Elizabeth Gilbert’s Eat Pray Love clearly struck a chord with readers, propelling her memoir into a publishing phenomenon. They could relate to her sense of disillusionment, while most envied her courage to leave her unsatisfying marriage and go on a quest to find spiritual fulfillment and happiness. The romance of Rome, the mysticism of India and the discovery of true love proved an irresistible literary mix, but one that doesn’t wholly succeed in its transition from the page to the screen.
Director Ryan Murphy’s screenplay collaboration with Jennifer Salt has created the CliffsNotes version of Gilbert’s story. And while there are lots of recognizable elements, the true spirit of the book is missing. Having conceded that, there is still much to enjoy in this lush adaptation. Most notable is the wonderful performance of Julia Roberts as the author Gilbert. Looking infinitely better than her rather skeletal appearance in Valentine’s Day recently, Roberts exudes a radiant glow. Though older than the Gilbert in the book, Roberts shows she still possesses both a youthful nature and beauty.
The story begins with Gilbert, a travel writer, consulting an elderly Balinese medicine man, Ketut (Hadi Subiyanto). He tells her she is going to have two marriages, one long, one short, and that she will lose all her money. His prophecy soon starts coming true. Feeling trapped by marriage and bored with her New York life, she abruptly leaves her husband Stephen (Billy Crudup). Another of the prophecies is realized when her broken-hearted and angry ex gets their house and her money. It’s a price she’s prepared to pay for her freedom and the opportunity for a fresh start.
The book is written in the first person so we are aware at all times of the myriad thoughts swirling around inside her head. One reason the film is less successful is it that it is forced to venture further afield. As a result we are only afforded occasional moments of self-reflection during a journey of self-discovery filled with gaps.
After a relationship with David (James Franco), “a yogi from Yonkers,” and declaring to her best friend (Viola Davis) that she wants to “go somewhere I can marvel at things,” Gilbert heads to Italy. The film’s depiction of Rome resembles more a travel commercial than a real city. Cliched montages blend beautiful images of the city with shots of people eating pasta and ensnared in romantic embraces. It conveys less though the transition Gilbert is undergoing. The same applies when she ventures to an ashram in India. The country is given a clinical and vibrant sheen with the only substance coming from her friendship with fellow American, Richard (Richard Jenkins), who is constantly spouting “bumper sticker” wisdom.
The title’s third component arrives in the form of Felipe (Javier Bardem), a fellow divorcé who literally bumps into her in Bali. This is where Hollywood’s imprint is most keenly felt. Bardem is an exhilarating presence, but is too young for the role of Gilbert’s Latin lover. Felipe possesses not the wisdom nor experience that is so integral to her transformation. Also, the story is clumsily manipulated to manufacture its dramatic climax.
At one point Gilbert reflects, “Ruin is the road to transformation.” In the book’s transformation into a film, Gilbert’s extraordinary story has not been ruined, but neither has it been truly captured.
Kevin Murphy
