Director: Matthew Lopez
Writers: Matthew Lopez and Ted Malawer
Stars: Taylor Zakhar Perez, Nicholas Galitzine, Uma Thurman
Synopsis: When the feud between the son of the American President and Britain’s prince threatens to drive a wedge in the U.S./British relations, the two are forced into a staged truce that sparks something deeper.
The novel Red, White, and Royal Blue, penned by Casey McQuinton in May of 2019, swiftly ascended to the ranks of the New York Times Bestseller list. Its rise was additionally propelled by enthusiastic endorsements from prominent TikTokers with a focus on books, collectively recognized as “BookTok,” which cultivated a dedicated and affectionate fanbase. The book garnered acclaim for its authentic portrayal of a gay romance, featuring a diverse cast of characters and gaining renown for its steamy insinuations.
The subsequent announcement of an Amazon Studios-backed film adaptation heightened the anticipation among the book’s enthusiasts. However, the film’s ability to successfully translate the heart of the story onto the screen relies heavily on each viewer’s personal connection to the source material. While the film manages to capture the essence that resonates with fans of the novel, it falters in its overall execution, which might leave general audiences struggling to establish a connection.
Set in an alternative fictional reality where a woman holds the presidency in the United States, and an equally fictional royal family graces the United Kingdom, the story follows the unexpected romantic journey between first son Alex Claremont-Diaz and His Royal Highness Prince Henry. This secret love affair is shrouded in caution due to potential political implications and the risk of creating foreign policy complications.
The narrative of the book unfolds through a series of exchanged emails that exude a delightfully flirtatious quality, adorned with cheeky lines designed to leave readers grinning. However, this charm that’s evident in the novel doesn’t seamlessly transition to the screenplay. The same lines, while charming on paper, lose their heartwarming and endearing touch when spoken by actors, often resulting in unsettlingly awkward moments.
Unfortunately, the distinct essence that defined the original text seems to have dissipated in its transition from page to screen. The adaptation ends up mirroring a commonplace gay romantic comedy, evoking a vibe reminiscent of content typically found on the Hallmark Channel. The majority of the dialogue lacks originality, being heavily imbued with the anticipated clichés of a typical rom-com. The entire screenplay feels akin to patched-together scenes borrowed from other films of a similar genre, with minimal adjustments to fit the narrative of this particular story.
In addition to its lackluster writing, the entire film grapples with a sense of miscasting, yielding performances that range from mediocre to subpar. Uma Thurman, in the role of President Ellen Claremont, attempts a southern accent that, unfortunately, proves painfully difficult to endure whenever she appears on screen. While the supporting ensemble endeavors to make the most of their roles, their limited experience, coupled with a less-than-adequate director, results in an overall presentation that feels dry and lackluster, reminiscent of a community college theater production.
Lead actor Taylor Zakhar Perez, who portrays first son Alex Claremont, seems to have been cast primarily for his striking looks, aligning closely with the physical description of the character in the novel. Regrettably, his acting was certainly not taken into consideration during the casting decision, as he emerges as the weakest link within the ensemble, despite being the character granted the most screen time. On the other hand, co-star Nicholas Galitzine, who takes on the role of his love interest, Prince Henry, delivers an acceptable performance, offering consistent support to the two main characters throughout the entirety of the film.
Fortunately, Sarah Shahi, portraying the no-nonsense chief of staff Zahara, injects much-needed moments of comedic relief and emerges as a standout in the film, easily constituting its strongest facet.
While the acting may not meet expectations, the chemistry between the two leads undeniably blossoms. Their shared tension is palpable, punctuated by an array of passionate make-out scenes and steamy intimate moments that mirror the essence of the novel. Remarkably, the film features a sex scene between the two lovers, executed with impeccable taste and intimacy. It’s bound to leave viewers feeling the heat and longing for a tall glass of water to quench their thirst, as these two actors undoubtedly stoke the flames.
On the other hand, the film’s true downfall lies in its dearth of coherent direction. It never quite achieves a consistent tone, leaving the impression that the director might have been engaged solely for a quick paycheck, devoid of any genuine connection to the source material or the final outcome. Evidently, there was a lack of dedication to providing the screenplay the essential refinement it warranted, or to aiding the actors in delivering credible performances.
Moreover, the film’s style is insipid and tonally perplexing. Numerous intimate moments that ought to be heart-wrenching instead manifest as awkward, or worse yet, unintentionally comedic. Similarly, scenes that should exude endearing charm and humor ultimately fall flat, rendering them stale in the process.
Beyond my personal emotional connection to the novel, I regret to convey that the film offers little in the way of substantial additions. For those devoted to the book, this adaptation is sure to deliver an enjoyable experience, as it did for me. Nonetheless, releasing this film directly to streaming is a prudent decision, as I am inclined to believe that the optimal viewing experience will be a relaxed one, enjoyed at home with differing degrees of focus and cognitive engagement.
