Now Is Good: A Coming-of-Age Tale Amidst the Shadow of Leukemia
Tessa (Fanning), a spirited 16-year-old, faces an unimaginable reality: she’s battling leukemia. When doctors deliver the devastating news that further treatment is futile, Tessa makes a bold decision. She chooses to halt chemotherapy, hoping to grow her hair and experience everything she’s missed in her short life. She crafts a bucket list, filled with youthful rebellion, but soon realizes her deepest desire is to fall in love.
It would be unfair to accuse director Ol Parker of plagiarizing the plot from the similar themed “Restless”. The book “Now Is Good” is based on was published even before Van Sant began pre-production on his film. However, Van Sant seems to have a deeper understanding of the subject of teenage angst and their perception of death. Parker struggles to capture the same depth and nuance.
The Dichotomy of Death and First Love
Death, a common cinematic device, often serves as a catalyst for profound emotional exploration. The question is always what the filmmakers intend to do with it. In “Now Is Good,” its presence feels somewhat awkward. The film primarily revolves around the burgeoning romance between an awkward girl and an irresistibly charming boy. Fanning perfectly embodies the rebellious teenager, and her counterpart is every girl’s dream. However, this sweet first love story feels tonally dissonant with the underlying theme of cancer. While Van Sant’s characters grappled with mortality, Parker’s characters embrace life with an almost unnerving maturity, choosing to live in the moment.
Paddy Considine’s Performance: A Beacon of Authenticity
Paddy Considine, as Tessa’s father, delivers the film’s most compelling performance. He is the only character who truly embodies the weight of the situation, eliciting genuine emotion from the audience. Without him and the occasional reminders of Tessa’s illness, one might forget the gravity of her condition.
A Sentimentality That Misses the Mark
The film’s overall effect is somewhat unsettling. It’s akin to a tragic ending in a family film – unnecessary, strange, and manipulative.