The Girl in the Book

a delicate theme. a meeting. a decent film. and the grace to explore the nuances of a painful memory. the option to explore the consequences of a childhood's incident, the need to escape from the mark of indifference of parents is an inspired option for define Alice's dramatic status. because Emily VanCamp does a great job in the lead role. because her fight to be herself against the past is credible , maybe as sketch but enough for suggest the drama. it is a good film. against the temptation to criticize it for the absence of a profound analysis of case. the last scene, like the scene of confrontation, are the two moments who saves the not great courage of director to search the roots of drama. so, see it !

For those who have survived sexual abuse by an older, respected predator who seems to deserve admiration in all other ways, and the resultant devastation of this experience in adult life...

I found this statement by the writer/director Marya Cohn:

"The girl in the book is a deeply personal story about a young woman who reclaims her body, her voice, and ultimately her power. At first, she must grapple with disturbing memories from her childhood and their profound, residual effects on her adult life. But she is eventually able to overcome her past and take control of her future. I intend for her victorious spirit to offer hope to all those with troubled pasts who must rise above them to live fulfilling lives."

Excellent film, especially for those who have lived through various shades of the experience. I am surprised the phrase "sexual abuse" is not mentioned in promos for the movie.

Ana Mulvoy-Ten, who plays the part of young Alice, is especially impressive in her portrayal of the full spectrum of emotions. I hope more attention is lavished on this highly successful film.

Emily VanCamp is excellent here starring as Alice, a self-destructive young woman working as an editor for a book publisher, in NYC. Her boss (Jordan Lage) discounts her abilities, and really just wants her to be his personal secretary. Her father (Michael Cristofer), a literary agent. is an overbearing and boorish slimeball.

However, when Alice's boss wants her to manage the re-release of an acclaimed best seller, some 15 years before, as an e-book, it will rekindle horrific and painful memories for her that occurred at that time. Often told through flashbacks, we see 16-year-old Alice being manipulated and sexually abused by the book's author Milan Daneker. The superb actor Michael Nyqvist is perfectly cast as Milan, and is so believable and despicable you just want to reach through the screen and give him a smack.

As a result of all this, Alice has such a poor self-image that she has become promiscuous, with her life filled with one-night stands from bar pick-ups. The crucial question, and the crux of the movie will be whether once she meets a nice guy and solid citizen (David Call), can she finally have a loving and meaningful relationship, or will she revert to her old ways?

In supporting roles, I thought Ali Ahn did a fine job as Sadie, Alice's best friend, and Ana Mulvoy-Ten was most solid as young Alice. The movie was written and directed by Marya Cohn, who's making her feature film debut here, and I read the film is semi-autobiographical. I would be interested in seeing what else Cohn brings to the screen.

In summary, as mentioned, this is not an easy film to view, but, overall, I came down on the positive side after seeing its rather uplifting final segments.

'The Girl in the Book' tackles the difficult subject of emotional abuse and possible statutory rape with subtlety, but falls short in dramatic expression. The main character is a blocked wannabe writer Alice, who works in a publisher's office for an arrogant condescending boss. Her father is a writers' agent, perhaps even more arrogant and condescending towards females in general, and his daughter in particular. As a remedy for her damaged self esteem, Alice habitually visits bars to hook up with random dudes for one-night stands.

Alice's toxic stew boils over when her boss commissions her to organize a PR event for the new edition of a best-selling novel by one of her father's clients. This author is called Milan, and it soon transpires he had taken an unsavory interest in Alice some 15 years previously while pretending to mentor her. The flashback scenes between the teenage Alice and Milan might have some ambiguity on the surface, but their excruciating awkwardness only amplifies the lurking lechery.

Despite a decent performance by Emily VanCamp as Alice, she's handicapped by a one-note screenplay which portrays her character as too depressed and defeated - and when she is finally roused to confront her issues, the script's solutions are glib and unconvincing. After an intriguing first hour, the film falls apart in the last act.

What to say about this movie, yes it is happening, more as we like to know of. It is a movie about a predator (paedophile), and Alice, one of the predators victims. And yes the story could been taken from the everyday life and is about the pain that follows the rest of the victims life. Most victims in this case Alice, lives are damaged. Well played by Emily VanCamp and Ana Mulvoy-Ten. Michael Nyqvist who plays the predator is doing a good job, but something is missing. The parts where the predator is grooming Alice, are very simplified. It does not show the patients (many month's)and how subtle the predators are working and kneading their victims physical and psychological, everyday one inch closer, everyday decreasing the proprietary space between adult and child, like a predator does on a deer.