The Girl in the Book

'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.

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 (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.

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.