Loving Elinor Lipman is something of a pass-code among babes who love books. If a woman — and it usually is a she — is familiar with Lipman’s work, there’s a 90 percent chance we’ll get along famously.
Lipman is often Cliff-Noted as the contemporary answer to Jane Austen, a huge compliment with a share of truth. Her stories tend to be about modern, literate women of at least modest good fortune. They aren’t in want of a husband — often as not, they have a hard time figuring out what they want. But inevitably they meet men who make them stand up, grow up, dress up … own up — to who they are and who they want to be. And want to be with. If this all sounds very chick-lit it’s because chick-lit has authors like La Lipman to thank for suggesting that sexy can make a much more interesting read than sex (though sex is hardy off limits here). I’ve loved her since I read an early short story that threw me for a loop in its willfully unconventional ending and doubtlessly spurred my years as the “United Nations of Dating” involving sensitive guys from a variety of national backgrounds.
All of which is to say, it’s been a very Lipman week. In Oregon, I reread “The Ladies’ Man,” a lesser work but diverting for a cross-country flight. Then Chica, a fellow book babe, and I got to chatting about “The Pursuit of Alice Thrift,” a not-so-minor work that caused me to burst into tears while listening to the book on tape during one transitional road trip. And finally I raced over to the theater this week to catch, “Then She Found Me,” the first big-screen adaptation of one of her earlier novels. It stars (and was directed and co-written by) Helen Hunt, with Bette Midler and Colin Firth.
Hunt deserves credit for recognizing a great story and bringing it to the screen. Except then she turns it into something else pretty much entirely. I’ve long since accepted that most movies can’t live up to the books from which they came. I don’t even think this is an awful attempt. But when the source is so rich, I can’t help but wonder what Hunt was looking for in revising so much of it. And did she find it?
“Then She Found Me” the book is the story of April Epner, a school librarian whose adoptive mother dies, opening the field for her biological mother to finally reveal herself and start a relationship. In the nature vs. nurture debate, nature takes a beating when this biological mother turns out to be a garrulous talk show host with a flirty streak and a fickle relationship with the truth. April struggles with reconciling this foreign element (who gave birth to her!) as she finds herself being courted by “a less than obvious” choice.
The book is charming in much the way the suitor is — subtle, a little silly and not easy to pin down. The nature of choices and being true to who you really are (especially when a new mother up ends everything you’ve understood) isn’t a fairy tale as much as an object lesson. As sure as we think we know ourselves, there’s always room for surprise. Thank god.
“Then She Found Me” the movie has the two mothers, April’s prickly nature and the sweetheart. But, SPOILER ALERT, what’s with the baby plot? And the husband? In this version, not only does the adoptive mother die but April has a husband (Matthew Broderick looking very Sexless & the City) who leaves her the day before. Oh, and she wants kids like a starving person wants food. Firth arrives as a train wreck of a single dad to a child in April’s class. As yummy as he is, this is not the suitor of the book who beguiles by consistently yet gently blunting April’s sharp edges. Here, Dad is a disheveled flannel shirt scribbling in the car who manages to announce he’s a loser (he kinda is) while proclaiming she’s gorgeous (she’s definitely not) and we’re to believe they’re smitten just because they say so.
I can only guess Hunt wanted to make a story about motherhood’s many permutations, mutations and adjustments as April tries them all on in the space of 100 minutes. Fine, I get it. Except, there’s a perfectly lovely film in the story as originally written. Bernice the biological mom, is the chatty, passionate, crass example April’s been raised not to be. But her exuberance and her love give April a second chance at being mothered and forging different kinds of bonds. It’s the grace notes of this original plot that work best in the movie. (Can we just take a moment here to send a post-it to Hunt and tell her to take notes from Bette Midler? This is what aging gorgeously looks like.) Midler is so honest and shameless — in the best sense. She exudes so much confidence the other actors seem even more washed out in comparison. If only Firth were given a chance to play the guy as intended. Casting Firth has a certain box-office brilliance to it; a not-so-subtle nudge to Austen-ites to pony up for the flick. But in playing off the Darcy-type, Hunt misses the chance to let Firth play Darcy as conceived in the last moments of “Bridget Jones’s Diary.” Nice guys do kiss like that and they’re not afraid to say the F-word.
The awkward and antic relationship between biological mother and daughter has the makings of a film that wouldn’t automatically be relegated to chick flick if that was Hunt’s fear. Buried in here is a prickly, honestly, relevant movie about how to create an adult relationship between parent and child and between two pained and painfully careful adults.