It's not lost on me that this 2015 TV movie, starring Danielle Chuchran (elsewhere credited as Danielle C. Ryan), bears a premise totally opposite of 2018 film 'Runaway romance,' also starring Chuchran. There, a modern woman finding peace in Amish country; here, an Amish woman exploring the "Englisher" world. It's easy to approach such fare with substantial skepticism, and given the glut of independent films and made-for-TV productions that so blithely take any possible notion and expand it into a romantic drama or comedy (or comedy-drama), I frankly think it would be a mistake not to. Still, despite a certain forthrightness and glib artificiality about it all, I'd be lying if I said 'Love finds you in Charm' wasn't, well, charming. It's hardly a must-see, even for diehard fans of the genre, but it's a pleasant and lighthearted watch, and sometimes that's all a picture actually needs to be.
Mind you, this is decidedly heavy-handed in its conjuration - in the protagonist's not-so-secret admiration of Jane Austen, for example, in the regular emphasis of the rural setting and country living, or not least of all in the plain contrivances of burgeoning romance or the accentuation of the protagonist's struggle between two worlds. Yet isn't this exactly what we expect of such features in the first place? One knows what to anticipate before even sitting to watch, and is either on board with everything it portends or not, so there's really not much cause to fuss about the particulars. Moreover, to the credit of all involved, the falseness of the proceedings aren't so completely transparent as in the perfectly plastic and formulaic kitsch of romances from Lifetime, Hallmark, or ABC Family; though pointedly ham-handed, there's a tinge of sincerity in the telling here that helps to endear 'Charm' to even the most cynical of viewers.
The filming locations are lovely, and the cast generally give admirable performances of heartfelt nuance and personality. Naturally Chuchran stands out most, but co-star Tiffany Dupont isn't far behind, nor Meg Wittman. This is also true for most of the supporting cast, though despite his best efforts, it feels like Trevor Donovan has been guided into a portrayal that's a little stiff and forced. I'd also note that the editing is peculiarly curt - a hang-up from commercial breaks in the title's TV origins, surely, but unfortunate nonetheless. Still, the production design is warm and sweet, as is the cinematography and direction, and the costume design is swell. Based on Annalisa Daughety's book of the same name, Bryar Freed's screenplay is filled with themes of self-discovery, and the accompanying confusion and uncertainty. There's detectable earnestness in the narrative, and behind the dialogue and scene writing - though on paper and especially in execution there's also significant kitsch that's overbearing at times; every compliment paid to protagonist Emma is almost excruciating in its application, and even something as minor as an auctioneer's patter reeks of inauthenticity.
Suffice to say that this movie is a mixed bag in various ways. It means well, and is mostly made well, but try as everyone might there's no getting around the airs of overdone phoniness that pairs just as readily. The construction of the picture is as much a love triangle as the story being told, with Honest Genuineness and Blunt Cheesiness battling for the soul of the whole affair. Accentuating the point, it's deeply regrettable that the hollowness and disingenuousness is never stronger than in the last ten to fifteen minutes, when it really would have mattered most for the soulfulness of the film to have shown through. That last twinge of ill favor leaves a bad taste in one's mouth, which is extra sad because of how worthy this is at its best. Just a tad more sincerity would have gone a long way. Still, it's not bad, and again it bears repeating that no one is going to sit to watch this who isn't already well aware of what they're getting into. Unless you're a big fan of someone involved or extra keen on the genre there's no need to go out of your way for this, but if you do have the chance to watch, there are worse ways to spend one's time than with 'Love finds you in Charm.'
Mind you, this is decidedly heavy-handed in its conjuration - in the protagonist's not-so-secret admiration of Jane Austen, for example, in the regular emphasis of the rural setting and country living, or not least of all in the plain contrivances of burgeoning romance or the accentuation of the protagonist's struggle between two worlds. Yet isn't this exactly what we expect of such features in the first place? One knows what to anticipate before even sitting to watch, and is either on board with everything it portends or not, so there's really not much cause to fuss about the particulars. Moreover, to the credit of all involved, the falseness of the proceedings aren't so completely transparent as in the perfectly plastic and formulaic kitsch of romances from Lifetime, Hallmark, or ABC Family; though pointedly ham-handed, there's a tinge of sincerity in the telling here that helps to endear 'Charm' to even the most cynical of viewers.
The filming locations are lovely, and the cast generally give admirable performances of heartfelt nuance and personality. Naturally Chuchran stands out most, but co-star Tiffany Dupont isn't far behind, nor Meg Wittman. This is also true for most of the supporting cast, though despite his best efforts, it feels like Trevor Donovan has been guided into a portrayal that's a little stiff and forced. I'd also note that the editing is peculiarly curt - a hang-up from commercial breaks in the title's TV origins, surely, but unfortunate nonetheless. Still, the production design is warm and sweet, as is the cinematography and direction, and the costume design is swell. Based on Annalisa Daughety's book of the same name, Bryar Freed's screenplay is filled with themes of self-discovery, and the accompanying confusion and uncertainty. There's detectable earnestness in the narrative, and behind the dialogue and scene writing - though on paper and especially in execution there's also significant kitsch that's overbearing at times; every compliment paid to protagonist Emma is almost excruciating in its application, and even something as minor as an auctioneer's patter reeks of inauthenticity.
Suffice to say that this movie is a mixed bag in various ways. It means well, and is mostly made well, but try as everyone might there's no getting around the airs of overdone phoniness that pairs just as readily. The construction of the picture is as much a love triangle as the story being told, with Honest Genuineness and Blunt Cheesiness battling for the soul of the whole affair. Accentuating the point, it's deeply regrettable that the hollowness and disingenuousness is never stronger than in the last ten to fifteen minutes, when it really would have mattered most for the soulfulness of the film to have shown through. That last twinge of ill favor leaves a bad taste in one's mouth, which is extra sad because of how worthy this is at its best. Just a tad more sincerity would have gone a long way. Still, it's not bad, and again it bears repeating that no one is going to sit to watch this who isn't already well aware of what they're getting into. Unless you're a big fan of someone involved or extra keen on the genre there's no need to go out of your way for this, but if you do have the chance to watch, there are worse ways to spend one's time than with 'Love finds you in Charm.'