The Pont des Arts in Paris is becoming choked with padlocks affixed by lovers. The couple are overwhelmed with emotion at their own situation and make out, while the surrounding crowd melt with romcom bliss, offering encouragement in various European languages. The Fault in Our Stars reaches a nadir of horror when Hazel and Gus visit the Anne Frank House. It is something that Hazel has not forgotten and that should theoretically deepen and complicate their relationship profoundly. Their respective parents are also in this too-good-to-be-true bracket, although Hazel's mom appears to have whispered something extraordinary to Hazel, when she was in a grave situation in hospital years previously. They are both extremely comfortably off, and Gus's bedroom is like a starter man-cave for a wealthy and obnoxious young man – so ostentatious, in fact, that I assumed some learning experience, some comeuppance, was coming his way.īut no. Gus is way cute, and his lifestyle, like Hazel's, does not appear to be modified in any appreciable way by his illness. It has thankfully grown back, but she is wearing it austerely short. What might this talented young star achieve if she were in a film which was not fantastically manipulative and crass?įlashbacks show that Woodley's character lost her hair when she was 12. But through the occasional mist of tears, the essential phoney-baloniness of this film looked even worse. I am not among them – and it was the same before I became a parent. Now, there may be people who can witness a halfway competent dramatic representation of the death of children from cancer without choking up. (The title may have been inspired by Siddhartha Mukherjee's Pulitzer-winning study The Emperor of All Maladies: A Biography of Cancer.) Impulsive, entrancing Gus whisks her and her mom off to Amsterdam to meet her hero, and it is a journey that is to bring their relationship to a crisis. Hazel is obsessed with a novel called An Imperial Affliction with a bafflingly abrupt ending, all about a girl dying of cancer, written by a reclusive author called Peter van Houten. "You two are so adorable," says Hazel's mother, out loud, without anyone nearby screaming. It is all too clearly Gus's virginity, not his cancer, which is his heartbreaking vulnerability, like Rochester getting to be blind at the beginning and not the end of Jane Eyre. Hazel's own condition in this respect is apparently so self-evident that she never says it out loud. Despite being such an obvious hottie, Gus is a virgin. Life-affirming Gus likes to have an unlit cigarette in his mouth to show his existential defiance. They are as rich and attractive as teens in a Nancy Meyers movie, with a quirky, smart, back-talking relationship. In the support group that her mom (Laura Dern) forces her to attend, Hazel catches the eye of Gus (Ansel Elgort), a cute boy, whose osteosarcoma condition is also stabilised after the amputation of one leg, although this is mostly concealed under his jeans. “The way she uses her limbs reminds me of you, you talk the same way, you’re so gangly, you guys are so alike.Shailene Woodley (from Divergent, and Alexander Payne's The Descendants) plays Hazel, a teenage cancer patient, whose thyroid lesions have metastasised to her lungs her condition, once gravely critical, has stabilised due to experimental drug treatment, but she has to wheel around a portable oxygen tank, a lite-tragical accessory. “When Shai started making that movie, Alexander Payne… called me going, ‘You’re not going to believe this girl,” Dern said. Her big break in feature films started with 2011’s “The Descendants,” in which she played George Clooney’s daughter. “These are teenagers who, yes, they do have cancer, but they’re also going through normal things that normal teenagers are going through,” Woodley said.īorn and raised in Los Angeles, Woodley was just 16 when she got her first break, starring on the ABC Family series, “The Secret Life of the American Teenager.” A string of successes followed. “The Fault in Our Stars” is a film that dispenses with wizards, tributes and vampires through which teen romance has been depicted onscreen in the 21st century. “I think it’s as important a book for any adult to read than any in a very long time.” “I think he captured the voice of a generation and this is not a young adult novel,” she said.
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