Hannah goes to the bar she first met Jacob at and kisses Jacob passionately after having previously rejected his advances. Shortly after, Hannah and Jacob start dating. Towards the of the film, all these stories converge and create tension between the characters.
Eventually, all the conflicts are resolved, and love prevails. Robbie is the salutatorian and gives a speech in which he states that he no longer believes in true love and soulmates. He composes himself and gives an inspiring speech about the beauty of true love. Cal recounts how he fell in love with Emily and genuinely believes Emily is his soulmate. He promises never to stop trying to win Emily back.
After graduation, Emily and Cal have a little chat. So does this mean the couple has reconciled? The last scene does seem to hint that it is possible. In the very first scene of the film, we learn that Emily wants a divorce from Cal. Similarly, Cal tries to move on with his life by seducing multiple women. However, he soon realizes that he is still in love with Emily and wants to try and win her back.
Jacob, a Lothario of a man who can have his pick of women with who he only wants one-night stands, offers to help Cal get his manly mojo back to make Emily regret ever wanting to divorce him, and make him move on with his life. Although Cal accepts Jacob's help, the one part he may not really want is moving on from Emily. As Jacob helps Cal, Jacob himself may come to the realization that there is more to life than one-night stands, especially after he meets a young law student named Hannah, who is going through her own relationship issues.
A happy romantic ending for both Cal and Jacob with their respective loves is hindered by some unknown information, including Cal's best friend's seventeen year old daughter, Jessica Riley, being secretly in love with him, while Cal's thirteen year old son, Robbie Weaver, is in turn in love with Jessica.
Over dinner, fortysomething Cal's almost twenty-five-year marriage to his high school beloved, Emily, collapses after one dreaded little sentence: she wants a divorce to take a chance on love with a man who doesn't take her for granted. Helpless, hopeless, and like a fish out of water, the now-single Cal finds himself out on a limb, until he chances upon the self-confident Lothario and exceptional pickup artist, Jacob, who decides to take him under his wing.
Now, nothing will ever be the same again--and as the rusty and pitiable seducer in the making rediscovers his latent manliness--something utterly unpredictable happens: Jacob, too, is susceptible to the intoxicating feeling of deep affection.
Who said love was easy? Sign In. Edit Crazy, Stupid, Love. Jump to: Summaries 5 Synopsis 1. The synopsis below may give away important plot points.
So even if their female counterparts get short shrift, at least it's in the service of a finely etched pair of character studies. All this is sweet and moving, nuanced without being terribly profound, more truthful than Hollywood usually cares to be but not so honest it hurts, and the film is well on its way to being a real charmer altogether, when it hits a strange wall.
I don't want to spoil it: I think on the one hand that the film is well worth seeing, and its well worth seeing without knowing where things are going which, in retrospect, is painfully obvious, and yet is hidden in plain sight so well that it still completely blind-sided me.
So at the risk of being unnecessarily vague: there comes a point where the movie abruptly turns from a tender, amusing-but-not-aggressively-funny character-driven dramedy, and runs screaming into farce.
Proper, honest-to-God, flailing about and crazy revelations one on top of the other, throw the characters into a blender, farce. And it is magnificent. Sitting there, watching it, I thought to myself with perfect clarity, that I could not remember the last time that I saw a film navigate such a sharp tonal shift so quickly, and did it with such unabashed success. It was a structural coup that would have seemed daring in the edgiest indie, but buried inside a mainstream Hollywood picture, it felt like the second coming of Preston Sturges.
When everything wrapped up and stopped on that absurdist note, as was clearly about to happen, I was going to come home and write all about how this was the ballsiest move I'd seen in a comedy in forever. And then the movie kept going on for 20 minutes. Not 20 bad minutes; 20 minutes mostly in keeping with the first 90, though it got a little bit obvious and preachy, and by "a little bit", I mean, "it turned into a fucking sermon about never giving up on your soulmate".
And then there came one of those awful scenes where a person very awkwardly forces themselves into a public forum to explain the moral to everybody, and even though this would in real life be met with screams of derision from the mass of people wondering who this asshole was that was usurping [event], and how do we get this person arrested, in the film it just results in laughter and applause.
So, if you did nothing but slice off 20 pages at the end, and wrap up all the conflicts as quickly as the farcical storm had whipped up - and it would be possible to have every single relationship in the film end in exactly the same place with about an afternoon's worth of re-writes - Crazy, Stupid, Love.
Instead, it wobbles on and becomes obvious and even, somewhat, begins doubling-back on what it seemed to be saying back when it was all about Cal and Jacob bonding. Now it stops short, and counters "Never mind, it is hellishly important that you grab onto whatever is comforting and familiar and never try to grow out of it, or you will die alone and miserable". It's only 20 minutes; thanks to the acting and the generally snappy dialogue, it's not a tenth as painful as I've made it sound just now.
It surely doesn't keep Crazy, Stupid, Love. Though it does single-handedly keep it from being anything deeper. Categories: comedies , farce , love stories , romcoms.
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