There is a moment, a third of the way into Dear John, where Sgt. John Tyree, having recently fallen in love while on shore leave and yearning for the end of his tour of duty, walks into a bar in the German town where he is stationed and watches the World Trade Centre collapse.
I thought that this would be a turning point for the film. Up until that point Dear John, based on the Nicholas Sparks novel, was a perfectly acceptable tale of two young people falling in love one summer. It wasn't changing my life but I wasn't longing for the credits. The film plods along in a formulaic fashion, happily throwing out clichés with gay abandon.
And then, out of nowhere, it decides to tackle 9/11, and for the briefest of time it does an admirable job of it. Immediately after the attack John returns to the base and without hesitation requests to extend his tour. His decision isn't rational or thought out and its not presented as a gung ho call to arms. It's born out of fear, doubt, confusion and at the same time a powerful need to do something.
I thought that this would be a turning point for the film. Up until that point Dear John, based on the Nicholas Sparks novel, was a perfectly acceptable tale of two young people falling in love one summer. It wasn't changing my life but I wasn't longing for the credits. The film plods along in a formulaic fashion, happily throwing out clichés with gay abandon.
And then, out of nowhere, it decides to tackle 9/11, and for the briefest of time it does an admirable job of it. Immediately after the attack John returns to the base and without hesitation requests to extend his tour. His decision isn't rational or thought out and its not presented as a gung ho call to arms. It's born out of fear, doubt, confusion and at the same time a powerful need to do something.