Movie Reviews From the Aisle Seat:
“Elizabethtown”

by Joshua Maloni
October 13, 2005

Drew Baylor (Orlando Bloom, right) and Claire (Kirsten Dunst, left) in Cameron Crowe’s “Elizabethtown.” Photo credit: Neal Preston. Copyright© 2005 by PARAMOUNT PICTURES. All Rights Reserved.

The premise: When the death of his father brings him to Elizabethtown, Ky., Drew Baylor’s (Orlando Bloom) life is changed when he meets an irrepressibly positive flight attendant named Claire (Kirsten Dunst) in writer-director Cameron Crowe’s heartfelt drama, “Elizabethtown.” The film stars Bloom, Dunst, Susan Sarandon, Alec Baldwin, Bruce McGill, Judy Greer, Jessica Biel and Paul Schneider.

The review: Cameron Crowe has spoiled going to the movies.

He’s also redeemed a ho-hum year of filmmaking.

With “Elizabethtown,” Crowe, the director of “Say Anything,” “Jerry Maguire” and “Almost Famous,” offers a romantic comedy so well crafted that watching recently released, similar genre films like “Just Like Heaven” seems pointless – unless you frown upon thick layers of character development, complex relationship building and a perfect soundtrack, in which case you’ll love the Reese Witherspoon vehicle.

“Elizabethtown” makes its peers (in genre only) seem silly and pointless. Moreover, it’s really quite funny. The intelligent humor – yes, that still exists – is so well placed, so timely, it makes bawdy comedies like “Wedding Crashers” (yet another romantic comedy) seem idiotic and desperate.

There’s more to relationships than sex – both in real life and on screen. Crowe realizes this, and presents lead characters that are interested in each other’s lives – not just getting in between the sheets. They take the audience on a trip – metaphorically and motor vehicle-y – through job loss, family dissention, new love, new perspective and family bonding. And yes, they make out a little in the process.

The best part about Crowe, as a creator, is that he builds moments. “Jerry Maguire” showed us the money; Stillwater sang “Tiny Dancer” on the “Almost Famous” bus; John Cusack held up a radio playing Peter Gabriel’s “In Your Eyes” in “Say Anything.” The filmmaker does it by mixing key emotional scenes with apt, emotional music. “Elizabethtown” is filled with such moments (look out for that “free bird”).

In a year full of forgettable films and films we wish we’d forget, “Elizabethtown” is a movie that should re-encourage theatergoers to abandon their small screens in favor the Silver Screen. Finally, there’s a film worth the trip.

A

- Joshua Maloni