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
The rental home Serendipity was damaged and condemned after a Noreaster in November 2009. See more »
Early in the film, right after he checks in and she is in the kitchen to prepare dinner, she finds a photo on the refrigerator of her and her family, including her separated husband, and moves it to a cabinet. In the next shot she is working on dinner with the cabinet behind her and the photo is not there. See more »
When Jack left me, it wasn't just our marriage ending. It was the loss of all the hopes that I'd had for the future. I tried to move on, but the world didn't seem that interested in me anymore. Then you came along, and helped me believe in myself again.
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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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