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Wade Corporation, a leading New York real estate development firm, suffers costly setbacks
because of the ineptitude of its counsel.
As a result, George Wade (Hugh Grant), the company's billionaire co-owner is under pressure to hire an Ivy League lawyer as Chief Counsel. Coincidentally, Lucy Kilson (Sandra Bullock), a Harvard law grad gifted with a sharp mind and a social conscience comes along. Doing pro bono work and championing worthy causes she fights against the demolition of her neighborhood's Community Center by the Wade Corporation which intends to build condos in the area. Impressed with her credentials, George hires her, but aware of his reputation as a ladies' man, she refuses his offer. However, when he promises to protect her favorite landmark and to put her in charge of distributing the Corporation's discretionary funds for causes of her choice on top of a hefty salary, she reluctantly takes the job. Lucy does very well at her lawyering but she develops ulcers. Its not the job but George who gets to her. Irresponsible and self-absorbed, he treats Lucy like a personal caregiver whose advise he seeks on practically everything, from his clothes to his divorce. After many months of being on call practically 24 hours a day, Lucy decides to give her two weeks notice. George refuses to release her but relents if she gets a replacement. Though an inexperienced lawyer, June Carter (Alicia Witt), a vivacious redhead, is hired. June is interested in George and does not draw the line between her personal and professional lives. After Lucy leaves, she realizes she is more than fond of George. George also realizes he has lost more than a lawyer and a confidant. Will the two ever get together again to express their true feelings for each other?
A familiar plot of romantic comedies throws together two people with diametrically opposed
temperaments. They get along sometimes; other times, they get on each other's nerves. They fight, then they reconcile. They think that they don't like each
other and they separate. Then they realize they are in love, but is it too late? Two Weeks Notice follows this ancient formula, but no matter how predictable, it
charms the moviegoer and gives him more than an hour of relaxing pleasure. Perhaps, because the main leads are consummate actors. Sandra Bullock is versatile,
having done well in different kinds of movies, but comedy seems to be her genre. Here, she is not as boisterous as in Miss Congeniality
nor as polished and rebellious as in Yaya-Sisterhood but she conveys her high-minded character with a certain flair. Hugh Grant is not the love-struck Romeo of
Notting Hill but his weak, persuadable character is the perfect foil to the aggressive yet caring Lucy. Marc Lawrence who writes the script and debuts as a director
does well in both. The dialogue has wit and can elicit some grins and chuckles. The movie's hilarity is muted.
One of the points brought out by the movie is the price of progress.
Real estate developers want to upgrade the dwelling places, to give the community a modern, new look, perhaps make things more convenient by new zoning or other means. But it is often at the cost of demolishing priceless landmarks and cultural signposts or despoiling the environment as when forests are cut down or farmlands converted to urban areas. This is a predicament that cannot be ignored. There is a need for us to actively participate in the decisions that must be made as regards our environment and our communities. We cannot afford to be backward or we will be left behind in the 21st century, yet in striving for progress, must we lose our own identity? Must the landmarks of our cultural, religious and national heritage be always expendable? Perhaps we can take a cue from Lucy Kelson. Development can also take its toll on the delicate balance and rhythm in God's beautiful world. What can we do about it?
(Date reviewed: February 7, 2003)
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