Movie Review: Elizabethtown (Original Review)

Elizabethtown (2005) 

Directed by Cameron Crowe 

Written by Cameron Crowe 

Starring Orlando Bloom, Kirsten Dunst, Judy Greer, Susan Sarandon, Paul Schneider

Release Date October 14th, 2005 

Published October 13th, 2005

For me, a new Cameron Crowe film is like the release of Lord Of The Rings. I will line up days in advance, I will play the soundtracks of his previous films at obscene volumes and I will pore over the texts of the script as if they held the answer to life itself. Jerry Maguire, Almost Famous, Say Anything and Singles are not just any other movies.  To me they are masterpieces.

So I have been anticipating the release of Elizabethtown ever since the final credits on Vanilla Sky rolled off the screen in 2001. To say I am a little disappointed in Elizabethtown is one of the hardest things I have ever written. By the standards of an average movie Elizabethtown is great. By the standards of Cameron Crowe, however, Elizabethtown is a step backwards.

Orlando Bloom plays Drew Baylor, who looks like a man on his way to his own execution. Drew is a shoe designer for a Nike-esque company in Oregon and his first creation, a shoe called 'Spasmodica', has just failed so spectacularly that the company stands to lose nearly a billion dollars on it's recall. As Drew's boss (Alec Baldwin in a minor cameo) explains, the shoe was so poorly received by the public that one industry observer was quoted as saying the shoe could cause millions of people to return to bare feet.

Fired from the only job he has ever known, Drew returns home with dark intentions. He plans to kill himself and begins fashioning a very unique suicide device involving a kitchen knife and some workout equipment.  It must be seen to be believed. Drew's attempt is foiled by his cell phone's unending musical ring which he cannot resist answering.

The call is from his younger sister Heather (Judy Greer).  Their father has died. On a trip back to his hometown, the tiny Kentucky hamlet Elizabethtown, Dad had a heart attack. At his mother Hollie's (Susan Surandon) request Drew must go to Elizabethtown and retrieve the body for cremation in Oregon and represent the family in whatever tribute the Elizabethtown Baylor's have planned. The two sides of the family have rarely had contact.

On his flight from Oregon to Kentucky Drew meets Claire, a chirpy stewardess who takes a special interest in making sure he knows where he is going. Claire is obviously attracted to Drew despite, or maybe because, of his morose attitude. She gives him directions to get to Elizabethtown and her phone number in case he gets lost and it seemingly could have ended right there.

When Drew finally arrives in Elizabethtown the culture shock and his newfound family are so overwhelming that he needs to talk to someone and Claire is his choice. The two talk an entire night and get together to watch the sun come up. They agree to be friends but it's clear both are fighting fate.  They are meant for each other.

That is the very bare bones of Cameron Crowe's Elizabethtown, yet another very personal and deeply felt story for Crowe but also one he can't quite get a handle on. There are three important plots in Elizabethtown. First is Drew's failure at work.  Second, the family drama including his father's death and meeting his extended family.  And third is his romance with Claire. To make this movie work Crowe needed to coalesce each of these three plots into one story. Unfortunately it just never happens.

I enjoyed both lead performances by Bloom and Dunst but the relationship is so far unrelated from the family drama and Drew's work drama that it feels almost like a separate movie. Dunst delivers a character that is very unique.  Some might say that she is more fantasy than anything, but I believed that this character would do the things she does. She is quirky and forgiving and troubled in her own ways.  It's a complex part that has great potential but there are scenes missing, important scenes and dialogue that might better have integrated her into the rest of the story.

Bloom's performance is complicated for different reasons. He was not the first  choice for the role.  Initially Ashton Kutcher was cast as Drew. Bloom was the better choice of the two but because Cameron Crowe's male protagonists are so well remembered Bloom is competing with the ghosts of the past and he pales in comparison to the likes of Tom Cruise, John Cusack, Campbell Scott and even young Patrick Fugit from Almost Famous.

Cameron Crowe does not do Bloom any favors in his scripting or direction. Much of Elizabethtown plays like Cameron Crowe's greatest hits. Dunst's character is a mixture of Renee Zellweger's needy but lovable single mom in Jerry Magure and Kate Hudson's ethereal groupie from Almost Famous. Drew's wacky extended family in Elizabethtown are older versions of the wacky neighbors from Singles or the inebriated party goers from Say Anything. And Drew himself carries the DNA of both Jerry Maguire and Lloyd Dobler.

Even the film score, once again lovingly crafted by Crowe's wife Nancy Wilson, feels as if it were lifted from Almost Famous. Check out the scene just after Susan Surandon's exceptional speech at the memorial. Drew and Claire meet in the hallway and the acoustic guitar score comes in just a little too loud. The scene is a poignant moment where Drew tries once again to explain that he and Claire cannot be together. The music in the scene is lovely but sounds almost identical to music used in a scene in Almost Famous where William tells Penny she has been sold out by the band and won't continue with the tour. This may be just the anal retentive Crowe fan in me coming out but it bothers me to hear Crowe simply repeat himself.

Thankfully, the same cannot be said of the film's pop soundtrack. Once again Cameron Crowe brings together an eclectic mix of classic hits and forgotten or overlooked favorites that compliment the story and occasionally comment on it. In the film's climactic scenes in which Drew drives his fathers ashes cross country back to his home in Oregon he is accompanied by an amazing soundtrack that Claire made for him as a sort of musical map of America. The reasoning is contrived but the emotion these scenes and songs evoke are real and very moving. No director mixes pop music, storytelling, and imagery as effectively as Cameron Crowe.

Cameron Crowe movies are known for romance, smart characters, and great music. Elizabethtown overflows with each of those elements but, unfortunately, Crowe cannot corral them all into one story. Each of the individual characters from Orlando Bloom and Kirsten Dunst in the leads to Susan Surandon, Paul Schneider and Loudon Wainwright in supporting roles are all interesting characters but they are all parts of different movies. Bloom shares scenes with each of them and yet seemingly never at the same time.

The romance of Elizabethtown works in individual scenes such as Drew and Claire's all night phone session and the first night they make love and the aftermath the following morning. You definitely root for them to be together. But the movie is as much about this romance as it is about Drew's family, which is in a whole other film.

The family drama is a strong plot. Susan Surandon is exceptional in her one big scene at the memorial in which she does standup comedy, tap dances and reconnects with her extended family by opening up about how much she and they all loved her husband. Crowe does an excellent job of establishing the late Mitch Baylor as another member of the cast. Lovely sepia toned flashbacks of Drew with his father, perfectly aged photos and even the actor laying in the coffin with just the slightest hint of a smile that Drew dubs whimsical all serve to help the audience feel the loss.

The extended family and friends are an interesting collection. I really enjoyed Paul Schneider as Drew's cousin, a failed rock star with an out of control son and a difficult relationship with his father played by Loudon Wainwright. There was some lovingly detailed work in crafting Schneider and Wainwright's characters that are hinted at but the film does not have time to get too into that.

The film would work better if Claire had been as much a part of the family drama in Elizabethtown as she is the romance plot. Crowe never connects her to the family drama, which could have been done simply by making her a family friend from Elizabethtown and not some random stewardess. Put Claire in Elizabethtown, connect her to the family and maybe you can connect the two separate stories. Because she is outside of it the movie is disjointed and it never comes together.

For me, writing even a slightly negative review of a Cameron Crowe movie is torture, but it's undeniable. Aside from the awesome soundtrack, Elton John's "My Father's Gun" is my new favorite song by the way, Elizabethtown only works as a sketch of a good Cameron Crowe movie. A number of good scenes and good characters  great music but not a great movie. Fans of Cameron Crowe will find a lot of specific things to love in Elizabethtown: scenes, characters, music. I would recommend it for them with the warning that they may be disappointed by the film as a whole.

Essay On 39 Movies for 39 Years

I turn 39 years old this week and as birthdays tend to put many of us in a reflective mood, I am reflecting. My life has been defined by my love of movies and so I decided to look back on 39 movies that have shaped who I am as a person. They are in no specific order other than how they simply occurred to me and the moments of my life that they evoke.

1. The Big Lebowski: It takes three viewings of “The Big Lebowski” before it dawns on you how brilliant the movie is. The looping dialogue, the odd characterizations, the way Jeff Bridges as The Dude comes into being by adopting the ideas and dialogue of those around him as a coping mechanism for a world he no longer understands, it’s a remarkably complex work that couches itself as a stoner comedy. Few films so well demonstrate the infinite ways that subtle character choices can define the way a story is told. I learn something new each time I watch “The Big Lebowski.”

2. “Casablanca:” Obvious choice, I know, but when I was a younger man forcing myself to watch classics in order to justify my choice to become a film critic, “Casablanca” was the movie that rewarded that choice. The history of the Hollywood studio system is woven through every inch of “Casablanca” from it’s modest origins as just another Hollywood ‘programmer,’ a film made on a movie assembly line by a workman like director, Michael Curtiz, who happened to a genius well ahead of his time, to the casting of Bogart and Ingrid Bergman that almost never happened and then became iconic. “Casablanca” teaches us more about the history of Hollywood than any single film Hollywood ever produced.

3. “Summer of Sam:” I have taken so many incredible lessons away from watching “Summer of Sam.” The most important of those lessons has been how singular the experience of a movie can be. For me, “Summer of Sam” is an epic masterpiece of energy, excitement and film construction. For most other viewers, “Summer of Sam” is a forgettable genre piece from a filmmaker who is more personality and flair than auteur.

4. “Memento:” What is possible in a movie? “Memento” showed me something I had never seen before, a narrative in reverse. It wasn’t new to fans of experimental film-making but for me it was a powerful revelation about what an artist could do with structure, with editing and with great acting. Christopher Nolan willfully risks confusing the audience to the point of frustration and that makes the film provocative. Beyond the provocation however, is a taut, narrative thriller that is as inventive as it is deeply compelling.

5. “Citizen Kane:” What student of movies hasn’t had the “Citizen Kane” experience. Watching “Citizen Kane” remains a rite of passage for movie lovers and what better legacy could a film possibly have.

6. “The Talented Mr. Ripley:” There was a time in my life when I was a strict, black or white student of the law. I saw no gray areas and gave no quarter to those who stepped out of line. What an extraordinary experience it was then for me to see “The Talented Mr. Ripley” and find the structure of my beliefs, my very morality turned on its head as I found myself rooting for the murderous Tom Ripley to win the life he so desperately wants. Matt Damon compelled me so deeply that the film snuck past my moral radar and messed with my sense of self. That’s quite an experience.

7. “Star Wars:” As a child there is nothing greater in the world than seeing your dream come to life before you. That was “Star Wars” for me. I dreamed of “Star Wars” while playing with the toys and then watched my toys come to life on screen. To this day “Star Wars” makes me feel like a child filled with wonder and amazement.

8. “Elizabethtown:” This movie is exceptionally personal to me. It was the first time that I didn’t connect with a Cameron Crowe movie and I was devastated. Then, I fell in love with a woman who loved the movie and she made me look at it in a new way. I still have my qualms with “Elizabethtown” but the bond the film built with this woman who is still an extraordinary part of my life today makes the film the film an important milestone of my 39 years.

9. “No Country for Old Men:” My gut was wrenched, I was sweating in my seat. My heart was pulled and tugged from beginning to end as I searched for the light at the end of the tunnel and found only the angry, desperate despair that is the heart of “No Country for Old Men.” Few films have ever had as powerful an effect on me from beginning to end as “No Country for Old Men” still has.

10. “Amadeus:” This is a fairly recent revelation. Even as I have long appreciated “Amadeus” it wasn’t until I revisited the film just last year for I Hate Critics that I realized that movies don’t change but we do. As a more mature and thoughtful man I looked at “Amadeus” with new eyes and found a remarkable masterpiece.

11. “Almost Famous:” The power an actor or actress can have over an audience is a remarkable thing and for me that is no better demonstrated than in Kate Hudson’s performance in “Almost Famous.” While her beauty is the initial impact, Hudson’s humanity, youth and frailty, come to be her defining and compelling characteristics. I can think of few more emotional moments watching a movie than the way Hudson attempts to deflect her despair at learning the man she loved had attempted to trade her for a case of beer. In just a look, a slight shimmer of tears in her eyes, Hudson devastates us as an audience.

12. “Waitress:” This film has an extra power it should not have. Director Adrienne Shelly was murdered not long after the release of the movie and what was the announcement of a brilliant new voice in American movies became the most tender and loving epitaph any filmmaker could ever have.

13. “Once:” True love can be found and still not be meant to be. Sometimes we sacrifice what we want, what we desire, even what we love in order for the betterment of other others. That may not have been the overall intent of “Once” but it was the lesson I came away with and it has stuck with me for years.

14. “The Tree of Life:” Terence Malick is the best visual storyteller in film history. His images are more moving than any line of dialogue ever could be. The visual journey he creates for “The Tree of Life” is a rollercoaster ride through the history and evolution of humanity.

15. “Lady in the Water:” M. Night Shyamalan set out to make a fairy tale about a mermaid and wound up making a confounding film containing some of his worst instincts as a storyteller. But, as I told a fellow film critic immediately after the movie was over, Shyamalan “Hung his balls out there.” Say what you will about how bad “Lady in the Water” truly is, the film has more ambition than any 10 modern movies.

16. “Clerks:” I once tried to show “Clerks” in a class at college and wound up shunned by most of the class. They were put off by the raunchy dialogue and low budget look of the film. Yes, “Clerks” was another revelation about individual tastes in movies but it was also a lesson in how I choose my friends and measure out how much of myself I’m willing to share with other people.

17. “Pulp Fiction:” As “Citizen Kane” is the ancient rite of passage for movie lovers, “Pulp Fiction” continues to evolve into the more modern rite of passage. A film of such incredible invention, “Pulp Fiction” continues to teach me about movies each time I watch it, with lessons in physical filmmaking and in dialogue.

18. “Amelie:” My first foreign love,”Amelie” gave me the courage and curiosity to pursue the works of Truffaut, Renais, and Godard. Without falling in love with “Amelie” my film education would have forever remained incomplete.

19. “Annie Hall:” As a kid from the Midwest I’m told that I should not be able to relate to Woody Allen. He’s too New York, too Jewish, for someone like me to relate to. And yet, with his fumbling and longing and his extraordinary sense of humor, I find no other filmmaker on the planet that speaks to me the way Woody Allen does.

20. “Things Behind the Sun:” The film is entirely forgotten within the mass of our popular culture but it still means the world to me. “Things Behind the Sun” moved me in ways I had never been moved before. It’s the story of a rape victim being interviewed by a boy who had been coaxed and bullied into being part of her rape. The power of this film can only experienced by seeing it for yourself. Me, I was forever changed by it.

21. “Jerry Maguire:” The reputation of “Jerry Maguire” hasn’t exactly grown over the years with people’s ever changing perceptions of both Tom Cruise and director Cameron Crowe. But, for me, the experience of the film has never changed. I am enchanted by every moment of “Jerry Maguire,” yes even “You complete me.”

22. “The Dark Knight Rises:” Why not say “The Dark Knight” you wonder? Why would you choose the seemingly lesser sequel? Because “The Dark Knight Rises” gave rise to the I Hate Critics podcast and a pair of new life long friendships that I never would have had without it.

23. “Bowling for Columbine:” I used to be a conservative Republican. Then I saw “Bowling for Columbine” which led me to “Roger &  Me” and then “Fahrenheit 9/11″ and a complete rearranging of my political thought process. Say what you will about Michael Moore, his work rings with humor and a deep seated compassion for all and that is what changed in me after “Bowling for Columbine.”

24. “Les Miserables:” I have never had a more emotional reaction to a movie. The scene where the priest rescues Jean Valjean and gives him all of the silver he was intending to steal so that Valjean could build a new life devastates me every time. I’m not remotely religious in my life but the power of the line “I’ve saved your soul for God” compels me deeply. There is so much compassion in that moment and that compassion radiates throughout the rest of the film.

25. “The Princess Bride:” Seemingly no one of my generation can escape the influence of “The Princess Bride.”

26. “Legally Blonde:” Too this day, I don’t know if I have seen a movie as genuinely joyous as “Legally Blonde.” Not kidding, whenever I am feeling truly despondent, I watch “Legally Blonde” because I find it impossible to be unhappy when I watch this movie.

27. “Hedwig and the Angry Inch:” A compelling story of gender identity, love, and the power of pure rock n’roll, “Hedwig and the Angry Inch” forced me to confront childish biases I held against people who were different from me and helped me find common ground I had failed to recognize before.

28. “Waking Life:” In the entirety of my 39 years I have never used illegal drugs of any kind. I would like to imagine however if I did use an illegal drug the world of “Waking Life” would be my ideal trip.

29. “Magnolia:” Like “Les Miserables,” “Magnolia” is one of those deeply moving movie moments. When the cast combines with the music of Amy Mann its a moment of such incredible catharsis that I can’t help but cry.

30. “Seven:” My first great shock at the movies. I had seen twists before, but that head in the box and knowing that evil had unexpectedly and shockingly triumphed over good was so incredibly profound for me.

31. “Beyond the Mat:” One must weigh their empty thrills against the human cost of thoses thrills. That was the lesson for me from the documentary “Beyond the Mat.” A longtime fan of professional wrestling, I had long regarded it as a meaningless, empty thrill. “Beyond the Mat” was a revelation about the cost of what I thought was free of any cost. Yes, wrestling is scripted and its just entertainment but there are real people involved and real stakes in their lives and while I knew that on a deeper level I wasn’t forced to confront my own empty enjoyment until I saw “Beyond the Mat.”

32. “Star Wars: The Empire Strikes Back:” Where the original “Star Wars” still makes me feel like a little kid, “Empire” still feels like my first transition toward adulthood. Sure, I saw it when I was quite young but it brought about a revelation about tragedy and a hero’s journey that helped shape me as a critical thinker. Luke Skywalker is forced to come to terms with his father being the face of evil in the universe, Han Solo is captured and seemingly killed, the Empire stands tall. It’s greek tragedy at work here and it was unlike anything my young mind had experienced up to that time.

33. “The Pledge:” How does one compartmentalize the evils of the world and if you can’t compartmentalize or somehow come to terms with tragedy and failing what will it do to you as a person. “The Pledge” offers a full examination of this idea and forces its audience into the uncomfortable position of a confronting our apathy toward evil.

34. “Mulholland Drive:” I am, generally speaking, not the biggest fan of David Lynch and his surrealist take on movies. That said, I have had few experiences quite like “Mulholland Drive.” Watching the film was a formative experience for the young film critic in me who could not help but intellectually claw at the various knots that Lynch ties into this extraordinarily complex narrative. I can’t say I untied many of those knots but I never stopped trying.

35. “Nurse Betty:” One of the great forgotten movies of the past two decades, “Nurse Betty” features Neil Labute at his nastiest and his most gentle. The film is violent and graphic in some moments and yet contains the ability to be warm and gentle as a great romantic comedy in other moments. The gentle and sensitive way that Morgan Freeman allows himself to fall for Renee Zellweger’s Betty without ever meeting her moves me deeply and his hurt in the end when she isn’t who he wanted her to be is profoundly moving and instructive for anyone who’s ever built a fantasy around someone else.

36. “Chasing Amy:” My first “these characters talk like I do” experience at the movies. I recognized the characters of “Chasing Amy” in my own life and related to them like friends. Naturally, this made the experience of the film all the more powerful, memorable and shaping.

37. “A Serious Man:”  I fought “A Serious Man” as I watched it. I wanted something funny, I wanted something with a star I could relate to. Instead, I got a stubborn, narratively thick, very Jewish story of a Jobian character constantly the victim of life’s many unfair twists of fate. It took me half the movie to come around to it but once I did I found myself putting the pieces of the film together into one of the richest moviegoing experiences of my life. That ending, so out of left field, so abrupt, and yet so perfect. The film could not have ended in any other way and that revelation has stuck with me.

38. “Diehard:” Its about connection. For guys, emotions can be difficult to express. How do we bond with other men without it being awkward or uncomfortable. What if we don’t like the same sports teams? “Diehard” has been the ground floor of a few friendships I have developed over the years. There is something about this silly, well constructed action epic that makes it widely relatable to a disparate band of people. It’s not just men either, I know many women who love “Diehard” just as much. But as a shaping experience of my moviegoing life, “Diehard” is a touchstone of male bonding unlike any other part of my life.

39. “E.T:” The first movie of my life. My brother Chuck took me to see “E.T” in the movie theater when I was 5 years old. I have never forgotten the experience and I never will.

Movie Review: Elizabethtown

Elizabethtown (2005) 

Directed by Cameron Crowe 

Written by Cameron Crowe 

Starring Orlando Bloom, Kirsten Dunst, Alec Baldwin, Susan Sarandon, Judy Greer

Release Date October 14th, 2005 

Published October 15th, 2006 

I have wrestled with loving Cameron Crowe's “Elizabethtown” ever since it's 2005 release. The film has been part of one of my most significant relationships, she loves the movie and was angry that I found fault with it. It was with her pushing that I have revisited “Elizabethtown” several times in the intervening years and come away with a number of different reactions.

There are so many wonderfully positive things about “Elizabethtown,” the most notable of which is the extraordinary soundtrack. Of course, Cameron Crowe is a master of movie music so this soundtrack can come as no surprise but the way he uses music in the film does surprise and delight. Listen for the delicate grooves not only of the score done by Crowe's now ex-wife Ann Wilson but also the callbacks to songs by Tom Petty and My Morning Jacket that filter in unexpectedly and underline important scenes.

Watch the unique way Crowe uses the unusual Elton John song My Father's Gun as a mournful reckoning for how Orlando Bloom's Drew Baylor feels as he takes up with the distant family that had loved his father but seemingly held his family at a distance. It's wonderful how the awkward lyrics about the civil war and family legacy coalesce with Drew's discomfort among his extended family.

The music is perfect from scene one with The Hollies Jesus Was a Crossmaker through the end with a brief reprise of Tom Petty's underappreciated It'll All Work Out. Listen to the way that Crowe uses Tom Petty throughout “Elizabethtown” and marvel at the subtlety of director and musician in perfect concert. It'll All Work Out is used just after Drew promises to kill himself and just as his savior/love interest Claire is introduced. The song is our reassuring underline to let us know that though Drew will struggle he will survive. It's much more subtle without my description.

I cannot get enough of Cameron Crowe's ear for music and eye for knowing where exactly to use it in his films. It's a remarkable and underrated talent. With that said, there are a number of issues that I have had with “Elizabethtown” from the first time I saw it, through my first disappointed review through repeated viewings and reevaluations of the film over five years.

The plot begins with Drew Baylor, a 20 something shoe designer for a Nike-esque shoe company in Oregon. Drew has just designed an innovative new work out shoe that has met with massive public disapproval. So bad was the shoe's reception among the public that Drew is being fired and the company is about to lose something close to a billion dollars.

The company's owner, Phil (Alec Baldwin) quotes one critic as saying that this shoe could send a generation back to bare feet. This section is filled with logical inconsistencies and minor quibbles that undercut Drew's dramatic journey. First up is the name of the shoe: Spasmotica. There simply is no company in the world that would release a shoe called Spasmotica and no consumer that would purchase it.

It's a quibble but there is simply no way a multibillion dollar company would not have tested the public reaction to the shoe before committing nearly a billion dollars in marketing and production to it. The title would not have survived the first testing phase nor likely would the design which is something akin to a Ray fish. We are told that Drew is a genius and an artist given free reign and it's simply not believable.

This is important because it leads to Drew's dramatic decision to take his own life which is the driving force for the rest of his sad journey. We must believe in Drew's desperation or he seems merely pathetic. Orlando Bloom does a fabulous job lifting the audience past logical inconsistencies enough that they don't sink the film but its close. If you don't like Bloom and aren't willing to believe his desperation and sadness you will be left out of “Elizabethtown.”

Then, as Drew is contemplating his rather fanciful suicide, he has rigged a carving knife up to an exercise machine that should be enough to stab him directly in the heart; he gets a call informing him that his father has died while visiting family in Elizabethtown. Drew has been drafted to fly to Elizabethtown to retrieve his father’s body and return it home. It’s on the flight that Drew meets Claire, a too helpful flight attendant, and “Elizabethtown” begins showing off its maddening and delightful taste in romance.

Onion A.V Club Head Writer Nathan Rabin coined the phrase Manic Pixie Dream Girl based on a viewing of Kirsten Dunst in “Elizabethtown.” The Manic Pixie Dream Girl is defined as 'that bubbly, shallow cinematic figure that exists in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.' It's a cynical and cutting description of “Elizabethtown's” Claire and one that I have been unable to escape since I read it.

The Manic Pixie Dream Girl has haunted my every viewing of “Elizabethtown” and it's a struggle to put aside Mr. Rabin's dismissive caricature and see Ms. Dunst's performance. Indeed, as written by the sensitive Mr. Crowe, Claire is as much a device as she is a character. So why does she ring so deeply in my soul?

I long for a Claire of my own to rescue me from despair and help me recognize what is good within me while offering judgment free love and fantasy sex following a perfect unintended seduction through mutual sadness and lonely longing. Claire is a little too perfect but is not perfect the fantasy of fantasists? What man did not at one time long for his very own Claire? 

There are problems with this fantasy however and they provide another of the shockingly lazy inconsistencies that plague “Elizabethtown.” In a scene early in Claire and Drew's relationship Claire describes the two of them as 'the substitute people.' They are stand ins in at the moment for the people they each really want. It's Claire's way of keeping distance from Drew, assuming that he is still hooked on his recent ex, Ellen (Jessica Biel). 

She's hedging her bets with him; inventing her own boyfriend as a way of letting Drew off the hook should he carry on with his pining for Ellen. It's a wonderful scene that shows Claire is not the fearless creature who flirted so openly with Drew on his flight to Kentucky and talked so openly with him in their wonderful all night phone call. It's very early in their relationship and Claire needs to be a little weary considering how fast things are moving between them. 

However, later in the film Claire throws the 'substitute people' comment back at Drew as if they were his words and not hers. The logical inconsistency undercuts the drama and impact of what is a very dynamic and dramatic scene. We are also supposed to believe in this scene that Drew, even after so clearly having fallen for Claire, still wants to kill himself. The scene calls for a withering comment from Claire that sets the stage for their reconciliation. Instead, the scene ends on a pair of confusing points.

Unlike any other Cameron Crowe film, “Elizabethtown” calls for desperate leaps in logic and suspensions of disbelief. So why do I still love it? “Elizabethtown” is a shaggy dog of a romance filled with whimsy and life and set to a phenomenal soundtrack. Despite its inconsistencies there are moments of such tenderness, romance and heart that I cannot help but love it.

Many critics have hammered “Elizabethtown” and many cite a scene where Susan Sarandon as Drew's mom performs a stand up comedy routine and a tap dance at her late husband's memorial as the films dramatic nadir. I completely disagree. Sarandon's unguarded emotion in this scene and Cameron Crowe's perfect imagery, shooting Sarandon from behind as she dances capturing her silhouette in a in a spotlight, is utterly gorgeous and the shots of Bloom and Judy Greer as his sister laughing and holding back tears evoke deep sympathy and smiles. 

This scene is wonderful for it's capricious spirit and the memorial scene as a whole is wildly capricious, ending as it does with Drew's cousin's band playing Free Bird as a giant paper Mache bird catches fire and sprinklers flood the hotel ballroom set. Sure, it's indulgent but it's also purely Cameron Crowe and as the “Elizabethtown” love theme score comes in underneath the chaos it's hard not to get caught up. 

That scene is followed up by a darkly comic burial scene that leads to “Elizabethtown's” final flight of odd fancy. Claire has requested that Drew take a road trip home as he takes his father's ashes back to Oregon. She has made him a map of famous tourist traps and places of musical legend and set the whole thing to 42 hours worth of classic songs. When she found the time to make this 'very unique map' is anyone's guess. 

Most odd is why? Why would Drew go to the hotel where Martin Luther King was killed? Why would Drew visit the Survivor Tree in Oklahoma City? What do these tragic places have to do with his journey? These scenes stretch credulity especially as we arrive at the half way point of Drew's journey where Claire is waiting for him. In a fit of ridiculous whimsy that relies on specious timing and luck, Claire sets up Drew to meet her at the Second Largest Farmer's Market in the World. Keep in mind, if Drew had deviated from her map in any way she would have been left there all day waiting. If one thing goes wrong with her goofy plan once he gets there, it involves an odd little scavenger hunt, they may never find each other. 

Crowe's indulgence in this ludicrous ending is overwhelming and yet I find myself excited as Drew searches for Claire's wacky red hat. I cannot help getting caught up because I do so love these characters. Orlando Bloom has never been this winning and Dunst is cuter than ever. I want these two characters together and that proves just how effective Elizabethtown is. Even with its massive flaws these characters and their romance are irresistible.

I love “Elizabethtown.” I still wrestle with its inconsistencies and failures of logic but the characters and soundtrack resonate deeply within to the point that I watch the film compulsively. I have seen the film almost 10 times in the five years since its release and I will watch it again. It’s partly because of my personal connection which remains as strong as ever, going on four years now, but also because Cameron Crowe has a remarkable way with soulful, human stories and tender romance.

Oh, and that ungodly brilliant soundtrack.