Blind Dating

There is a useful directness to Blind Dating, a comedy shaped by James Keach with a firm understanding of its audience. In Blind Dating, Chris Pine provides the anchor while Anjali Jay introduces a contrasting energy. Without revealing later complications, Blind Dating opens from this situation: A young blind man (Pine) thinks he's found love with an Indian woman (Jay) though their relationship is fraught with cultural differences. The resulting its 1h 35m running time feels most convincing whenever Blind Dating trusts behaviour more than explanation.

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Chris Pine gives Blind Dating its most dependable performance, finding a clear emotional intention beneath the plot. Opposite Chris Pine, Anjali Jay brings Blind Dating a contrasting pace that prevents the central relationship from feeling flat. Eddie Kaye Thomas widens the ensemble of Blind Dating through reactions that suggest a life beyond the immediate scene. James Keach serves the cast of Blind Dating best when a look or pause is allowed to finish before the story moves on.

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Beneath its plot, Blind Dating is most interested in embarrassment, status and the gap between confidence and reality. That concern becomes visible through Chris Pine, whose choices allow Blind Dating to explore an idea without stopping for a speech. Pine gives the themes of Blind Dating a concrete dramatic form rather than leaving them abstract. The emotional value of Blind Dating grows whenever James Keach trusts the audience to connect behaviour with the larger question.

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Blind Dating is most involving when the screenplay allows Pine to complicate what initially appears to be a story about Indian. That shift gives Chris Pine a more specific problem to carry through Blind Dating. Working from material credited to Christopher Theo, Blind Dating reveals Jay at a measured pace instead of rushing toward its largest turn. The later pressure around the central character shows why Blind Dating benefits whenever cause and consequence remain visibly connected.

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James Keach shapes Blind Dating with an approach that feels engaging in bursts but unable to maintain the same control. The best directed passages in Blind Dating establish an objective, let the characters respond and then allow the pressure to change naturally. Worthwhile ideas compete with an uneven structure in Blind Dating, particularly when James Keach resists the urge to underline an already clear emotion. My main reservation about Blind Dating is that the pace alternates between hurry and drift, a limitation that interrupts rather than defines the experience.

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The craft of Blind Dating is defined by well judged reactions, supported by well judged reactions rather than overwhelmed by decoration. Samuel Goldwyn Films gives Blind Dating a production framework in which performer rhythm can remain connected to story. Made from a United States production context, Blind Dating uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Blind Dating works because image, sound and editing appear to be serving the same immediate purpose.

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My final view is that Blind Dating provides a qualified recommendation for comedy fans who respond to personality and timing. Chris Pine supplies the emotional memory of Blind Dating, while James Keach keeps the genre machinery readable. A concern remains because the pace alternates between hurry and drift across part of Blind Dating, yet the better passages retain their force. What earns Blind Dating consideration is not perfection but the presence of choices that feel made for this story.