself within films like this. Almost the entire plot can be easily mapped out within the first 10-15 minutes. To their credit, the characters are at least quite likable. Katie meets Jo (Smulders) shortly after she arrives and, again, she is totally inoffensive. Tierney is utterly one-dimensional yet well cast for this sinister role. His motivation for being the way he is is tragically simplified, yet he does convey a strong sense of menace.
Meanwhile, we have Alex and his kids, all of who give spot on performances. Lexie and Josh fit neatly into their roles of unbearably cute little princess (again, utterly one-dimensional, but performed with aplomb) and irritable loner who is awkwardly approaching his teens. Alex himself follows an appealing character arc, the only one in the film that comes across as even remotely complex, and easily the standout of the film. Without hitting us over the head with it, he is slightly irritating, a dreamboat, and an emotionally tragic figure, almost all at once. The fact that he manages to achieve this without resorting to out-of-character quirks or actions is the greatest feat of the film. More emphasis on his character and his relationship with his kids would probably have been preferable.
And then, of course there is Katie, upon whose shoulders the majority of the film rests. Within minutes of arriving, she forms a friendship with one of Alex’s kids, stressing what a lovely, friendly lass she is. Emphasizing her unique and lovable nature, she then decides to paint the floor of her new house yellow (but not the walls…?). The film bullies us into rooting for this innocent yet quirky gal, and it is very obvious in its methods. As with other characters, it isn’t that the performance is bad, it’s just so simplified that we are incredibly aware of how artificial a character she is. She is less a relatable character than a sack of good attributes held together in a pair of tight shorts and revealing vest.
Finally, no review of this film would be complete without a sly nod to the ending (No spoilers), which will undoubtedly divide audiences radically. Regardless of how you feel about romance films like this, there is no one who is going to be taken in by this utterly comical, wholly ridiculous, “She’s-been-dead-for-10-years” absurd conclusion. Anyone who has been swept up by the film until this point will feel their eyes rolling so hard in their head that their hair will probably catch fire. Conversely, anyone who has been watching the whole film ironically/patiently will probably find this last unintentional, deadpan hilarious gag as worthy of the ticket price alone.
Overall, Safe Haven is a tricky film to rate because it will be viewed from two clearly opposed perspectives. Surprisingly, for its nearly 2 hours running time, it doesn’t drag and the performances are largely excellent. It might be utterly contrived and ridiculously simple, but this is so indulgent that it’s like having the luxury of sleeping comfortably with your eyes open.
Score: 3/5
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