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Nights in Rodanthe (2008)

PG-13 | | Drama, Romance | 26 September 2008 (USA)
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A doctor who is traveling to see his estranged son sparks with an unhappily married woman at a North Carolina inn.

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Writers:

(screenplay), (screenplay) | 1 more credit »
1 nomination. See more awards »
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Cast

Cast overview, first billed only:
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Dot
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Linda Molloy ...
Jill Torrelson
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Charlie Torrelson
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Danny Willis
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Jenny
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Old Gus
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Jean's Lover
Terri Denise Johnson ...
Medical Resident
Jessica Lucas ...
Admiring Nurse
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Storyline

Adrienne Willis, a woman with her life in chaos, retreats to the tiny coastal town of Rodanthe, in the Outer Banks of North Carolina, to tend to a friend's inn for the weekend. Here she hopes to find the tranquility she so desperately needs to rethink the conflicts surrounding her -- a wayward husband who has asked to come home, and a teen-aged daughter who resents her every decision. Almost as soon as Adrienne gets to Rodanthe, a major storm is forecast and a guest named Dr. Paul Flanner arrive. The only guest at the inn, Flanner is not on a weekend escape but rather is there to face his own crisis of conscience. Now, with the storm closing in, the two turn to each other for comfort and, in one magical weekend, set in motion a life-changing romance that will resonate throughout the rest of their lives... Written by Drew ToLoweJarrBar

Plot Summary | Add Synopsis

Taglines:

It's never too late for a second chance

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for some sensuality | See all certifications »

Parents Guide:

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Details

Country:

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Language:

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Release Date:

26 September 2008 (USA)  »

Also Known As:

Noche de tormenta  »

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Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend USA:

$13,418,454, 28 September 2008, Wide Release

Gross USA:

$41,850,659

Cumulative Worldwide Gross:

$84,375,061
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

According to Nicholas Sparks (who wrote the book this movie was based on), the two lead characters were, in part, created after real-life happenings about the way he and his wife Cathy met and started their relationship in a small coastal town. See more »

Goofs

The wild horses do not exist where the movie takes place. They are actually about 60 miles north near Corolla. They would have to swim across a wide inlet to get to Rodanthe from Corolla. Another herd of these wild horses is on Ocracoke Island, about 35 miles south, but are penned in for their protection. Another herd of these wild horses are located on the Cape Lookout National Seashore, and freely roam between Cape Lookout, Shackleford Banks, and Carrot Island, near Beaufort, NC. See more »

Quotes

Dr. Paul Flanner: We all make choices, Adrienne. You chose that life, you chose that man. Do you even remember who you really are anymore?
Adrienne Willis: Just stop it.
See more »

Connections

Featured in The Tonight Show with Jay Leno: Episode #19.129 (2011) See more »

Soundtracks

Moten Swing
Written by Bernie Moten and Ira Moten
Performed by Count Basie
Courtesy of EMI Records Ltd.
Under license from EMI Film & Television Music
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Frequently Asked Questions

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User Reviews

 
Filmmakers Reveal Utter Contempt for Romance Audience

"Nights in Rodanthe" is an insult to audiences. The filmmakers assume that audiences for romance films are so stupid that they will accept amateur schlock made with as much care as a local-access, late-night television commercial for a mattress warehouse. "Nights in Rodanthe" got abysmal reviews, but I decided to check it out anyway: Richard Gere, Diane Lane, a gorgeous setting, and a romance, all attracted me.

The movie is so awful its awfulness overwhelms even Gere's manly sexiness, and Lane's sweet perkiness. This movie is to romance what motion sickness is to gourmet food.

The setting is a house whose pillars are set in the Atlantic Ocean. It goes without saying that this is, um, slightly risky. It's painfully obvious that the interior shots are NOT the interior of the ocean-bathed exterior. Since the house is a main character, this disconnect and complete lack of verisimilitude is painfully obvious. The owner of the house, an artist and descendant of slaves, would not store her family's heirlooms and her artwork in a house that's about to fall into the Atlantic Ocean.

The interior is the hell for tchotchke collectors. In place of a coherent plot or sincere dialogue or romantic heat, the filmmakers offer us a set crammed to the gills with beaded curtains and retro kitchenware and embroidered pillowcases and carved little boxes and colorful vases: I thought I was walking around inside Martha Stewart's brain. The combination of shoddy film-making, shallow script, and overstuffed house communicates loud and clear: the makers of this film decided that romance film fans are such chuckleheads that they will accept vapid, cinematic drek as long as there is a garage sale collectible in every shot.

The film is so rushed it feels more like a filmed rehearsal than an actual film. Gere and Lane appear to have been given no direction, no coherent scheme within which they could connect. The special effects, of a hurricane and a mudslide, are so ostentatiously subpar they could have been replaced with lights turned on and off by a stagehand and a shaken piece of tin roof material for sound. I don't know how a filmmaker could have directed a scene starring one of the sexiest men alive, Richard Gere, cute and adorable Diane Lane, a house half in the Atlantic Ocean, and a hurricane and created not one candle-power of fear, romance, sexual tension, or meteorological oomph.

Shame on the makers of this film for having so much contempt for their audience, and for their material.

There's one great scene, and performance in this movie, though. Scott Glenn, who was himself a poor Appalachian lad, plays a poor Southern man whose wife died. Glenn's performance is genuine and powerful. That he managed to work that performance into this movie is testimony to his power as an actor. I have a new respect for him. The rest of the film should have been better if only to honor Scott Glenn's incredibly fine turn.


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