Then She Found Me

"Then She Found Me" is an insult to the intelligence. At least with the "American Pie" and "Saw" franchises you know what you're in for. A cast like this leads one to expect some degree of quality -- or at least coherence. Wrong! Helen Hunt is an unsmiling, self-absorbed, masochistically willing victim. Matthew Broderick is meant to be a feckless Peter Pan but doesn't convey a scintilla of that. Bette Midler is woefully miscast in a role that completely ignores her comedic and dramatic talents. Colin Firth's character -- also grumpy and funereal in demeanor -- acts and reacts entirely without plausible motivation. John Benjamin Hickey flits around enigmatically like some latter-day Tinker Bell. It's as if all the characters were just put in front of the camera without directorial discussion of the movie's message, plot or intent. I'm not sure it's fair to blame Hunt (as director) because the screenplay is unrelievedly lousy. Not only is it poorly plotted, the "cute" dialog is in fact just plain dumb. This film will appeal only to those willing to suspend even subatomic levels of disbelief.

If "Then She Found Me" got any real notice when it came out, it certainly passed by me. I didn't know what to expect when I chose the streaming video version, mainly because I've always liked Helen Hunt, and she's backed by a pretty impressive cast. Although it's certainly no blockbuster, the film is well worth seeing. Since it is immediately disclosed, I don't feel I'm spoiling anything in saying that Hunt plays the part of an adopted woman whose marriage at age 39 fails almost immediately because her groom (Matthew Broderick) is completely immature. Hunt's character (April Hepner) is unexpectedly confronted by her birth mother (Bette Midler) and also finds herself in a potentially romantic relationship with Frank (Colin Firth), a single father with two children whose wife left the family to travel around the world with her lover. April desperately wants to have a child, and time is quickly running out. Complications ensue on several fronts -- with her birth mother, with the husband from whom she is separated, and with Frank and Frank's kids. Hunt directed this film and co-wrote the script. Although she's a little old to be 39 again, she's still slim, beautiful, a skilled comic actress and believable in a serious, emotionally wrenching role. I can't give the movie more than a 6 but I liked it. The ending, which I won't describe, is plausible but a little too abrupt. However, I'll concede that filling the gap could not have been done quickly. And that's a potent argument for ending it without an explanation as they chose to do.

The first forty or so minutes of "Then She Found Me" are quite excellent, with Hunt showing impressive skill for a rookie director, the score standing out as quite good, and the acting being very good. The script is surprisingly funny for the most part, and has a sense of authenticity and realism that works in favor of the film. The main problem with the film going past the halfway mark is that little of any real interest is happening, and nothing really stands out. It's still amusing, still well-made, still not a bad film by any stretch of imagination, but there's also absolutely nothing that left me wanting to see it again.

6.5/10

In a featurette on the DVD release version of THEN SHE FOUND ME writer (with Alice Arlen and Victor Levin) /producer/director Helen Hunt shares a ten year journey to have a film made of a novel by Elinor Lipman. Her cast shares in the very sentimental story of Hunt's devotion and seemingly endless charisma and abilities. The explanation for making this budget film are in many ways more successful than the film, a work the cast seems determined to classify as a comedy but a work that is far more a human drama.

April Epner (Helen Hunt) is married to fellow schoolteacher Ben Green (Matthew Broderick) and longs to have a baby before her advancing age prevents her dream. April was adopted as an infant by a Jewish couple who subsequently gave birth to April's brother Freddy (Ben Shenkman): April has always longed to have been Freddy's biological equal, wondering what it would feel like NOT to be adopted. April's busy life implodes: Ben has decided he doesn't like his life and leaves April, April's mother dies, April meets Frank (Colin Firth) a recently divorced writer and father of two children, and April is contacted by a man who can put April in touch with her birth mother - popular TV talk show hostess Bernice Graves (Bette Midler). And if these turns of events weren't traumatic enough, April discovers that she has become pregnant by Ben and Ben is unsure whether he can handle the restructuring of his life to accommodate April. Cautiously April and Frank begin a rather tenuous courtship which is almost immediately threatened by April's discovery of her pregnant state. April and Bernice meet, exchange backgrounds, and make pacts to test their biologic relationship. How each of these characters makes promises that eventually damage each other and then resolve in unexpected ways becomes a study of the meaning of love and compassion among fragile human beings.

While not a satisfying story on every level and a film too cluttered with inconvenient editing choices, the cast is strong and obviously committed, and the story (neither a comedy or a drama but a mixture of the two) tests credibility. But there are some fine moments and the lessons in human behavior are worth examining. Not a great movie but a strong little small budget film. Grady Harp

Seen at a September 2007 Toronto Film Festival screening.

First time director, Helen Hunt, said this movie was 10 years in the making. Her passion for the film and subject matter is evident, but also sets her up for her biggest downfall. She indulges the movie (her baby) which is interesting given this is relationship themed (mother/ daughter). Had she struck closer to that thread, the movie would have a tighter, more focused feel.

As it is, the outer reach of her film, a foray into her intimate, romantic relationships, with the intent of colouring her main character (April) instead seems like an untrained hand that colours outside of the lines. As a movie director, if this was her greatest weakness; I still give her kudos for doing a pretty good job. The woman took on a heavy load: first time directing, co-producer, co-writing the screenplay, and acting in the main role, all done on a 27 day shoot schedule! I almost feel guilty for any criticism.

At the post-screening Q&A Ms Hunt told us that the original story centred exclusively on the mother/daughter relationship. She wrote in the characters of Ben, her passive husband (Matthew Broderick) and Frank, her 'quickest rebound in history' mate (Colin Firth) herself. Understandablly she wants to add subtext to April's world and all the issues she's dealing with, but I felt somewhat 'pinballed' from scene to scene without feeling a smooth transition. A little more editing of these extra layers would help.

I can't leave it unsaid that what repeatedly struck me was why April loved her husband and continued to connect with him. He was such a shallow and thoughtless person. To me, that particular character was the weakest link in the movie.

Overall, I found many funny and poignant moments in the movie and think it deserves a look by a larger audience.