Which films are like The Last Song

Probably no other girl in the world makes teenagers scream as beautifully as Miley Cyrus, and she's there, measured against the boys who are currently rubbing the nursery - the "Twilight" vampires Robert Pattinson and Taylor Lautner or the singing Justin Bieber - really an old hand. When the television series "Hannah Montana" first aired in the US in 2006, Miley was only thirteen. So it's really no wonder that at the age of seventeen she set out to climb new levels of development. It starts with her first really serious role - "With you by my side / The Last Song", which we have just started, is based on a novel by Nicholas Sparks.

How should Britney Spears have developed?

Although Sparks is not nearly as popular, especially in this country, as Dan Brown or John Grisham, Hollywood is proceeding with his novels in a very similar way: since the first appeared in 1996, he has written fourteen more, eight of which have now been made into films, "With You by my side "is, so to speak, a novel about the film, Sparks co-wrote the script in parallel. And this week Lasse Hallström's film adaptation of Sparks' novel "The Shine of Silence" comes to our cinemas.

In "With You by My Side," Miley Cyrus plays a seventeen year old who has to spend the summer with her father in Georgia for a few months who turn a bitchy, selfish child into an adult. Such a role is well chosen as a hesitant entry into another subject - just as the career planning for Miley Cyrus has so far been much better thought out than that of, say, Britney Spears. It was trimmed to femme fatale so early that by the age of twenty there was really nothing left to develop into.

Pissed off, stubborn and unwise

With Miley Cyrus everything goes a little slower, the little slip with a photo that shows her half-naked from behind is forgotten. Ronnie, the girl she plays, is first and foremost a real child - pissed off at the parents' separation, stubborn and imprudent. The mother (Kelly Preston) dumped Ronnie and her little brother with the father (Greg Kinnear), whom Ronnie has not spoken to since the divorce - he left the children in New York and returned to his hometown.

Ronnie made some pierced friends out of defiance and gave up playing the piano, even though she is so gifted that the Juilliard School would take her without an entrance exam. She then meets a boy on the beach who is so penetratingly nice that her father gives him a safe distance from Ronnie, but cannot scare him away.

The great family reconciliation comes about when Ronnie learns why she has to be with her father ... The teenagers in America obviously didn't mind how sad this story is. A quite trivial heartache story, told by the TV director Julie Anne Robinson with the simplest means - that will be enough to establish Miley Cyrus as an actress: She plays this rebellious, disoriented teen in a natural and lovable way, but she remains the only thing that Film has to offer.

Lasse Hallström certainly had more plans with his film adaptation of "The Shine of Silence / Dear John" - and it turned out to be less. In his story, a young soldier, John, embodied by the most beautiful man in the world, Channing Tatum, who is reigning according to People Magazine, meets a girl, Amanda Seyfried, and can no longer leave her - it's summer 2001. While John will soon be on Hindu Kush defends our freedom, the girl at home marries a family friend with cancer out of pity.

Lasse Hallström filmed, among other things, John Irving's "God's Work and the Devil's Contribution", based on his own script and perhaps because of that the most beautiful of all Irving films - and you can see the difference between Sparks and Irving, both of whom write very emotionally. Irving is a great sentimentalist, an inventive narrator, and somehow a soulful poet - Sparks' stories are nowhere near as resourceful, and most importantly, he's just emotional to the point where it starts to hurt seriously. Perhaps it is because Hallström, actually a real professional, gets a little out of step, always underlaying the same tough camera pans with the same tough musical sauce, which creates a kind of cinematic hospitalism.

Sparks is so popular because he has his own way of approaching problems and then getting around them. John's father, for example, suffers from autism, albeit in a very charming way. And at Sparks, death from cancer is an aesthetically flawless thing, from which the bereaved do not break but mature. Basically, you have to advise against watching both films together - this makes the mechanics of the Sparks stories, the simple recipe according to which he brews his love stories, a bit intrusive.

Here South Carolina, there Georgia, the main thing is that you meet on the southern beach, and the fathers are extremely mortal, and one of the two unhappy lovers always turns out to be the child of wealthy parents who reside in the magnificent mansion of a historic plantation, and one likes to go in after free time of charitable work. That's how it is with kitsch: At its core, it always harbors the dream of a better world.

DEAR JOHN, USA 2010 - Director: Lasse Hallström. Book: Jamie Linden. Camera: Terry Stacey. Starring: Channing Tatum, Amanda Seyfried, Henry Thomas, Richard Jenkins. Kinowelt, 102 minutes.

THE LAST SONG, USA 2010 - Director: Julie Anne Robinson. Book: Nicholas Sparks, Jeff Van Wie. Camera: John Lindley. Starring: Miley Cyrus, Liam Hemsworth, Greg Kinnear, Kelly Preston. Disney, 107 minutes.

© SZ from 04/29/2010 / kar / rus