The Girl in the Book

I enjoyed the movie in most ways overall. The subject matter is an important one and needs to be addressed. However, the ending where she comes to a realization more of what's wrong in her life, it seems to say that a victim can just come to understanding, spells out her future hopes and promises, and "all is forgiven". It really doesn't work that way in real life. That's a huge trauma for anyone to go through and without some long-term professional help, human beings are rarely able to move forward and just "don't do it" anymore. I found it very unrealistic and not a great message to put into the world. Hard and deep trauma requires hard and deep help from professionals who know what they're doing. And yes, as another viewer suggested, it should have a strong warning at the beginning for those who might have gone through similar situations in their real life.

Emily VanCamp (TV's "Scandal") is Alice, a frustrated book editor with a messed up relationship when it comes to men and a deeply-seated dark secret in her past in "The Girl in the Book". While the story as both written and directed by Marya Cohn is engaging enough, certainly, VanCamp's performance comes off as mystifyingly muted here. She never seems to fully let go with this crushingly conflicted character's catharsis in a convincing manner. And thus what should have been a thundering wallop of an impact amounts to little more than a moderate thud.

Also be aware that there is a scene toward the end of this film with Ana Mulvoy-Ten (she looks 14 even though the actress herself was in her early '20's during filming) as a young Alice and a predatory mentor (a creepy Michael Nyqvist) that pushes beyond uncomfortable.

It's a basic story about a much older many who commits statutory rape on a teenage girl when he seduces her. I saw a movie earlier this year called Return to Sender which I thought did a good job explaining the lasting effects of rape and I think this movie does the same thing as the lead character grows up to become a woman whose relationships with men are clearly lead but this one particular moment, and it's not healthy. Making the situation worse is the the man who did this to her used the experience to write his most successful novel.

I was expecting more of a odd love story of forbidden romance going into the film, like a romantic comedy version of the first season of Californication, which has a similar but different plot. What it is in reality is a serious look about a girl who reached out to a stranger because her dad was too into his self to see her, and ended up becoming this creepy man's prey.

From my perspective, I saw a well done look at the profile of a woman effected by sexual abuse and how she deals with it. Well done.

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 !

Any film that covers the subject of rape/sexual abuse and its mental and emotional repercussions deserves to be applauded. It is a very difficult and sensitive subject that is also surprisingly complex when you see it from the victims' point of view.

'The Girl in the Book' is not the first film to explore the subject of rape/sexual abuse, and there are better overall examples when it comes to recent examples of films covering the subject it fares favourably. The last film seen by me exploring the same subject was 'Return to Sender' from two years ago, despite my admiration for Rosamund Pike (a good performance in a mediocre at best film) 'The Girl in the Book' is the much better film, being much better written, acted and easier to swallow on the most part. Again on the most part, 'The Girl in the Book' is a good film and a brave and well done exploration of a difficult subject that is harrowing and sensitive and not easy to talk about. It is also often misunderstood, with generalising, misconceptions and even with victim-blaming, which is good reason as to why it could be addressed more.

The first 10-15 minutes are on the erratically paced side and the two stories/time-line structure from the past with younger Alice and the present with older Alice is initially a little confusing and not as easy to follow as it could be. A longer length would definitely have helped, the film is too short which did make it occasionally jumpy and rushed.

If one feels the same and is considering switching it off, stick with it. The structure becomes clearer and while doing it in a nuanced way the film really comes to life. Sadly, 'The Girl in the Book' does fall apart in the final act, or the last half an hour, where it is too reliant on coincidences delivered in a very clunky fashion, things are wrapped up too tidily and conveniently and it just feels illogical and although intended to be inspiring the outcome felt forced and tacked on, hardly applying to a lot of victims and even when there are victims that do move on to some extent they never forget it.

On the other hand, 'The Girl in the Book' has a lot to recommend it. It is photographed with a lot of fluidity and atmosphere and the editing is always crisp and cohesive. The music, when used, never overbears the drama but is never too low key either. Marya Cohn makes a remarkably auspicious directorial debut, pacing enough of the story beautifully and being alert and accommodating to the actors, allowing them to bring believability and nuanced layers to otherwise fairly clichéd roles (particularly striking in this case is Alice, both older and younger).

'The Girl in the Book's' script is deft and can be surprisingly rich, clunking only in the final 30 minutes. Much of the story is clear, appropriately paced (though it is less than perfect in this regard) and dealing with its subject in a way that's harrowing, intelligent and poignant (there is little trivialising or sugar-coating here), making one really relate to Alice. A lot of the numerous twists are unexpected, logical and hit hard, if one feels uncomfortable watching that isn't a bad thing.

Every bit as impressive, in fact even more so, is the acting, with a particularly exceptional (haven't used that word often recently but in this case it is more than well deserved) performance from Emily VanCamp, bringing so many layers from guilt, shame and tormented pain but also determination and conscientiousness with defiant commitment and touching nuances to a character she makes complex and easy to relate to, yes even to people who have not been through rape/sexual abuse themselves. Ana Mulvoy-Ten portrays the younger Alice every bit as believably, going through a wide range of emotions hit perfectly.

Similarly, 'The Girl in the Book' boasts a (relatively) atypically chilling Michael Nykvist (best known to me as the male lead in the Swedish 'The Girl with the Dragon Tattoo' trilogy) who does a fabulous job making his character as loathsome as can possibly be, his death from lung cancer earlier this year was and still is a very sad loss. David Call brings a sympathetic charm and makes the most of what is essentially a plot device character. Michael Cristofer plays a dismissive and cold father figure wonderfully, making one hate him just as much as Nykvist's Milan. Ali Ahn is fine too and one can easily identify with her having her heart in the right place and being the voice of reason.

Overall, doesn't completely engage at first and let down badly by the final act, but if stuck with it's very well done and absorbing. 7/10 Bethany Cox