(ThyBlackMan.com) (***)
“I can’t get that kiss out of my mind.” How would you feel if you received that text?
It wasn’t supposed to happen. A brief encounter turned into something more than it should. An older woman. A much younger man. Where could this lead?
That’s the premise of Robinne Lee’s romance novel The Idea of You. Perhaps her setup is stolen from 2020’s gossip columns, social media postings and the very public displays of affection exhibited by Grammy-winning British pop singer Harry Styles and his Watermelon Sugar lover actress/director Margot Robbie. A May/December romance to some. Scandalous to others. Love unadulterated to those who believe in such.
Writer/director Michael Showalter and co-screenwriter Jennifer Westfeldt borrow Lee’s fable and create their own version of a love story between consenting partners whose romance is disdained by others. The filmmakers’ first brilliant stroke was casting the very versatile actor Anne Hathaway (Oscar® winner for Les Misérables) in the lead role and Nicholas Galitzine (Cinderella) as the boy toy.
Hayes (Galitzine) is the 24-year-old leader of the British boy band August Moon. Loved by teens and tweens around the world, Hayes and his group fill stadiums and rock out together. That’s when they’re not being jealous of each other’s love lives. Oliver (Raymond Cham Jr.), a bandmate, is particularly envious of Hayes, the lady’s man. Solène is a fortysomething-year old suburban single mom. She owns an art gallery in the trendy Silverlake area of L.A. Her heart was broken by her cheating ex-husband, Daniel (Reid Scott). The only love Solène can trust is that of her teenage daughter Izzy (Ella Rubin).
So, is it a twist of fate the day Daniel ghosts Izzy when he’s supposed to take her to Coachella, and Solène steps in? Mishap? Providence? The mom and the young singer meet haphazardly in a back stage dressing room. Hayes, “I feel like I don’t meet people like you very often.” Later as their flirtation evolves, Solène: “I’m too old for you.” Hayes: “No you’re not.” Solène: “I could be your mother!” Hayes: “You’re not!” An initial, quirky liaison begets a love that’s taboo. Middle-aged mom. Twentysomething-year-old man.
Within ten minutes, the story’s charm, beguiling characters and awkward situations are in full bloom. The romance is untraditional, yet alluring and authentic in ways that are ideal for a love story. At first, the undefined, nonconformist relationship is covert. Masked, like that of interracial couplings in the ‘40s’ and ‘50s. Or the gay relationships in the ’50 and ‘60s. Or right-wing and left-wing marriages now. Then the hiding gives way to clumsy slips and reveals. Like they’re passively coming out. Sometimes igniting outrage, jealousy and envy or feelings of betrayal. You’re on pins and needles. Will they be exposed? Who’s loose lips will do it? Public scandal? Will everyone adjust or fuss?
Equally compelling is the transformation Solène must make to give the relationship a chance. Can she hang out in a bikini by a fancy hotel pool with young groupies—without feeling embarrassed? Or does that look too cougar? Can he adapt to suburban life and coparent a teen who feels jilted and is teased by classmates: “Tell your mom I turn 18 in a month!” Can Solène face the PTA moms again? The push and pull, pride and doubt, glee and tragedy mount and mount. Target adult audiences—especially women—will want to watch this hot mess until it goes bust or endures.
As a director, Michael Showalter (The Big Sick) is an expert at setting a flirty tone. Light, fluffy, lovely. The concert footage depicted adds verve. Clips on a private plane hint at the glam rock life. When the screen is split into two, three and four panels it’s a nice accoutrement. The footage (cinematographer Jim Frohna), whether in real time or clipped and edited (editor Peter Teschner) into a series of flashes, is a welcomed diversion, too. Homes and hotels suites (production designer Amy Williams) add to the background. Rock band clothes and mom dresses (costumes by Jacqueline Demeterio) fit the intended bodies. Siddhartha Khosla’s musical score and Savan Kotecha original pop songs underscore the singer-songwriter vibe. While classic tunes on the playlist, like Wang Chung’s “Dance Hall Days” and Minnie Ripperton’s “Les Fleurs,” add a romantic flavor.
Hathaway masterfully creates a memorable character. Her version of Solène is a harried, put upon mom who wrestles with her desires while trying to placate her daughter’s needs. That will strike a chord with single parents who think love will never knock on their door again—until it does. Hathaway portrays this journey with certain grace. Galitzine creates the fame game Harry Styles exudes, as he delivers a performance that projects naiveté, joy, selfishness and remorse.
There’s an audience out there who wants to watch a romance between disparate partners. A forbidden love. Affection that stirs romantic emotions and hope for a happy ending.
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Written by Dwight Brown