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Noting Hilas (1999) Online

Noting Hilas (1999) Online
Original Title :
Notting Hill
Genre :
Movie / Comedy / Drama / Romance
Year :
1999
Directror :
Roger Michell
Cast :
Hugh Grant,Julia Roberts,Richard McCabe
Writer :
Richard Curtis
Budget :
$42,000,000
Type :
Movie
Time :
2h 4min
Rating :
7.1/10

The life of a simple bookshop owner changes when he meets the most famous film star in the world.

Noting Hilas (1999) Online

Every man's dream comes true for William Thacker, an unsuccessful Notting Hill bookstore owner, when Anna Scott, the world's most beautiful woman and best-liked actress, enters his shop. A little later, he still can't believe it himself, William runs into her again - this time spilling orange juice over her. Anna accepts his offer to change in his nearby apartment, and thanks him with a kiss, which seems to surprise her even more than him. Eventually, Anna and William get to know each other better over the months, but being together with the world's most wanted woman is not easy - neither around your closest friends, nor in front of the all-devouring press.
Cast overview, first billed only:
Julia Roberts Julia Roberts - Anna Scott
Hugh Grant Hugh Grant - William Thacker
Richard McCabe Richard McCabe - Tony
Rhys Ifans Rhys Ifans - Spike
James Dreyfus James Dreyfus - Martin
Dylan Moran Dylan Moran - Rufus the Thief
Roger Frost Roger Frost - Annoying Customer
Henry Goodman Henry Goodman - Ritz Concierge
Julian Rhind-Tutt Julian Rhind-Tutt - 'Time Out' Journalist
Lorelei King Lorelei King - Anna's Publicist
John Shrapnel John Shrapnel - PR Chief
Clarke Peters Clarke Peters - 'Helix' Lead Actor
Arturo Venegas Arturo Venegas - Foreign Actor
Yolanda Vazquez Yolanda Vazquez - Interpreter
Mischa Barton Mischa Barton - 12-year-old Actress

During the birthday dinner scene, Anna Scott is asked how much she made on her last film, and her reply is $15 million. This is the amount she (Julia Roberts) was paid for her role in Ноттинг Хилл (1999).

The shots in the lobby of the Ritz were actually filmed at the Ritz, but between 2AM and 4AM so as not to be affected by the real guests.

The house with the blue door where William lives is real; it once belonged to Notting Hill screenwriter Richard Curtis.

The bit where Anna Scott tells off the diners in the restaurant was not in the script.

The long shot where William Thacker walks through Notting Hill during summer, fall, winter, and spring was actually four different shots, all filmed the same day. Computer technology morphed Hugh Grant seamlessly from one shot to the next.

Many of the shots of Julia Roberts used in the opening credits came from the show Entertainment Tonight (1981).

The park bench used in this film now 'lives' in Queens Gardens in East Perth, Western Australia. A local Perth resident anonymously donated the bench to the City of Perth and it now *really does* live in a beautiful garden that is locked at night.

Thacker's bookshop was actually an antiques shop in real life, next to a butcher. One or two doors down from the butchers is an office for Richard Curtis's production company. Shortly after becoming a superstar, singer Adele bought the flat directly above the 'bookshop' but only lived there for a short time before moving back to live with her mother Penny.

The book William reads as he sits on the park bench at the end of the movie is "Captain Corelli's Mandolin" by Louis de Bernières. Выбор капитана Корелли (2001) was to be director Roger Michell's next film after Ноттинг Хилл (1999), but he became seriously ill and had to be replaced by John Madden.

The rooftop scene in which William and Anna practice her lines for the submarine movie was shortened and edited to remove some swearing from Anna that would have precluded a PG 13 rating. The extended scene is on the DVD.

Julia Roberts was the "one and only" choice for the role, although Roger Michell and Duncan Kenworthy did not expect her to accept. Her agent told her it was "the best romantic comedy she had ever read". Roberts said that after reading the script she decided she was "going to have to do this".

Throughout the movie, Anna never says William's name, either in conversation, or when addressing him directly (Flopsy/Floppy doesn't count.)

When Bernie, unaware of Anna's level of fame, asks her how much she made in her last movie, Julia Roberts ad libbed the number. Initially in the script and during rehearsals, she said $10 million. In future takes, she changed it to $12 million. In the third take of her close-up, she said $15 million. Hugh Bonneville later asked Roberts why she kept changing the figure. She replied, "I'm kind of tired of low-balling!'

The house with the blue door used in the movie was sold the year following the release of the movie. The original blue door was removed and auctioned. The replacement door was painted black so that no one would recognize it. Soon however, someone later spray painted on the wall next to the door, "This is the Hollywood door." A different house was used when Thacker and Anna are practicing her lines on the roof.

The real Travel Bookshop had a sign in its window saying "We're almost famous." It would sell non-travel books when it fitted in with a theme. For example, selling Martin Amis's "London Fields" when doing a Notting Hill theme.

Julia Roberts took issue with paraphrasing Rita Hayworth's famous line, "They go to bed with Gilda, they wake up with me." "I hate to say anything negative about what Richard wrote, because he's a genius, but I hated saying that line," Roberts said. "To me, it was nails on a chalkboard. I don't really believe any of that."

Director Roger Michell and writer Richard Curtis both said Hugh Grant and Julia Roberts were the first choices for the roles of William Thacker and Anna Scott.

The casting of Hugh Bonneville, Tim McInnerny, Gina McKee, Emma Chambers, and Rhys Ifans as Will's friends was "rather like assembling a family". Roger Michell explained that "When you are casting a cabal of friends, you have to cast a balance of qualities, of types and of sensibilities. They were the jigsaw that had to be put together all in one go, and I think we've got a very good variety of people who can realistically still live in the same world."

Richard Curtis developed the film from thoughts while lying awake at night. He described the starting point as "the idea of a very normal person going out with an unbelievably famous person and how that impinges on their lives".

When writer Richard Curtis viewed the film for the first time, he found it to be too similar to his previous film, Четыре свадьбы и oдни похороны (1994).

The final cut was 3.5 hours long, 90 minutes edited out for release.

Omid Djalili plays the Cashier at the Coffee Shop (uncredited) - he was filming Мумия (1999) at the same time at the same studios so was conscripted to fill in the part, very conveniently. (Blink and you could miss him serving Hugh Grant the orange juice that he soon spills on Julia Roberts.)

The location manager Sue Quinn, described finding locations and getting permission to film as "a mammoth task". Quinn and the rest of her team had to write to thousands of people in the area, promising to donate to each person's favourite charity, resulting in 200 charities receiving money.

The blue door was auctioned at Christie's Film and Entertainment sale in London. Soon after, graffiti appeared on a wall close by saying something along the lines of "R.I.P. blue door" next to the new door. The original blue door is now on a property in Hope Cove, Devon.

The decision to cast Hugh Grant was unanimous, as he and Richard Curtis had a "writer/actor marriage made in heaven". Roger Michell said that "Hugh does Richard better than anyone else, and Richard writes Hugh better than anyone else", and that Grant is "one of the only actors who can speak Richard's lines perfectly".

According to Richard Curtis, Anna Scott was a hybrid of Grace Kelly and Audrey Hepburn.

The film features the 1950 Marc Chagall painting La Mariée. Anna sees a print of the painting in William's home and later gives him what is presumably the original. Michell said in Entertainment Weekly that the painting was chosen because Curtis was a fan of Chagall's work and because La Mariée "depicts a yearning for something that's lost." The producers had a reproduction made for the film, but had to get permission from the owner as well as clearance from the Design and Artists Copyright Society. Finally, according to Duncan Kenworthy, "we had to agree to destroy it. They were concerned that if our fake was too good, it might float around the market and create problems." The article also noted that "some experts say the real canvas could be worth between US$500,000 and US$1 million."

The fictional Anna Scott/Matthew Modine film William and Spike are watching, described by Spike as a classic, is called Gramercy Park, after the in style New York City neighborhood.

Despite Thacker's protestations, it seems that his store does *not* just sell travel books. On the shelf in the background (visible clearly in a later scene where he is receiving the gift from Anna), there is a copy of Comics, Comix & Graphic Novels by Roger Sabin. (It's a big orange hardcover.)

There is a chain on the outside of Spike's door, so he could conceivably be locked in rather than having it set to lock anyone out.

Hugh Grant was critical about kissing Julia Roberts because of her large mouth. He said she had "such a large mouth" and "was aware of a faint echo as I was kissing her." Roberts has since forgiven Grant for the comments, and has said she is willing to work with him again.

Richard Curtis previously dated Anne Jenkin, before her marriage to Bernard Jenkin MP. He routinely includes references to a horrible person "Bernard" in his scripts. In this movie, William introduces himself as Bernard to Jeff King when he realises he almost helped Anna cheat on him.

The Marc Chagall painting featured in the movie, and eventually given to William by Anna, is entitled "La Mariée" ("The Bride") and depicts a young bride (and a violin-playing goat).

Hugh Grant walked around the set complaining that Julia Roberts' voice was "significantly lower" than his. At first, Grant's voice was higher than usual because he was nervous.

Richard Curtis chose Notting Hill as he lived there and knew the area, saying "Notting Hill is a melting pot and the perfect place to set a film". This left the producers to film in a heavily populated area. Duncan Kenworthy noted "Early on, we toyed with the idea of building a huge exterior set. That way we would have more control, because we were worried about having Roberts and Grant on public streets where we could get thousands of onlookers." In the end they decided to film in the streets.

According to Richard Curtis, while going through candidates to play Julia Roberts' husband, she pointed out that they were all twenty years her senior. This made him feel ashamed, as the reverse could never be true.

Stuart Craig, the production designer, was pleased to do a contemporary film, saying "we're dealing with streets with thousands of people, market traders, shop owners and residents which makes it really complex".

The film features the book Istanbul: The Imperial City (1996) by John Freely. William recommends this book to Anna, commenting the author has at least been to Istanbul. In reality, Freely teaches at Bogazici University in Istanbul, and is the author of nine books about the city.

During the opening scene, where William spills coffee on himself it wasn't real coffee but Coca Cola.

Mike Newell was approached but rejected it to work on Управляя полётами (1999). He said that in commercial terms he had made the wrong decision, but did not regret it. He had previously directed Четыре свадьбы и oдни похороны (1994), which was also written by Richard Curtis and also starred Hugh Grant.

One of the final scenes takes place at a film premiere, which presented difficulties. Roger Michell wanted to film Leicester Square but was declined. Police had found fans at a Leonardo DiCaprio premiere problematic and were concerned the same might occur at the staged premiere. Through a health and safety act, the production received permission to film and constructed the scene in 24 hours.

Alec Baldwin has an uncredited role as Jeff King, Anna Scott's American boyfriend.

Has a similar theme to Four Weddings and a Funeral (1994), in that Hugh Grant's character falls in love with an American woman who he sees periodically when she visits the UK, and the romance takes place over a timespan of several months.

Roger Michell was worried "that Hugh and Julia were going to turn up on the first day of shooting on Portobello Road, and there would be gridlock and we would be surrounded by thousands of people and paparazzi photographers who would prevent us from shooting". The location team, and security personnel prevented this, as well as preventing problems the presence of a film crew may have caused the residents of Notting Hill, who Michell believes were "genuinely excited" about the film.

Anthony Minghella was originally meant to direct.

Most of Ann Beach's part was deleted.

Humorously enough, "Rufus the Thief," who attempts to steal a book from William's book shop early in the movie, is played by Dylan Moran, who shortly thereafter starred in Книжный магазин Блэка (2000) - a comedy series centered on a book shop.

In a strange coincidence, William says "Meat Loaf has a very nice pair" when talking about why men are fascinated with breasts. This was actually before Бойцовский клуб (1999), which was released four months after Notting Hill and in which Meat Loaf's "very nice pair" features prominently (although to be fair, they were part of his role's fat suit).

The movie was remade in Hindi (Bollywood) as Предчувствие любви (2006).

Before Anna and William meet in the book store again, a man asks William if he has the new John Grisham thriller. Julia Roberts starred in Дело о пеликанах (1993), the novel of which was written by Grisham.

Comedian Sally Phillips had a small role as a dog walker, but it was cut from the final film.

In the first scene inside the house in Notting Hill Hugh Grant opens the cupboard. On the shelf there is a can that says "Bean", a reference to Richard Curtis' other work.

David Threlfall was seen for a part for this project

All the lead characters except Anna and William are not quite 'normal' and all of them are under-achievers in any specific way, even the girls who William is set up with were not quite so normal.

Interior scenes were the last to be filmed, at Shepperton Studios.

Richard Curtis repeatedly listened to "Downtown Train" by Everything But the Girl while writing the script.

There is some stained glass in the film which features the likeness of MTV characters, Beavis and Butt-Head.

The newspaper that William is reading while Anna mentions the size of his feet is the 15th June 1998 edition of The Times featuring an article on racing driver Nigel Mansell by Kevin Eason.

While they are racing to get to The Savoy, after Spike stops traffic, Honey is seen waving out of the driver side back window and when they get to The Savoy William jumps out of the car from the same seat she would have been sitting in.

Art Malik was offered a major role.

As he explains in the published screenplay, in Richard Curtis's original conception of the story, Honey (Emma Chambers) was a worker in the record store across from his bookshop and Anna's romantic rival for his affections. The film would have ended with William choosing her over the fantasy that Anna represented. Curtis decided that he could not just dismiss Anna, however, and so he made Honey into William's sister instead.

The Henry James movie in which Anna stars is based on James' novella "The Siege of London", as indicated in the paper Max tosses to William in Tony's now defunct restaurant. Anna plays Mrs. Headway, much married and divorced, bold and outspoken, from the "Wild West" in America.

In the final shot of the movie, where they have found their own bench on which to grow old together, Anna is clearly pregnant.


User reviews

Alsardin

Alsardin

After reading the synopsis, 'Notting Hill' sounds like just another melodramatic Julia Roberts rom com. Fortunately, that ain't the case. 'Notting Hill' is fun, sweet, intelligent and … well, simply said, very entertaining. London's Notting Hill does seem like a street you'd like to walk on.

While the storyline itself is larger than life, the characters are real. There is no overt melodrama. We can see that Curtis put a lot of heart and some Brit wit humour into the writing. After meeting William, Anna, Spike, Max, Bella and Honey, we, as audience, really connect to these very interesting characters and care about them. The table discussion in Honey's birthday scene shows how all the characters connect. While a nervous Anna, is new to the group, we see that she eventually gets a hang of them and feels comfortable enough to talk about herself.

Hugh Grant isn't anything different from his other rom coms. Julia Roberts is brilliant. I never liked any of her romantic comedies (e.g. Pretty Woman, I Love Trouble, Something to Talk About etc) but 'notting Hill is an exception. She gives a subtle portrayal as hugely famous but very vulnerable Anna Scott and does full justice. This indeed is one of her finest performances. Rhys Ifans as Spike is standout! While Tim McInnerny, Emma Chambers, Hugh Bonneville and Gina McKee (love her) are excellent. McKee's comedy is extremely subtle and her character is one of the most appealing. She underplays her part with tremendous grace and maturity.

All the actors share a very warm chemistry that just keeps adding on to its quality. The relationship and friendship between the characters is shown in a very sensitive way. While Spike and William are roommates who just seem to get along, we know that they like each other. Also William is about to cancel a date with the world's most famous actress to attend his sister's birthday party. The relationship between Max and Bella is beautiful.

Additional credit must be given to Coulter's amazing cinematography and the visuals. Watch the scene where Thacker is walking through the market and we see the weather change (indicating the passing time). There's a beautiful soundtrack that recites the moods of the scenes. And last but not least, thanks to Roger Mitchell for putting it all together to tell us this sweet entertaining story.
Stylish Monkey

Stylish Monkey

It may be a paradox to say that a film can sparkle slowly, yet that's the only way I can describe this charming romantic comedy. The star(dom)-crossed lovers don't know that they are Meant For Each Other ... yes, this is the standard RomCom setup. But the -way- they don't know? That is put across in a most British and deliberate pace and setting. And it makes the ending that we all know is coming gather color and charm.

"Notting Hill" takes over a third of its running time to show William (Hugh Grant) as he is immersed in his daily life, wanting to be supportive of his friends, yet searching for his own inner life. The five closest friends all show something he lacks: "happy" conformity, a loving marriage transcending obstacles, a sister who takes bold risks for finding love, and a roommate that sees through pretense and says so (and, yes, is delightfully vulgar).

That very British character-in-a-wry-setting pattern borrows from "Four Weddings and a Funeral," but the only friends there that I could consistently believe -mattered- to Grant's character were the gay couple, one comic, the other showing profound emotion. Here, all of the lead character's circle deeply cares about him, as he does about them. This makes all the difference.

Where it matters most is in giving him support when the American film beauty (Julia Roberts) comes into his life, then out, then in, then ... and all in ways that are believable for such dissimilar lovers. The romantic turns are more plausible because Grant's character has such support and a place for sharing his emotional roller-coaster ride. He isn't crushed by the down moments, but picks up his individuality and moves on. And his friends tell him, sometimes with only searching looks, just when he's picked up -too much- of being on his own. (Okay, the moment towards the end when Spike puts his exasperation into three pointed, even vulgar, words is a refreshing change. Sometimes, when a friend lets loose with the pithy truth, it hits the needed spot.)

All this backstory, character richness, and pointed use of the "right" words are British qualities that we don't get with the standard American RomCom setup.

Gina McKee's turn here as Grant's wheelchair-bound female friend is of someone with deeply felt individuality and unique perceptiveness, including her own tender perspective on loves past and present - especially her husband. It's a glimpse into a woman with distinctive qualities that -she- has chosen. This makes her both appealing to all her friends, and forceful by quiet understatement. She also ends up being much funnier, when you've rewound the tape and end up thinking about the story. (Listen for her spoken turn on "standing up." No, it's not a cheap play on her limitations. Not in context. And that's subtle comic acting.)

Richard Curtis's inventive screenplay is one of the best in years, and would reward a look in book form as well. He takes this backdrop of supportive friends, puts in the sparkle of Roberts invading and shaking up their world, and creates a skein of personal truths and imposed celebrity nonsense.

Grant and Roberts are both passionate and bemused observers of the absurdities of fame that end up surrounding them, but they act this out in comic byplay and inventive responses. This isn't an American breakneck-pace (or "screwball") comedy, and their subtle discovery of each other's -minds- and substance wouldn't work in such a setting.

Roberts has both the easy familiarity with and the hair-trigger of frustration from fame, both coming out to undermine her when she least expects it. But she shows that she can grow and learn from her mistakes. (Unlike her well-acted but overexplained realization at the end of "Runaway Bride.") She even has one scene -sans- makeup that is a genuine romantic turning point. I don't see many other actresses being willing to try that.

Grant shows an astonishing inner strength and self-awareness, not being willing to hide how -he- sees reality. (He did the same realistic turn in "Four Weddings," but didn't try nearly as effectively to figure himself out.)

The photography and settings show off London beautifully, and the story's interior scenes make highly imaginative use of a narrow, stacked-up Notting Hill mini-townhouse.

I do feel the director fails to take up some opportunities to build on the comic or dramatic moments in the screenplay. He coasts on the words. They're excellent words, but they need a twist at times.

My only take-off-a-point[*] quibble is with the music. It's mostly popular tunes that underscore the action. One of these is luminous, and frames the story perfectly - Elvis Costello's cover of "She." Others, though, use their lyrics to overstress plot points. Some are performed too high in volume, sometimes lapping against dialogue.

(The two original themes by Trevor Jones are beautiful, lushly written, and quite fitting to the main characters. We should have had more of his work, but they're less than a fourth of the film's music.)

The British often put more creativity below the narrative surface and into the setting than Americans do, and often get beyond formula. To discover this in a film is joyous. You'll feel this when you find yourself compelled to see this deeply felt, yet very funny, film twice, thrice, or more. For me, it's still delightful after nine months and nine viewings.

[* Edited on 21 April 2011: After another decade and another ten viewings, this love story has only become more resonant and beautiful. The pop-song choices feel notably less obtrusive. The acting of both Roberts and Grant has evinced more depth. And I see no reason to not give it a full 10 rating.]
Whilingudw

Whilingudw

Notting Hill is a district of west London that was built as a fashionable Victorian suburb, became very run down during the mid twentieth century and is now once again fashionable, but which retains a distinctly cosmopolitan atmosphere, with London's biggest street market and many small specialist shops. (My wife and I sometimes go there to shop for bargains). The hero of the film, William Thacker, is the owner of one of these shops, a travel bookshop. The film concerns the romance which develops between William and a young woman named Anna Scott whom he meets when she comes into his shop.

As another reviewer has pointed out, 'Notting Hill' is based around a theme, love between people of unequal social standing, which has provided literature with some of its greatest works, both comic and serious, dating back at least to the tale of King Cophetua and the beggar-maid. Although many of these stories tell of a poor but honest lad who aspires to the hand of a princess or titled lady, Anna is not part of the Royal Family or the British aristocracy. She rather belongs to an even more exclusive elite, the Hollywood starocracy. She is a hugely popular film star who earns at least $15,000,000 per film, and pops into William's shop during a brief stay in London to publicise her latest movie.

Although Anna is played by a real-life Hollywood superstar, Julia Roberts, the film is very typically British. William is similar to an number of other Hugh Grant characters, being a shy, diffident middle-class Englishman, probably public-school and university educated. (Despite this background, he is not particularly wealthy following a divorce from his first wife and is forced to share his lodgings with an eccentric Welsh flatmate, Spike). The humour of the film, particularly the dinner-party banter between William and his friends, is mostly of the typically ironic, self-deprecating variety popular in Britain, especially in middle-class circles. Rhys Ifans's Spike, by contrast, typifies another strand of British humour, the eccentric zaniness found in the likes of 'Monty Python'. Spike's strong provincial accent suggests a more working-class background; this possibly accounts for the teasing that he has to put up with from the other characters, although he takes it all in good part.

William may be diffident, self-deprecating and unsuccessful, but he is probably the stronger of the two main characters. Anna is beautiful and successful, but underneath it all she is insecure, worried about losing her fame and fortune and about her inability to form lasting relationships with men. Early on in the film she has another boyfriend, Jeff, but it is clear that he is only the latest in a long string of unsatisfactory romances which have left her emotionally (and in some cases physically) bruised. The scene where Anna says to William 'I'm just a girl, standing in front of a boy, asking him to love her' is the one where we see her at her most vulnerable. Although both characters are in their late twenties or thirties, it is noteworthy that Anna refers to 'girl and boy' rather than 'woman and man'. Anna's vulnerability also comes through in her reaction in the scene where hordes of paparazzi appear on William's doorstep; William tries to play down the incident, and Spike finds it hugely amusing, but Anna is horrified. (The film was made shortly after the death of Princess Diana; this scene possibly reflects British disgust with the antics of the paparazzi, who were regarded as being partly to blame for the Princess's death). Like others, I found myself wondering how much Anna's personality reflects Julia Roberts's own; she too has had a number of unhappy relationships.

Important roles are also played by Tim McInnerny and Gina McKee as William's best friend Max and his disabled wife Bella; the love of this ordinary couple for each other provides a more realistic, down-to-earth counterpart to the fairy-tale romance of William and Anna, helping to anchor the film more firmly in reality. The main charm, however, lies in the relationship of the two main characters, as Anna comes to realise that the seemingly ordinary William has a kindness and decency which count for more than the monstrous egos of Jeff and his like. Like 'Four Weddings and a Funeral', which was also written by Richard Curtis and starred Hugh Grant, 'Notting Hill' is one of the warmest and most human British films of the nineties. 7/10
Xar

Xar

Notting Hill proves one thing -- jokes lie in the oddest places. This film is an excellent vehicle for Julia Roberts to put her own life as an actress under the microscope. While Roberts' "Anna Scott" character isn't an autobiographical figure, the Scott character allows for some biting satire at the life of Roberts herself. Need I mention some excellent one liners in the film like the sister of Hugh Grant... "I feel like we are sisters", an excellent throw-back to "My Best Friend's Wedding"... or my favourite, a discussion about nude body doubles just before a nude Julia Roberts (or a Julia Roberts body double) crosses the screen.

Apart from the small bit of satire, Grant's character plays on the emotions of every guy who has ever unexplainably fell in to, threw orange juice-on, lost out on, and fell back in to love. Roberts character can only help us understand how such a relationship as the one her and Grant share in the movie, could be "Surreal, but nice."

A sweet film surely not to be missed!
Eigonn

Eigonn

Visually lovely, "Notting Hill" becomes an enchanting fairy tale.....a magical and endearing love story, from the opening credits to an afternoon of quiet sharing in a London park. Being a romantic at heart, I was emotionally drawn to this well produced and entertaining motion picture, enticing me to view it a number of times more.

Some friends have indicated that the "plot" is boring and in 2 hours and 4 minutes takes too long to come to an expected conclusion. But the lyrical chemistry between William Thacker (Hugh Grant) and Anna Scott (Julia Roberts) give intimate glimpses into the human heart and spirit. As in Mary Poppins when Burt jumps into the chalk sidewalk drawing, I longed to join this tapestry of two people falling in love, among caring friends and relatives. To longingly look into Anna's eyes and to see a reflection of your very own soul of hope and humanity may seem less than exciting to some people.....too involved in their fast paced, action world and who fail to see the beauty of life around them....to smell the roses.

Watching the inflections of Julia Robert's face became a mesmerizing cinema experience. And Hugh Grant's thoughtful and honest, yet quirky presence gave hope to what could be possible. Then wrap all this with a humorous, loving and insightful group of friends and family......WOW!

After watching "Notting Hill" with my wife and giving her a big hug, I saw that she was just a girl, standing in front of a boy, wanting to be loved!

What greater joy of meaning can be given by a film?

"Teach me the Magic of Wonder, Give me the Spirit to Fly" - John Denver
Abuseyourdna

Abuseyourdna

Can lightning strike twice? Well with writer Richard Curtis it has! I understand he wrote this screenplay and completed it before he realised just how similar it was to his previous hit, Four Weddings and a Funeral.

Let's examine this a second: Hugh Grant is the hero; There's an elusive and glamorous American that he falls for; He has a circle of friends, each in their own way a success AND a failure in life, and yet Hugh's character (William Thacker) is somehow trailing them all; there's the kooky yet endearing sister; the character with a tragic disability; a complete buffoon of a sidekick; and several near-misses.

Yet it's all so thoroughly entertaining, AGAIN. It's like a delicious dish, and its recipe for success is cooked up time and again by Curtis as Jamie Oliver's older and wiser brother.

As a single bloke in this day and age I AM William Thacker, and I AM Charles in Four Weddings. So on the one hand you'll have parts of the audience identifying with the hero, and parts of the audience wanting the hero to be their real-life partner. Yet character empathy alone is not enough to carry a film.

The path that the hero follows needs to be a roller-coaster ride. Sometimes it's up, sometimes it's down, but it's never boring. In fact, the pacing is assuredly steady just as, in one excellent scene, we see the indication of time passing in an extremely effective way. I feel that Curtis learnt from Four Weddings and tightened the strings on the time line in this movie. Where Four Weddings very occasionally crawls, Notting Hill paces along assuredly.

In addition, our hero's roller-coaster ride must be believable. Could this really happen? Why not? Do movie stars ALWAYS fall for other celebrities?

So what of the performances? Well Hugh Grant is really Hugh Grant (again) in this role. But isn't that why we go to see Hugh Grant movies? He's funny yet tragic, vulnerable yet assured, and I can't imagine anyone else playing William.

Julia Roberts is one of those stars who, love her or hate her, delivers in every role. She's very believable as Anna Scott, showing the resolute public charm of a movie star, whilst exposing the hidden human frailty behind Hollywood's finest. And this despite the undoubted (and wholly false) criticism that she's simply playing a movie star like she in fact is. She perhaps COULD have leaned back and simply ambled through the movie expecting it to be an easy role for her, but in a truly professional manner, she's sought to add depth and weight to her character.

The rest of the cast sparkle in their roles, most notably Rhys Ifans as Spike. But even without the requisite comedy set pieces that Rhys revels in, actors of class such as Tim McInnerny, James Dreyfus, Gina McKee, Emma Chambers and Hugh Bonneville expertly fill in the no-less important landscape of this joyous and warm piece of art.

Watch out, too, for memorable cameos by Alec Baldwin, Mischa Barton and Matthew Modine.

So who is Cinderella and who is the Prince? At first glance William is the hopeful nobody. But really, as the story develops, we'll see that there are two character's dreams unfolding in Notting Hill.

Why then not 10 out of 10? Well, full marks would have been ME starring as William Thacker... ;)
inetserfer

inetserfer

Not usually impressed with Romantic Comedies, i found this one strangely compelling. It really was a nice movie, littered with great characters, especially Spike played by Rhys Ifans (Hilarious).

The story demonstrates to the extreme that love can occur between the most unlikely of people, and the humorous portrayal of this, is both touching and realistic. And i mean realistically created, not necessarily true realism.

Worthy of your attention, this well written romantic comedy is a must for fans of the genre and is a good gamble if your not.

8/10
Bys

Bys

I'm not a fan of either Hugh Grant or Julia Roberts. So why did I watch this film in the first place? I guess I'm always looking for the best in everyone. What a surprise. I was not disappointed.

Hugh Grant's jittery, bumbling charm has never been more endearing. The vulnerability Grant infuses into his character is definitely his best quality, and it's perfectly understandable that he might decline the opportunity to date a megastar actress out of trepidation.

Julia Roberts' legions of fans will not be let down by her character. It's dead-on Julia. But those who are not among her fans will be slowly but surely won over by the honesty and directness of the character. I don't care what your testosterone quotient is, there won't be a dry eye in the house when she almost whispers, nervous smile masking the hurt, that she's "just a girl, standing in front of a boy, asking him to love her."

The story is by the writer of Four Weddings and a Funeral and Bridget Jones' Diary, so it's a sure bet from the start. But Grant and Roberts take what might have been a slightly weak treatment and make it sparkle.

I get so sick of everyone who pooh-pooh's a happy ending because it's somehow so unbelievable that things ever work out right. Instead we demand tear jerker disappointment at every turn and end up with Kevin Costner drowning like a sacrificial lamb at the end of Message in a Bottle to satisfy our lust for tragedy. I love it when things work out well in my life, and sometimes I like to see films about things working out. If a bookstore owner in London can actually end up with the top actress in Hollywood, then maybe I'll get that promotion, or that beautiful new associate might actually talk to me. Is that so bad?
INwhite

INwhite

This film was surprisingly good, not my favourite romantic comedy in the world, and personally I think Love Actually and Four Weddings and a Funeral are better. But it is a good film, thanks to the strong performances, fresh script and the film's look. While not laugh out loud funny, Notting Hill is nonetheless warm and charming. The script is fresh, sometimes funny, sometimes insightful. The part where Anna says "I am just a girl, standing in front of a boy, waiting for him to love her", may be cringe worthy to some people, but for me no matter how clichéd it is it shows a vulnerable side to Anna's character. The film is based on love revolved around unequal social standing, William being diffident and unsuccessful, Anna being the complete opposite. The photography is fabulous and the direction is excellent. Hugh Grant is charming as William and Julia Roberts is positively luminous as Anna, and the two have strong chemistry. Out of the supporting performers, Rhys Ifans stands out in a very zany turn as Spike. The music is lovely too. All in all, this is very warm, charming and pleasant, yeah the ending is predictable, but this is a well written and quite irresistible film. 8.5/10 Bethany Cox
August

August

Julia Roberts playing a famous American movie star wasn't quite a stretch and yet it felt unconvincing. The humor works the second you're seeing it but then it vanishes into thin air. It feels self conscious and forced. Once all that is said, "Notting Hill" emerges as a pleasant enough improbable romantic comedy in the "Four Weddings And A Funeral" mold without ever reaching the smart, disarming charm of its model. Hugh Grant is lovely in a part destined to seem Hugh Grantish with all the clipped bit of nonsense that have made Grant a household name. The quirky friends and bizarre room mates are the questionable salt and pepper of this romantic tale. I found myself smiling, getting impatient and enjoying it, all at the same time. I'm too much of a Preston Sturgess fan to be able to sit through a modern comedy in the way I did with "The Lady Eve" for instance. My favorite moment: The Horse and Hound sequence. Very funny. If you've never seen a Preston Sturgess, Ernst Lubitch or Billy Wilder comedy, you may like "Notting Hill" much more than I did.
Nahn

Nahn

> After suffering a divorce, a marriage between a best friend and an ex-lover, not to mention living with a complete slob for a roommate, travel bookstore owner William (Hugh Grant) was just trying to live a peaceful existence in Notting Hill, England with his disastrous lovelife and a fledgling bookstore. When American film megastar Anna Scott (Julia Roberts) comes in to browse for books about Turkey, the two sense a mutual attraction and begin a delicate love affair that threatens both their complicated lives. The crux of "Notting Hill" is this : can two exact opposites in the complex world of publicity and disposable relationships stay together forever? Screenwriter Richard Curtis's ("Four Weddings And A Funeral") goal this time around seems to be a sharp satire of the Hollywood starlets and their psychotic relationships with the public and themselves, and the old wacky English humour we've come to expect from any film with Mr. Grant. It's a very odd mixture of the audience-pleasing easy comedy and something more sinister - possibly due to both lead's past public lives. He creates two compelling characters in Anna and Garrett. They both have very convincing motives for the courtship, it isn't just a roll in the hay and then the aftermath like most films. Director Roger Michell keeps the flow nice and the two leads make good on their promise for charm and beauty. I'm a little irritated that so many would consider this a big step for Julia Roberts in the acting department. She already gave a commanding performance in last year's "Stepmom". With "Hill", Roberts continues her impressive growth spurt into real adult acting and role choices. Her work with Grant here is the most easy going I've even seen her do(Maybe one too many close-ups of that smile though...). Hugh Grant does his stammering best to make William seem lovable. I'm not a fan of Mr. Grant, but I will easily concede that this is his best performance to date. Rhys Ifans is disgusting (a good thing) as Spike, William's flatmate. He brings some very much needed brevity to the proceedings. If anyone ever needs an actor to represent an English skuzzball, they should call this guy. If the charming "Notting Hill" suffers from anything it might be the "She's All That" syndrome. Whenever you get the relationship ball rolling, it seems in everyone of these movies we need a forced situation to break up the two leads, just so we can cheer when they reconcile. That's fine, no complaints. In "Hill", this syndrome is put to the extreme test. We follow this romance through, I believe, at least three breakups. That's too many for a two hour film. We never get sure footing on to why these two should be together and that is a frustrating element. Director Michell tries to hold onto the reins, but the climax of the film is forced and seriously uncharacteristic of the movie. "Notting Hill" has a lot to say about fame and the effects of it on a life. It never bothers to take a stand or really explain if Roberts's character embraces her superstardom or is oppressed by it. Screenwriter Curtis makes compelling arguments for both sides of the debate but strays away from truly looking deep within the fishbowl. When you think about it, William was a fan of Anna before meeting her, yet that subject seems too taboo for the film. What we get is just puppy love, no strings.

"Notting Hill" is an extremely charming film with so much love to offer. It's a concoction that's hard to resist. You'll come out of it with a warm fuzzy feeling in the tips of your toes. It's nice to have a film that just wants to please, I just wish they didn't lay such a heavy topic wet blanket over the proceedings. --------------- 8
Prorahun

Prorahun

Notting Hill, this totally implausible, happily improbable, feel good flick, does more to influence positive attitudes about people with disabilities than any all day sensitivity training seminar could ever hope to accomplish.

As significant as the two leading characters is the ever-present, fanciful circle of friends. Wouldn't we all love to have a close group of intimate chums like these! The collection of assorted characters includes Bella, a woman who uses a wheelchair, a sleek Quickie Ultralight at that. I love the easy nonchalance of her introduction to the viewer. She is merely one of many diverse folks in the day-to-day life of William Thacker, the film's protagonist.

In one after-dinner scene, the group sits around a big, friendly, worn farmhouse table, consuming way too much wine and sharing what stinks about their life. Bella reveals that she and her husband discovered they cannot have children. I like that she also dares make a complaint about "sitting in this damn chair". She is being honest; she is not burdening herself with feelings that she should sugar-coat her life for others. Nor does she feel compelled to be upbeat and cheerful no matter the cost to her own integrity.

This character lives a typical, dare I say "normal" life. She is married, throws parties, gets drunk on occasion, and interacts with the able bodied world around her . . . all with unaffected naturalness. I like the message this sends to the viewing public: people with disabilities are a whole lot like people without disabilities.

In a scene when Anna Scott and William Thacker leave the birthday party celebration, the very first words out of Anna's mouth are, "Why is Bella in a wheelchair?" This is precisely, to the letter, as it would be in real life. When folks come in contact with a person with an obvious disability, they understandably want to know what happened.

Bella's husband tenderly lifts her out of her wheelchair to carry her up the staircase to bed. My thermometer was on . .. testing for feelings of excessive sympathy or sorrow in myself or in the audience. There were none. There was only empathy, warmth, and tenderness, much of what one would feel watching any loving couple where the man lifted the woman over a doorstep, for instance, into their first home. Kudos to the director and the actors for not playing the pity card here. Thankfully no soaring violins tugged at our tear ducts.

As the culminating scene of the movie approaches, the group of friends all impulsively jump into a small European car to race off. There was Bella left waving goodbye from her Quickie. No, wait a minute. This was not to be. They wanted Bella with them; she belonged with them on this mission. There were no complicated maneuvers of how will we squeeze her into the car, what will we do with the wheelchair, no exasperation from the characters. They just did it. They made it happen. Before we knew it, Bella was sitting in the front seat; a few others had rearranged their positions and crammed into the back seat, and off they all went charging away full speed ahead.

In a final scene, the friends are attempting to 'crash a private party' so to speak, and having trouble getting past the hotel management. In a boldly triumphant move, Bella comes wheeling authoritatively toward the hotel bureaucrat, confidently announcing in a power voice: "He is with ME. I am so-and-so from such-and-such journal writing an article on how your hotel treats people with disabilities."

Swoosh! All doors opened to the group! Bella saved the day in her quick-witted plot to get past the hotel magistrate. Aside from the glee I felt at her being the savior of the day, I also applaud the embedded message: Disability rights are expected; don't tread on disability civil rights; disability access is what's happenin' in the Nineties.

This film has broad cross-class mass appeal, from the teenybopper to Joe Six Pack to the intellectual, and therefore has the power to impact the sensibilities of millions of viewers. I applaud Notting Hill for its contribution toward influencing positive attitudes toward people with disabilities.
Era

Era

Whether or not realistic, this is a wonderfully touching fairy tale like story of the romance between two people of unequal social and financial standing. The beautiful, rich, and famous American movie star is superbly captured by the incomparable and always endearing Julia Roberts, who brings such a wonderful vulnerability to her roles. Hugh Grant is perfect as the shy, stammering, bumbling, unassuming, obscure, and not very affluent London bookseller, who shares a flat with his zany, weird roommate, Spike.

The tale revolves around the world's most famous actress, Anna Scott, who visits a Notting Hill travel bookshop and thereby meets the very ordinary British bookseller, William Thacker. Improbable as it might seem, the two fall in love despite the fact that Anna already has a 'significant other' in the form of the obnoxious star, Jeff, who treats her poorly. Alas, Anna and William's romance is of course subject to hounding by the ubiquitous media, making the course of true love definitely not run smooth.

Just an aside, but did the screenwriters get Hugh Grant's character's name from the Victorian novelist, William Makepeace Thackeray? It seems quite a coincidence. Ha, ha. Anyway, nice name...

The film does a marvelous job conveying what must resemble Julia Roberts' own fishbowl life, subject to constant media scrutiny and innuendo. She must have identified strongly with the character she was playing, not only the media nuisance but also the failed relationships so common among film stars. Her hounding by the paparazzi is also of course reminiscent of that plaguing the late Princess Diana, and of course, sadly, resulting in her death.

The portrayal of William's friends is very touching here, as their reaction transforms from understandable awe at socializing with such a famous star, to accepting and treating Anna as basically an ordinary person and good friend. The viewer gets a sense of how much this response, this genuine friendship means to Anna. One of William's friends is a disabled wife in a wheelchair. Her normal, ordinary life and attitude are well captured and would be well received, I believe, by viewers with physical disabilities.

The love story is beautifully depicted. The sadness of Anna's failed past romantic involvements is conveyed, and despite the fame, her vulnerability as being really just 'an ordinary girl in love with an ordinary boy'. The portrayal of William is touching, as he copes with all the media attention, sees the actual person behind all that fame, wealth, and glamour, and tries to give Anna the genuine security and the 'ordinary life' she so desperately craves. A fabulous, moving, and ultra romantic film with a relevant message regarding modern society's perception and treatment of its movie stars. We can all learn a lesson here.
Larosa

Larosa

Julia Roberts is the queen of Romantic Comedies. Her iconic role in Pretty Woman should give her the title alone, but she's been in tons, some good while others weren't. However, she chose a good one in Notting Hill.

Notting Hill is a sweet, good-natured romantic comedy that succeeds on every level it is trying to be. The story is well-written and more original then it may come off from the trailers. This is a film about movie stars that actually have meaningful conversations about being movie stars. Hugh Grant is also dashing in the leading man role. Roberts actually gives best "Rom-Com" performance here, aside from the Oscar-Nominated, Pretty Woman. She restrains herself and isn't loud or obnoxious, just true to the character. This is some of her most underrated work.

With beautiful shots of London and a sweeping romance, Notting Hill is an example for future romantic comedies. I only had one problem: there is a huge gap in the middle where Roberts is off in America. I understood it was important to the story, but it didn't have to last 20 minutes. This is her story as much as it Grant's, but the writers put her on the back-burner.

While the ending is predictable, it's sweet and makes you smile. Wonderful film; 8.5
Rollers from Abdun

Rollers from Abdun

Notting Hill (1999)

At first I though this was going south fast--the narration by Hugh Grant as the intro got going was straining too hard to be funny, and taking too long to click into gear.

But then it switched to a more usual romantic comedy, the kind that Grant has made his bread and butter (lots of both--he's really good at this). Later, when the narrative voice-over returns, it works just fine. He's the consistent charming low-key Hugh Grant that we've seen in many films before, and if you don't like him, you should steer clear. If you do, here you go!

Of course, there's Julia Roberts, too, and I find her completely fine, the dependable Roberts who really can't quite "act" but who is always likable and so acting isn't the issue. And to make it even easier, her role here is to be a huge mega-star actress. Which she already is. Voila, a perfect fit.

The magic and romance that is meant to spark between the two leads isn't always convincing, but there is a sparkling kind of dialog between them, and among extended family, that keeps it going. There is some really sharp writing here.

And there is some really stupid acting. The goofy roommate is just too goofy and caricatured for the rest of the cast, and he is given some of the weakest script to read, as well. The first appearance of Grant's family might strike you as forced, as well, but they gradually work their way into the film and are actually warm and very funny. I wish they had been larger and the roommate smaller in the plans.

Director Roger Michell has a short resume, including a well-regarded "Persuasion" which didn't persuade me (I like Jane Austen too much, I think). But there is a sensibility in that film that carries over here in some of the family scenes. Well done, as far as the script takes it.

Don't expect a great movie. It's entertainment, pure and simple, but enjoyable, and with some shining moments.
Oparae

Oparae

A straightforward romantic comedy. In many ways this characterisation sums up both the strengths and weaknesses of this film. It is disappointingly non-experimental and plays the genre strict by the rules, but these rules work fairly well and here we have the good cast that is needed to pull it off.

There are quite a few details in the script that are rather questionable. For example, if Anna is this big Hollywood star, then - how does she manage to walk unnoticed through the streets of London, with not one paparazzo in sight? And why do we have (in contrast) an army of photographers at William's house when the source of their information was merely a rumour spread by his flatmate Spike down the local pub?

One of the big pluses of this movie is its largely British supporting cast, especially Rhys Ifans is a treat. As so often in this genre the supporting cast is not given enough to do. The film hardly touches the stories of these characters, we only get the odd bit of inconsequential information. That is a shame, because one could have used these characters to add interest in the story .
Stan

Stan

A wonderful movie about celebrity meeting normality. Nothing Hill stars Hugh Grant, as a book store owner, whose life is changed when an international movie star, Anna, played by Julia Roberts, walks into his book store. By fate, William collides into Anna knocking his lunch all over her. William offers Anna the opportunity to clean up in his flat across the way. Anna agrees.

Suddenly William has an international celebrity in his house. He desperately tries to keep her there by offering everything in his refrigerator. Anna leaves, but comes back and they kiss. Seems a bit Hollywood, am I right? No, I'm wrong. Nothing Hill's a wonderful film from start to finish. William tracks Anna down, and they start dating.

The movie basically has the same premise as Woody Allen's wonderful Purple rose of Cairo, even though Purple rose leans more towards fantasy than reality. Both movies contain quiet, humble, perfectly normal people confronted by celebrities.

Nothing Hill perfectly nails the relationship between celebrity and normality. Not just on a romantic level, but on a general level as well. In a wonderful scene, Anna's invited to William's sisters Birthday party. At the table, she's filled with happiness and joy by how happy, and simple it is to be normal. Opposed to living the false life of celebrity. I'm sure 98 percent of society would love to be in Anna's position, but maybe being a celebrity is not what is appears to be. Not everyone thrives off celebrity, getting a great deal of pleasure out of the shallowness of fame and fortune. Not everyone worships their own celebrity status like the Paris Hilton's of the world.

But on a romantic level, Nothing Hill succeeds amazingly as well. Just seeing William and Anna walk down the road, sit together, in a restaurant together, has amazingly wonderful charm to it. It's easy to put your self in William's shoes and feel his pleasure and excitement, basically why I loved this movie so much. I felt William's excitement the same way Cecilia felt everyone's on screen in the Purple Rose of Cairo. I escaped my own normal existence through William's wonderful situation with Anna.

It must be every man's dream, especially a humble man like William's, to have a beautiful superstar walk into their life and fall in love with them. Oh, how'd I love for Natalie Portman to walk into my bookstore and kiss me. It won't happen, because A) I don't have a book store, and B) because reality bites. But why not dream? Anyway, William and Anna fall in love, share intimate moments, and the shallowness of celebrity mixes in. Anna pisses me off towards the end of the movie when the paparazzi show up at Williams's door snapping a photo of him in his boxers with her upstairs. Anna suddenly puts her career before the likes of William. Anna leaves, William mopes around, but his flat mate and sister track down Anna for him.

Of course, William tracks Anna down on a movie set a few months later after she wins an academy award, which Roberts would win in reality a year later for Erin Brockovich, but mistakenly hears her say a rather rude remark about him. Little does he know it was in character. But Anna, once again, returns to Williams's book store, confesses her love for him, he turns her down, his friends make him realize how dumb of a mistake it was, and then he tracks her down at a press conference. And they live happily ever after.

Of course, in reality, this probably wouldn't happen. But why couldn't it? Why can't celebrities and every day people fall in love? Like Anna says, she's just a small town girl. Nothing Hill's a wonderful movie no matter how you look at it. Everything about it's perfect. Julia Robert's and Hugh Grants best work. 10-10
Doomblade

Doomblade

When i visited the Notting Hill page i was very surprised to find a modest rating for this movie (less than 7). I was not sure and would like to meet people who gave it such a poor rating and understand and inquire what else do they consider to be a great movie. This movie has everything you can ask for. Great story (i agree its a rich girl poor guy love story plot but put up beautifully), great direction, great performance, subtle but again great humor and it makes u feel so good watching it. Entertains you all along, with a perfect touch of romance, humor, sorrow and backed up with some beautiful dialogues.

I guess every single person who has seen this movie(despite the fact what he/she might rate this movie as), still can never forget that scene where Julia says these lines to Hugh grant: "I am just a girl standing before a boy, asking him to lover her!"

I became a fan of Hugh Grant after watching this movie and what do you say about Julia Roberts. She just looks gorgeous in this movie.

So if you have not seen this movie till now despite having heard a lot about it which i am sure you would have, you have missed something for a long time now. Go see it and enjoy a 2hour fun time.
Garne

Garne

The setting, the characters, the writing. Absolutely everything in this movie is done to such a high standard, and is presented so fantasically, you simply feel as if you are in this world. Sitting in Notting hill, sipping tea with Hugh Grant. Who, by the way, is in his prime here and carries the movie with ease.

It's hard to pinpoint exactly what it is about this movie that I love so much, but every single time I watch it, I find myself fully pulled in, completely unable to pull myself away. I love it, beyond rhyme or reason.

Perhaps it is the characters, in how each and every one of them is so brilliantly memorable. You come to love each and every one of them, and just want them to succeed in their endevours. Or perhaps it is the writing, which grips you like the best book would, and never, ever lets up.

All in all, this is one of my favourite things to watch. It's one of those simple things that just makes me happy. I like to say it is Britain represented at it's finest.
Berenn

Berenn

Perfect! I could known what is a simple love..! It will be one of my favoriate movie!!
Elildelm

Elildelm

This is so nice movie. I thought that it is good to fall in love with a man such as Hugh Grant. He is so cool.And it is important not to give up when I fall in love with a famous and rich people like Julia Roberts in this movie. She was so beautiful and good for this roll. And Rhys Ifans was so nice. He was so funny man in this movie,but he was also good friend of Hugh Grant. He played the important roll too. I like this type of person. It was interesting to watch his funny action. Notting Hill is so wonderful place I think, and I have visited there,so I enjoyed watching this movie with seeing the view of Notting Hill. The story of this movie is so interesting and heart warming.
Beanisend

Beanisend

Notting Hill (1999), directed by Roger Michell, is a showpiece for Julia Roberts and for London. (Hugh Grant is pretty good too.)

The movie is undoubtedly formulaic. From the moment Julia Roberts--Anna Scott, the most famous woman in Hollywood--steps into Hugh Grant's bookstore, we can pretty much predict how the rest of the movie will turn out. My comment about this is, "So what?" No one wants a romantic comedy with a sad ending, and no one wants to think about whether "the most famous actress in the world" could really enjoy life with a kind and gentle man who lives and works in Notting Hill.

The movie has some real strengths: William Thacker (Grant) has a loving, lovable sister (Emma Chambers), and some great friends. The Portobello Road market and the Notting Hill section of London look colorful and authentic. London gleams in the sunshine, and the posh hotels look, well, posh.

Most important, Julia Roberts is perfect for the part. The cliché is that the camera loves Julia Roberts. I would say instead that WE love Julia Roberts. The camera just transmits her beauty and charm so that we can appreciate it.

Note: Watch for the lovely Emily Mortimer who plays "Perfect Girl." That is, she and William are brought together after Anna breaks his heart, and she would, indeed be perfect for him. However, who wants to see a romantic comedy where the hero says, "Sure, who needs Anna Scott when Perfect Girl is around?" It just wouldn't be romantic, and it wouldn't be comedy.
Quellik

Quellik

This movie is almost entirely character driven and it is great. It's very funny, positive and enjoyable. The story is very simple - classic boy meets girl (or vice-versa) scenario. However, Hugh Grant and Julia Roberts' outstanding performances propel this movie to greatness.

Hugh Grant delivers one of his best 'average, humble' guy performances in this movie. Many of his lines were some of the most witty and clever dialog I've heard in a while. Almost reminds me of how Jimmy Stewart could mumble lines and come off as brilliant.

Julia Roberts was sparkling as a somewhat forward but grounded movie star that one could relate to. It was pleasant to see lots of big smiles from Julia.

The other characters were literally 'characters' - bizarre, off-beat, odd-ball, goofy - but at heart warm and enjoyable to watch.

If you're in the mood for a good laugh and pleasant movie-going experience, this is a great movie to watch.
Shazel

Shazel

It's not often that a sequel surpasses the original, but, like The Godfather Part II, Notting Hill starts where "Four Weddings" left off in this fumbling romantic comedy.

It's five years on, and Hugh (played by Hugh Grant) has divorced Andie McDougal and now owns a bookshop or something. But Hugh gets the shock of his life when Andie (now played by Julie Roberts) waltzes back into his bookshop one day and announces grandly that she's now a big-shot hollywood actress. Hugh is speechless and we are then treated to fully 20 minutes of "ums" "ahs" and "the thing is..." from Hugh.

But then the action really gets going as Hugh and Julia find themselves falling in love all over again. There's lots of familiar faces as all Hugh's toffy friends have married each other and now live together in a big house in a nice village called "Notting Hill". Fans of Scarlet will be shocked to discover that she's had a sex change and is now a man and is calling herself Spike. And is also Welsh!!!!

As in Four Weddings, the two love birds again find that the course of true romance never runs smooth. Andie goes back off to America leaving Hugh heart-broken. Again! And would you believe it, just as Hugh thinks he's in with a shot she reveals she's got a boyfriend. Again!! Talk about lightening striking twice!

Will poor Hugh ever learn!? Apparently not as the third film in this series "Nice Love" is due out in 2011, and I for one simply CANNOT WAIT!!!
Umge

Umge

Bookshop owner William Thacker's (Hugh Grant) life is turned upside down when Hollywood star Anna Scott (Julia Roberts) ventures into his shop.

By definition, Notting Hill is crowd pleasing fluff for the romantically inclined. Nothing wrong with that of course, chances are that if you have tuned in on TV or loaded this film on your player, you are fully expecting a fluffarama with lots of toothy smiles. Sure enough Notting Hill, written by Richard Curtis and directed by Roger Mitchell, delivers everything that the wish fulfilment plot synopsis suggests it will. And nicely providing a few laughs into the bargain as well.

That it stops short of being a top line rom-com falls at the feet of Curtis and his over egged script. The comedy is razor sharp and the romance is excellently fleshed from start to finish, but in his need to add drama via media intrusion and a "woe is me" life of the actress, Curtis comes dangerously close to fluffing his, well, fluff piece.

Still, it's a flaw that doesn't sink the film, because hey! We want feel-good and that's what we shall bloody well get! Hugh Grant and Julia Roberts take the lead roles of our mismatched (matched) coupling, and as it turns out it's a fine bit of casting. Roberts is not asked to do much other than smile and work well opposite Grant's wonderful foppish charm, while both actors benefit from an excellent supporting cast who rise above what in essence is a roll call of rallying around your mate mates!

Especially praise worthy is the efforts of Gina McKee and Tim McInnerny, whose sub-plot story could have been twee, but thanks to both of them it actually adds an emotional pull rather than being a shoehorned hindrance. Cringe comedy comes courtesy of Rhys Ifans (owning every scene he is in) and James Dreyfus adds extra light relief as William's assistant at the shop, Martin.

There's no Wet Wet Wet theme tune to outstay its welcome, and Roberts says her cringer line with far more oomph than that of Andie MacDowell. To which all told it makes Notting Hill no masterpiece in a much loved genre, but crucially it is however a delightful frothy film that hopefully makes you smile as much as it does yours truly. 7/10