THE LONGEST RIDE
US, 2015, 128 minutes, Colour.
Britt Robertson, Scott Eastwood, Alan Alda, Oona Chaplin, Lolita Davidovich,
Directed by George Tilman Jr.
What could be better than having one Nicholas Sparks’ story in a film? The answer is: having two Nicholas Sparks’ story in the one film. And that is what happens here.
Once again we are in Nicholas Sparks country, the state of North Carolina. We remember Message in a Bottle, The Notebook, Dear John, The Last Song, Night in Rodanthe. However, this time we are in from the Atlantic coast, at a college campus and at a centre for bull-riding (it is explained to us that this is not, not, a rodeo).
The second story is set in New England, and begins in 1940, shown in a series of flashbacks throughout the film. While younger audiences would be caught up in the romance in the present, older audiences would identify with the older couple and be moved by their lives in the stories from the past.
The focus of any Nicholas Sparks’ story is the romance. Sophia is a student, an art student, with a scholarship from New Jersey to the North Carolina campus. She has the prospect of an internment with an art dealer in New York City when she graduates. She is dragged, rather unwillingly, by her roommate to go to the bull-riding when she sees Luke, whom we have already seen as a champion with ambitions to top the international list of riders but who has had a serious accident. She picks up his hat – and the sparkle begins. Luke is very much the southern gentleman with manners to match and is handsome and charming. Though she knows she is returning north, she agrees to go out with him and they have a riverside picnic. So far, a potential for a sad story of separation.
On their way home, they see an accident and rescue an elderly man from a burning car. Sophia is asked to go back to the car to rescue a box. When she goes to the hospital to bring the box, she begins to read one of the letters and so begin the flashbacks to 1940, his letters written to the love of his life, later his fiancee, then his wife. The old man (whose age by arithmetic should be at least 90) is played as a bit of a curmudgeon but with charm by Alan Alda.
Sophia is played by Britt Robertson who handles her role very pleasantly. Lucas played by Scott Eastwood, yes, his son – and from some angles he definitely looks like his father, and at many moments he sounds like his father. This is the kind of role that Clint Eastwood might have played at this age of 28, but he was starring in Rawhide and the Spaghetti Westerns was still to come.
It seems to be going nicely, Sophia in love, Luke in love, taking her home to meet his mother (Lolita Davidovich) and she bringing him to an art exhibition which he does not understand at all.
In this, they are mirroring the older story, where Ira (Jack Huston, grandson and John Huston) works in a local store, enlists in World War II, is injured and returned home. Jewish, he is intrigued by refugees from Austria, especially the daughter, Ruth (Oona Chaplin, granddaughter of Charlie Chaplin and daughter Geraldine), a lively young woman who has a great appreciation of art.
Sophia returns to the hospital to read his letters to Ira, filling up the background story, their marriage, their inability to have children, Ruth’s desperation at not having a family, her coaching a young boy – with a later happy piece of information to cheer both Ira and Ruth).
The Longest Ride, by the way, refers to living with art rather than the eight seconds required for success on the bull.
Needless to say, there is a clash, the romance seems to be falling to pieces. But, something wonderful happens to them to do with Ruth’s huge collection of art pieces over the years and her eye for successful artists. You will have to see the film to find out what happens – but the happy ending (as if we did not know) actually goes beyond happy…
1. The popularity of novels by Nicholas Sparks? Film versions? The North Carolina settings? The world of the rugged? The world of the artistic?
2. The title, its reference to living with art and collecting it rather than the eight seconds for staying on the back of the bull?
3. Two stories within one, the linking and connections, one story mirroring the other?
4. North Carolina, the towns, the College, the ranch, the lakes? The venue for bull riding? The campus? The hospital? Homes? Audiences identifying with each story and characters?
5. The focus on Sophia, her story, age, Polish background, the cafe in New Jersey, her mother and the cooking, getting the scholarship, studying art, the prospective internship in New York, a bright future?
6. Luke, his father and his death of a heart attack, his mother and her not wanting him to ride bulls? The ranch, his going to see his mother, their discussions? His manager, the rivals, his success, his fall and injury, the year passing, the risk to his health, his being determined, the eight seconds, going up the rungs of the championship, getting to the top?
7. The girls at the campus, persuading Sophia to go to see the bulls, getting Luke’s hat, wearing it, their meeting, the invitation to go out, the date and the phone call, his visit to the sorority, the picnic by the river, their talking, the rain, her going to New York, his being a gentleman of the South?
8. Driving, seeing the accident, saving Ira, his wanting Sophia to get the box? Taking him to hospital? Sophia staying, opening the box, starting to read the letters, going to see him, his being a curmudgeon, her reading the letters, persuading him to eat, being less cranky with the nursing staff? The continued visits, her continued reading of the letters?
9. The insertion of Ira’s story, letters, reminiscences? Ira in 1940, his age, work in his father’s shop, seeing Ruth, his shyness, the meetings at the synagogue, the importance of the Jewish background, Sabbath? Going to the diner with the rose, seeing her with the young man, breaking the rose, her seeing this? Her determination, his joining up, upset, a future marriage? In action, the war scenes, his injury, the doctors, his inability to have children? Ruth and her desire to have children? Then marriage, the passing of the years? His work in the store, her teaching? The episode with Daniel, his guardians, their neglect, Ruth doing the coaching, his having meals at the house, part of the family, his transformation? Going back to the family, then not seeing him again? The later visit of his wife, finding the photo of Ira and Ruth, his inscription, love for them, appreciation? The effect on Ira and Ruth? The college, the paintings, collecting the paintings, positioning them in the house, Ira and his ignorance about art? The years? Ruth saying she found that she was dead inside, her leaving? Ira and his sadness? Her return? The sad scene of his finding her dead? The strength of the two characters?
10. The effect on Sophia, being moved, her own art interests? Luke and his not having an interest in art? The invitation to go to the auction? The manager from New York, her manner, relying on Sophia with the clients, Luke and his watching her, his bemusement? Talking with the manager, his joke, Sophia being upset? The break between the two?
11. Luke, his determination, the further rides, the discussions with his mother? His mother and her liking for Sophia, urging him to keep following her?
12. Luke, the injuries, his determination to ride, his success? The aftermath, his achievement but realising it was not the full goal for his life?
13. Sophia, her work, the phone call, Iris death? The invitation to go to the auction? Luke and his receiving the letter, the invitation to the auction?
14. The huge amount of paintings, Ruth’s collection? The lawyer and his contacts with Sophia? The letter from Ira, his tribute to Ruth? The first painting, the portrait of Ruth, the first bid, going lower, Luke’s arrival, his buying the painting? His being drawn aside? Ira’s stipulation, the whole collection to go to the bidder on his wife’s painting?
15. Sophia, her love for Luke, the decision to create the gallery, dedication to Ira and Ruth, the management of the gallery, his management of the ranch – so much more than happy ending?
