Released in 2012, based on the book "Before I Die" by Jenny Downham, "Now is Good" tells the story of Tessa (Dakota Fanning), a 17-year-old girl who suffers from terminal leukemia and as her last goal in life, decides to make a list of everything he hasn't done and wants to do before he dies, from losing his virginity to getting a tattoo. Until Tessa meets her new neighbor, Adam (Jeremy Irvine, from "War Horse") who seems to be the savior of all her problems, he seems to be that missing element in her life, it's the thing that gives her meaning, and if surrender to this relationship even knowing that it would soon come to an end.
"Now is Good" is a mix of "A Love to Remember", talking about the case of the girl who, before dying, starts to fulfill her last wishes and who in the middle of the journey ends up falling in love, with the work of Gus Van Sant, "Restless", where even the protagonist couple is visually similar. However, little by little, the film is convincing and showing its difference, not being as novelistic as a work adapted by Nicholas Sparks and different from Van Sant, bringing life to its characters and sincerity to the situations they face, managing in some dialogues to prove their intelligence, competently inserting its plot into the real world, the feelings are translated truthfully, the looks, the words, the dramas. It does not intend to show how much love saves lives, nor that the protagonist's humor is what makes her strong, elements that are so cliché in films of this genre, here, they reveal to us their weaknesses, reveal to us their fears and therefore, He can bring emotion to scenes much more easily, simply by being more honest.
The script, written by Ol Parker himself, addresses Tessa's illness with refreshing honesty. Instead of getting lost in unnecessary melodrama, the film focuses on Tessa's journey to fulfill a bucket list before she dies. Parker's sensitive approach allows the audience to emotionally connect with the protagonist and her struggles. The script has the noble intention of not only showing Tessa's drama, but also reserves space to tell us how much her illness and how much her attitudes affect the people around her. Adam who avoids her kisses and prefers not to talk about his personal achievements for fear of appearing superior or for fear of proving that he has a life beyond her. Her mother, who never knows how to deal with the situation, and her father, so protective, who once again sees the child in her. Each of these details enriches the plot and makes the conflicts seem more real. Parker deals with the harsh reality of Tessa's illness with healthy frankness - the possibility of recovery is out of the question - so it's disconcerting when the film launches into intense romanticism in the final parts. A scene in which the young couple takes a sunset motorcycle ride through the countryside, wild horses galloping alongside them, delves into flowery kitsch that doesn't seem consistent with Tessa's own imagination; Meanwhile, "War Horse" star Irvine doesn't need any more equine associations.
It's up to the strong cast to keep things believable. Dakota Fanning gives a truly stunning and memorable performance in this film, delivering a South Coast accent perfectly as a free-spirited young woman from Brighton. Parker claims she was chosen simply because she pushed for the role, and it's clearly not only a bold choice, but also the right choice. She also embodies British mannerisms so well that it's hard to think of Fanning as being from anywhere else. She's combative, petulant, and often cutting, but also physically fragile like Tessa, a winning formula for a leading heroine. There's also a wonderful ease with which Fanning portrays her strong-willed character that smooths the way for the inevitable. She remembers to make Tessa's pain permeate in the right amount, so that there is always a constant reminder in the subconscious, without resorting to tear-jerking theatrics. It's only at the end that the emotion really hits you, at which point Parker comes into his own and delivers a montage of "what could have been" in a healthier world. Viewers will also be in for a treat with Irvine, who has physically transformed to play Adam, the "boy band-looking stud" who also mourns the recent death of his father. As another "wounded soul," Adam's rebellious nature complements Tessa's in a battle of wills, each trying to find a purpose in life with fun consequences along the way. Irvine is commendable in the role and has a wonderful confrontation scene (not in the book) with Tessa's father, brilliantly played by Considine.
As in his previous script, "The Exotic Marigold Hotel", Parker excels in portraying women. Tessa, her mother, best friend Zoey (Kaya Scodelario), and even Adam's mother seems more multidimensional than Adam, and Tessa's father. And where director John Madden was able to maintain a level of excitement to balance the more over-the-top elements of Marigold's script, here, left to his own devices, Parker has a tendency to linger too long in the moment. Tears will undoubtedly flow, but Parker needs to learn to trust his audience more. We can capture and appreciate his message. On the other hand, the choice to set the film in Brighton, England, adds an additional layer of charm and visual beauty to the narrative. The cinematography captures the unique atmosphere of the coastal town, adding to the overall feel of the film. The soundtrack plays a crucial role in creating the emotional atmosphere of the production. The film skillfully balances moments of humor and lightness with the seriousness of the central theme. The interactions between Tessa and Adam provide comic relief, while still touching on crucial issues related to life and death.
Ol Parker's direct and honest approach shows the emotional impact of Tessa's situation on her family and friends. Paddy Considine, as Tessa's father, gives a moving performance, highlighting the emotional conflict of a father facing the imminent loss of his daughter. The soundtrack and cinematography contribute to the emotional atmosphere of the film, creating an immersive experience for the audience. However, it is important to note that some scenes can seem overly melodramatic, and the narrative occasionally resorts to genre conventions, exploring the journey of acceptance, love and goodbye. Although it may be perceived as overly emotional by some viewers, the film provides a moving exploration of the human condition in the face of imminent death. The highlight of the production is, undoubtedly, Dakota Fanning's brilliant performance. She delivers a captivating portrayal of Tessa, skillfully capturing the character's emotional complexities. Fanning masterfully balances bravery in the face of imminent death with the vulnerability inherent in a young woman searching for meaning in her final moments.
"Now is Good" is a work that stands out for its ability to convey a varied range of emotions, providing viewers with a rich and engaging experience. Among the most touching moments, the reveal of Tessa's wish list for her best friend Zoey stands out. This decision to intensely embrace life before death sets the emotional tone of the film, creating a deeply moving narrative. The scenes in which Tessa confronts her parents about her health condition are particularly intense, exploring the emotional conflict between the desire to live and parental concern. The romance between Tessa and Adam is also a highlight, capturing the discovery of love amid tragedy and the fulfillment of shared desires, adding an additional layer of emotion to the plot.
Throughout the film, every moment that shows Tessa accomplishing an item on her bucket list is permeated with genuine emotion. These scenes highlight the beauty in the little things in life, making Tessa's personal journey deeply moving. As Tessa's condition worsens, scenes exploring her acceptance of reality add a sense of vulnerability to the narrative. In contrast, the interactions between Tessa and her best friend Zoey provide moments of lightness and relaxation. Shared jokes and the camaraderie between friends offer an emotional break. Zoey's pregnancy is an element that contributes to the film's thematic diversity, addressing important issues related to youth, decision-making and the implications of significant choices. This subplot highlights the way in which the characters' lives are interconnected, expanding the richness and depth of the narrative, drawing a parallel to the finiteness of life and its beginning, of everything that will not be interrupted and everything that will still be lived.
The sensitive direction and the cast's remarkable performances make the work a touching and reflective experience, capable of deeply resonating with the audience. The narrative features some moves that bring sighs and tears from those watching, through poetry, humor, sensitivity and also wonderful songs. The text is great and director Ol Parker brings beauty to the scenes with visually interesting solutions, and with impeccable photography we see sequences that will easily be remembered (and the good songs will be remembered too). Full of style and possessing that elegance that every good British film has, "Now is Good" has the potential to be on the favorite list of many.
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