Love Comes Lately

There is a useful directness to Love Comes Lately, a comedy shaped by Jan Schütte with a firm understanding of its audience. In Love Comes Lately, Otto Tausig provides the anchor while Rhea Perlman introduces a contrasting energy. Without revealing later complications, Love Comes Lately opens from this situation: An 80 year old man continues to pursue his love life with youthful vigor, risking his relationship with the woman he loves. The resulting its 1h 26m running time feels most convincing whenever Love Comes Lately trusts behaviour more than explanation.

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What keeps Love Comes Lately emotionally readable is Otto Tausig, whose choices establish a consistent point of view. In scenes with Rhea Perlman, Love Comes Lately gains tension from two performers refusing to produce the same kind of energy. Barbara Hershey contributes a separate rhythm to Love Comes Lately and helps the supporting material feel less purely functional. The direction by Jan Schütte gives the cast of Love Comes Lately room to connect the quieter beats with the larger ones.

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The plot of Love Comes Lately is built around the uneasy relationship between Isaac Bashevis Singer and the central character. For Otto Tausig, that relationship gives Love Comes Lately an emotional objective stronger than simple forward motion. The screenplay associated with Isaac Bashevis Singer lets an important relationship reshape the direction of Love Comes Lately in stages. Although the treatment of a difficult choice could be sharper, Love Comes Lately never entirely loses the thread established at the beginning.

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The craft of Love Comes Lately is defined by performer rhythm, supported by performer rhythm rather than overwhelmed by decoration. Zero Fiction Film gives Love Comes Lately a production framework in which comic timing built around character can remain connected to story. Made from a Germany production context, Love Comes Lately uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Love Comes Lately works because image, sound and editing appear to be serving the same immediate purpose.

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Jan Schütte gives Love Comes Lately a directorial line that is capable of strong moments without finding a complete rhythm from its opening promise to its final movement. The staging of Love Comes Lately is strongest when Jan Schütte allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Love Comes Lately confirms that the appealing elements never quite settle into a seamless whole across most of the running time. A tighter version of Love Comes Lately would address how emotional turns sometimes arrive before the relationships are ready, yet the surrounding work remains persuasive.

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Love Comes Lately finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Otto Tausig, Love Comes Lately makes that examination feel personal before it becomes broadly symbolic. The idea of Isaac Bashevis Singer repeatedly returns Love Comes Lately to the cost behind its more visible developments. Jan Schütte is most persuasive when Love Comes Lately allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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For comedy fans who respond to personality and timing, Love Comes Lately is ultimately a mixed experience best approached with measured expectations. Its most persuasive combination in Love Comes Lately brings Otto Tausig together with comic timing built around character under the direction of Jan Schütte. The fact that emotional turns sometimes arrive before the relationships are ready prevents Love Comes Lately from being entirely seamless. Even with that reservation, Love Comes Lately has a clear point of view and enough genuine feeling to justify the journey.