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In the world of unpretentious youth romcoms, a pleasant addition: the novel by American Jamie McGwire "My Beautiful Misfortune" in 2012 entered the top books according to The New York Times, and 12 years later finally received its own Hollywood adaptation. McGwire, like her predecessors in the person of E.L. James ("Fifty Shades of Grey"), Beth Rickles ("Kissing Booth") and Anna Todd ("After"), is infinitely far from the elite graduates of Bennington and hardly ever dreamed of a great career in Hollywood. But here we are. While shamelessly expensive adaptations of the cult fantasy are struggling to find a place at the international box office, simple-minded stories about teenagers in love continue to win the hearts of viewers. Strangely enough, in the case of "My beautiful misfortune", it is not at all shameful to be conquered, and even in a sense pleasant.
The main character of the film, 17-year-old Abby (Virginia Gardner), escapes from her gambling-addicted father, goes to college and finally begins to live for herself. One day, Abby meets Travis (Dylan Sprouse), a champion of underground fighting and a charming ladies' man, who offers a bet: if he wins the next fight, the girl will live with him for a month. Abby flippantly agrees, being absolutely sure that Travis will never be able to win her heart.
Of course, Abby is wrong, but that's not the main thing. In films, the plots of which are transparent from beginning to end, the motivations and actions of the characters follow a rolling pattern and rarely get stuck in memory. Only images remain on the surface—contradictory, charismatic, and in Travis's case, also damn attractive. "My Beautiful Misfortune" could have been safely lost in the ocean of other equally sugary teen melodramas if director Roger Kamble (director of the cult "Violent Games" in 1999) had followed the well-trodden path "After". Fortunately for all of us, Kamble refused to build drama from scratch, choosing laughter as a defense against annoying cliches. After all, nothing paints a mediocre story like the realization of one's own imperfection. Abby doesn't try to seem like the best girl in the class, and Travis weakly pulls at an incomprehensibly handsome prince with a stamp of pain in his sullen gaze. The most intriguing thing about these characters is their normality, the absence of painful agony in the heart, turning any hint of feelings into ashes. Both Travis and Abby at some point in their lives chose to just be, rather than endlessly relive the traumas of the past. And if she stopped "saving" her father, who was suffering from gambling addiction, then he did not follow the path of the victim complex because his mother left too early.
In contrast to the traditions of "After", Kamble does not even try to impress the audience with sterile erotic scenes advertising expensive condoms, correctly realizing that modern teenagers do not need another lecture on the topic "1001 questions about this". Especially from an unfamiliar 56-year-old man. Travis and Abby go through all possible variants of sexual awkwardness that can only arise from two people of different sexes sleeping in the same bed, gradually get closer and say the cherished "I love you" in moments of simple human, but absolutely not cinematic life
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