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Edition: U.S. Article Comments (1) Pictures Celebrity style: Reese Witherspoon A look at the fashion and style of actress and "Water for Elephants" star Reese Witherspoon. Slideshow Follow Reuters Facebook Twitter RSS YouTube Read Boehner opens door to cutting U.S. oil tax breaks 25 Apr 2011 UPDATE 1-Boehner opens door to cutting U.S. oil tax breaks 25 Apr 2011 Four dead in Arkansas as floods, tornadoes hit again 1:00am EDT Woman mauled to death by pit bulls in New Mexico 25 Apr 2011 Five women brutally murdered in Mexico beach resort 23 Apr 2011 Discussed 139 Texas governor calls for prayers for rain 135 Obama sees no magic bullet to push down gas prices 64 U.S. sends drones to Libya as battle rages for Misrata Watched Taliban prisoners escape Afghan jail Mon, Apr 25 2011 NATO jets bomb Gaddafi compound Mon, Apr 25 2011 Afghans show prison break tunnel Mon, Apr 25 2011 "Water for Elephants" a lost opportunity Tweet Share this By Todd McCarthy LOS ANGELES (Hollywood Reporter) - A decorous, respectable adaptation of Sara Gruen's engaging best-seller, "Water for Elephants" would have come more excitingly alive with stronger doses of Depression-era grit and sexual... Email Print Related News "Rio" still No. 1 at world box office Sun, Apr 24 2011 Isla Fisher in talks to join "Great Gatsby" Wed, Apr 20 2011 Reese Witherspoon riding high in circus drama Wed, Apr 20 2011 "Rio" rocks box office while "Scream 4" bombs Mon, Apr 18 2011 London hit "War Horse" makes thrilling Broadway bow Mon, Apr 18 2011 Analysis & Opinion The dark side of school auctions Dum Maaro Dum: Wayward, but worth a watch Related Topics Entertainment » Fashion » Film » Actor Robert Pattinson arrives with Reese Witherspoon for the premiere of the film ''Water for Elephants'' in New York April 17, 2011. Credit: Reuters/Lucas Jackson By Todd McCarthy Mon Apr 25, 2011 8:19am EDT LOS ANGELES (Hollywood Reporter) - A decorous, respectable adaptation of Sara Gruen's engaging best-seller, "Water for Elephants" would have come more excitingly alive with stronger doses of Depression-era grit and sexual spunk. The 1931 circus setting and a love triangle involving three exceedingly attractive people provides a constant wash of scenic pleasure and the film's fidelity to its source will receive nodding approval from the book's many fans. But the vital spark that would have made the drama truly compelling on the screen is missing. The Fox release earned about $17.5 million during its first weekend in North American theaters. Films about traveling circuses, and the often daring and dodgy people who worked in them, used to be relatively commonplace in American movies and it could be that the novelty of seeing such a troupe, traveling from one town to another on a train with dozens of performers, workers and lots of animals in tow, might be enough to captivate a fair share of people today, just as Gruen's 2006 novel did. Furthermore, the central dilemma -- that of a beautiful woman caught between her debt to the circus impresario who plucked her from a dismal existence to make her a circus star as well as his wife and her mounting passion for a handsome young man who escapes a personal tragedy by joining the company -- may be well-worn but can always work in the right hands, and Reese Witherspoon, Robert Pattinson and Christoph Waltz are all more than up to the task. So it's mostly a question of approach. Had the same story been made at the time it's set, one can easily imagine at least two distinct and equally effective potential takes on the tale: One, directed by Frank Borzage at Fox, could have been a exalted love story between two young people fated to be together despite the obstacles, while another, directed by Michael Curtiz at Warner Bros., would have been a punchy, down-and-dirty affair about lowlifes scraping by during the depths of the Depression. In fact, had screenwriter Richard LaGravenese, who's done a mostly fine job whittling down the novel to fit comfortably within two hours' running time, settled in to watch a dozen early-1930s Warner Bros. films before writing, some hints of period slang, brassy attitude and regional accents might have profitably made their way into the chatter to provide an idea of the different vernacular in use then. Even a tiny change -- the man informing Pattinson's character of his parents' death at the outset states they were in a "car" accident rather than an "automobile" mishap, as in the book -- reveals a trace of fear about the receptivity of a modern audience to antiquated speech. And in those days, indelible character actors would have brought to life a score of insolent, wise-cracking, phrase-making secondary parts with just a few lines apiece. Under Francis Lawrence's sleekly studied direction, everything has been smoothed out to the extent that even dire poverty does not seem entirely unappealing. Certainly the three leads never do. Looking 300 per cent better than he did in his last non-"Twilight" outing, "Remember Me," Pattinson is entirely convincing as Jacob, a Cornell veterinary school student who escapes from the ruin provoked by his parents' untimely death by almost inadvertently joining the circus. Due to his imagined expertise with animals, Jacob is taken under wing by the owner and ringmaster of the Benzini Bros. Circus, August (Waltz), a mercurial fellow who's brought the company a long way since he took over and rightly keeps a watchful eye on his beautiful blond wife Marlena (Witherspoon), who rides the circus' top animal attraction, a stunning white horse. Embraced and roughly treated by turn, Jacob earns a place with the outfit due to his knowledge of animals (his father had been a vet) and his help in recruiting and training a new star, a jumbo elephant named Rosie. Something of a highbrow himself, August delights in the college boy's company but can't help but notice the growing affection between his wife and the bereaved lad. Although there are skirmishes from time to time, it takes nearly the entire film for matters to fully come to a head and the lack of complexity, danger and underlying tension becomes all too noticeable from the mid-point onwards. Once the climax does arrive, the spectacular scene is over and done with far too quickly, giving it a borderline perfunctory feel. Waltz, in his first big film since soaring to prominence in "Inglourious Basterds," again scores strongly as a powerful middle-aged man who doesn't eliminate the snake in his grass before it's too late. As for Witherspoon, she's as fetching as ever as the platinum blonde any guy would want to catch. But when August insults Marlena as being of a "common type," it's clear Witherspoon needed to inject a bit of Jean Harlow into her characterization to emphasize the lower depths whence she came that can never be entirely erased. Despite the hard glances and suggestion of a working class accent, Marlena is still a shade too much the lady and not enough of a dame. Hal Holbrook does a nice job framing the tale as an elderly Jacob telling the story to a modern circus worker, although by rights he should be narrating the whole thing, not Pattinson; again, modern audience sensibilities likely came into play. Craft contributions are excellent, notably Rodrigo Prieto's lustrous cinematography, Jack Fisk's highly realized production design and Jacqueline West's resourceful costumes. Entertainment Fashion Film Tweet this Share this Link this Digg this Email Reprints We welcome comments that advance the story directly or with relevant tangential information. We try to block comments that use offensive language, all capital letters or appear to be spam, and we review comments frequently to ensure they meet our standards. If you see a comment that you believe is irrelevant or inappropriate, you can flag it to our editors by using the report abuse links. Views expressed in the comments do not represent those of Reuters. Comments (1) Janiem wrote: Do not miss Rosie’s story in this movie. She shows how badly treated circus animals were in the 30’s. Sadly here we are 80 years later and Rosie/Tia fellow circus elephant performers still live an abusive and inhumane life to entertain the public. If you haven’t seen the photos and videos released in 2009 showing how the circus industry trains it’s baby and adult elephants, you haven’t looked on the Internet and YouTube. The trainers are using real bullhooks, real ropes and a real electric prod to hit, shock, jab their baby elephants, these training sessions continue for months or year. You soon realize that people like August still exist in our modern day circuses. Circus elephant abuse is still alive and going strong in the 21st century. If you think animals should be treated humanely the circus is the last place you should go. Otherwise you will miss Rosie’s message. Apr 25, 2011 9:49am EDT -- Report as abuse See All Comments » Add Your Comment Social Stream (What's this?) © Copyright 2011 Thomson Reuters Editorial Editions: Africa Arabic Argentina Brazil Canada China France Germany India Italy Japan Latin America Mexico Russia Spain United Kingdom United States Reuters Contact Us Advertise With Us Help Journalism Handbook Archive Site Index Video Index Reader Feedback Mobile Newsletters RSS Podcasts Widgets Your View Analyst Research Thomson Reuters Copyright Disclaimer Privacy Professional Products Professional Products Support Financial Products About Thomson Reuters Careers Online Products Acquisitions Monthly Buyouts Venture Capital Journal International Financing Review Project Finance International PEhub.com PE Week FindLaw Super Lawyers Attorney Rating Service Reuters on Facebook Thomson Reuters is the world's largest international multimedia news agency, providing investing news, world news, business news, technology news, headline news, small business news, news alerts, personal finance, stock market, and mutual funds information available on Reuters.com, video, mobile, and interactive television platforms. 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