The process of global lock-down continues, but in the world of cinema people can go whenever and wherever they choose – and via a new comedy CAN YOU KEEP A SECRET?, people can at least dream of a flight or two when the containment process all are going through is over – whenever that is…
Based on the blockbuster New York Times novel by Sophie Kinsella and adapted by Peter Hutchings with Elise Duran directing, the film tells of junior marketing worker Emma Corrigan (Alexandra Daddario), who finds herself upgraded to first class on a troublesome and turbulent flight from Chicago back to New York after a seemingly disastrous pitch about a successful energy drink product of PANDA, the company she is employed by.
Emma is involved with espresso-loving, sans underwear boyfriend Connor (David Ebert), but with the world seemingly coming to an end because of the bad vibes from the flight, she spills her guts out to a male passenger sitting next to her.
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Surviving the experience virtually unscathed, her antics in Chicago prompt much anger and banter amongst her fellow employees, particularly on the day that the company co-founder and CEO, Jack Harper (Tyler Hoechlin) arrives on a business visit to observe the daily routine of the company – the very passenger Emma spilt her heart to out on the flight.
Relieved that they have made their official acquaintance, Harper asks Emma to not mention to anyone he was in Chicago and Emma in turn asks him to not divulge her own admissions on the flight. It isn’t long before the cinematic sparks fly – and they embark on their own interpretation of market research into each other. Yet, in a world punctuated by dishonesty, is it possible to keep it real?
Essentially a millennial combo influenced by Woody Allen and WHEN HARRY MET SALLY, CAN YOU KEEP A SECRETS?‘ emotional heart remains true to its cinematic past, with straightforward characterisation and a desire to be embarrassed for the sake of satisfaction.
At times it’s a by-the-numbers adaptation and having not read the source material, I cannot make any real comparison between this film adaptation and what was originally committed to page on its evolution to best-seller for the New York Times.
There is a strong sense of sexual intensity at times recalling the Demi Moore / Rob Lowe film ABOUT LAST NIGHT (1986), adapted from David Mamet’s play SEXUAL PERVERSITY IN CHICAGO which could have been heightened a bit more to enhance the emotional conflict, but it is fleeting at times in the film.
However, Daddario and Hoechlin are suitably cast in their respective lead roles and the inevitable awkwardness of developing relationships is heightened as Emma and Jack find their feet – and their bedroom – together. You can anticipate how it’s all going to go, given the locale and the set-up, so relax with your pre-conceptions at the back of your mind and let the rest take care of itself.
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