Though it is a tragic love story, it is also a perfect and irresistible fantasy. It’s hardly a fair fight, and the way it is rigged - fresh-faced, innocent, possibly dying young people facing off against a cynical, broken-down, alcoholic old wreck - provides a clue to the emotional logic of “The Fault in Our Stars.” It’s less a movie about cancer than a depiction - really a celebration - of adolescent narcissism. The quarrel between the novelist and his fans, the only real conflict in the film other than the one with disease, is essentially a battle between argument and feeling. She falls in love with Augustus Waters (Ansel Elgort), known as Gus, a fellow “cancer kid” who has lost part of his leg to the disease but who has been healthy since then and is determined to lead “an extraordinary life.” Green’s pages, frames the story - is Hazel Grace Lancaster, a teenager who has lived most of her life with the metastatic thyroid cancer she expects will end it very soon. The main character - whose voice-over narration, drawn verbatim from Mr. It succeeds.īut then again, a brief survey of the story and its themes might make you wonder how it could possibly fail. Directed by Josh Boone (“Stuck in Love”) with scrupulous respect for John Green’s best-selling young-adult novel, the film sets out to make you weep - not just sniffle or choke up a little, but sob until your nose runs and your face turns blotchy. “The world is not a wish-granting factory.” That line, from “The Fault in Our Stars,” is undoubtedly true, and it is also true that the movie, like the book before it, is an expertly built machine for the mass production of tears.
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