Our romantic hero is the young Ashton Kutcher, celebrated for adolescent comedies. He has apparently indulged in calisthenics to look statuesque, which means to cause girls to sigh, women to heave. – However, romantic heroes must be suspected of dying or killing for love, or else love has no special claim to man’s & woman’s attention.
Our comedic heroine is Katherine Heigl. She looks like girls do on magazine covers; we will learn that the look of woman & the being itself are strangers. This woman has a career in computers. Nothing else worth mentioning. She lacks confidence; she loathes her life; she has no idea where to turn for help. One day, on vacation in France, she encounters the young man – handsome, scarcely covered, shameless. Abruptly, nature makes her claims on the woman obvious, threatening to overpower conventions of decency. The boy is himself as obviously unmoved as he is confident.
In the beginning, the boy seduces & marries her. – We skip three years of boring marriage. – In the end, we come to the fighting. An upscale, American, suburban neighborhood replaces the French Riviera. Another change is pregnancy. Yet another: now everyone in the neighborhood appears to be trying to kill the couple. These changes might tend to suggest that murder is the ugly truth concealed by exotic, sophisticated beauty. But this is the woman’s perspective. We saw killings take place in both places. From our point of view, the change is that the woman now sees the killings. Apparently, bourgeois comfort cannot educate a woman about life as men live it.
Murder in suburbia occurs infrequently, as also espionage. We must then take this to mean that the man has brought this danger with him – it is natural to him, but not to her. It is also not natural to her to try to understand him. In trying to hide it from the woman, he made her think he is not a killer. In his defense, she was willing to be deceived in this case. In her defense, it is not easy loving a man’s manliness, considering its dangers, to say nothing of aloofness.
The woman’s education is apparently the problem of the plot. Marriage is the means, motherhood the end. This requires understanding men. She has previously been deceived; she is now undeceived; apparently, she must learn deception. Her mother, a casual drunk, is ignored by her manly, domineering sober father. They are as different as night & day, or pleasure & pain. As the boy learns nothing, the woman apparently learns that family life depends on women. As she was conventional in the beginning, now she must defend these family conventions. She must learn to be unconventional.
Recommended for fans of these beautiful actors