Filmed adaptations of literature will always be held to a higher degree of scrutiny than an original piece of work, since what works on the page often does not translate efficiently to the screen. Filmmakers perpetually face the dilemma of how to solve the trade-off between faithfulness to the text and the omission or addition of material that will cater to traditional cinematic strengths.
Whereas films like Cuaron's \Harry Potter and the Prisoner of Azkaban"" found success by focusing on directorial vision and coherent storytelling rather than struggling to slavishly reproduce every one of J.K. Rowling's words la Chris Columbus), others end up mutilating their source material into something unrecognizable and frustrating (the underwhelming sequel to ""Jurassic Park,"" for example). But often a legitimate attempt to loyally replicate the themes and events of an acclaimed novel fails because what functions as rich complexity in literature does not lend itself easily to compelling cinema, and this is exactly the case with Roger Michell's ""Enduring Love.""
Ian McEwan's highly praised novel proves to be eminently problematic source material for Michell and his cast, even though the film begins marvelously enough. Philosopher Joe (Daniel Craig) and his girlfriend Claire (Samantha Morton) are enjoying a peaceful picnic in the idyllic English countryside when a hot air balloon comes drifting out of nowhere. The situation immediately becomes dire when it appears that the kid piloting this balloon has lost all control, but luckily Joe and some other men are able to save him. But due to circumstances which are best left unrevealed, one of the rescuers meets a frightening death. This pivotal incident's repercussions reverberate throughout the rest of the film, which involves analyzing how Joe copes with his survivor's guilt and the persistence of a fellow survivor (Rhys Ifans) who turns increasingly dangerous.
The opening scene of ""Enduring Love"" is jarring and unforgettable, startling and disturbing the audience with its visceral imagery. Unfortunately, this marvelous beginning sets a standard that the remainder of the film is hopelessly unable to meet, as it devolves into a well-intentioned but shapeless mess. Michell bravely tries to incorporate the vast majority of McEwan's themes into the movie, but is unable to unify them into a coherent narrative. This movie is all over the map, containing an uneven assortment of scenes that range from moody and disturbing to campy and pretentious; oftentimes in a single sequence. One minute it's an evocative drama about coping with disaster-induced guilt, and the next it's a gay remake of ""Fatal Attraction"" without any boiling bunnies. Either way, nearly every event that takes place after the balloon mishap is a disappointing trifle dampened by a pervasive sense of gloom and misery and a terribly intrusive musical score that only serves to distract from the dismal proceedings.
Michell is also unable to coax forceful performances out of his talented cast; Craig's moping hostility becomes tiresome, Morton is unable to overcome her character's overwhelming blandness, and Ifans is more annoying and repetitive than creepy and mysterious until the violent but glaringly predictable conclusion.
""Enduring Love"" becomes a collection of aimless scenes drenched in despair but bereft of insight, often employing detracting stylistic devices in hopes of grabbing lost attention. Michell is an ambitious director who rarely travels similar cinematic terrain (his previous films including the Jane Austen adaptation ""Persuasion,"" the likable chick flick ""Notting Hill,"" and the intermittently fascinating ""Changing Lanes""), but he cannot contruct a cogent interpretation of McEwan's prose. ""Enduring Love"" aspires to stimulate thought on a bevy of topics ranging from religion to the meaning of love, but it only succeeds in persuading moviegoers to stay the hell away from hot air balloons.
