Ah, how Hollywood presents so many possibilities. Its two biggest child stars, Dakota Fanning and Abigail Breslin, in the one film? Sounds intriguing enough, and for My Sister’s Keeper it looked to be a go, but Fanning eventually pulled out (allegedly for refusing to shave her head) and the dream pairing was gone. The first Jodi Picoult novel to be adapted for cinemas has more than its fair share of A-listers, and as one of her biggest sellers the film has fielded high expectations. As an adaptation it will satisfy most fans, and as a stand-alone film it is beautifully crafted.

Nick Cassavetes continues to draw on the emotional rollercoasters after the female favourite that is The Notebook (2004), co-writing the screenplay (without Picoult) to focus on the Fitzgerald family’s journey. Kate (Medium’s Sofia Vassilieva) has a form of leukaemia; her sister Anna (Breslin) was created as a ‘donor child’ to save her. But as in the novel, 11-year-old Anna’s actions are imperative as she sues her parents for the rights to her body, knowing full well Kate won’t survive. The loaded ethical themes are toned down for the adaptation as Cassavetes chooses to primarily focus on the family’s relations, but he remains faithful to the style of the novel. Taking us back and forth in time between the lawsuit and the lead-up to the decision, we get accounts from all the key players – which also include oldest sibling Jesse (Evan Ellingson) and lawyer Campbell Brown (Alec Baldwin). With these used as chapters, Cassevetes’ vision is fragmented yet lovely as he creates a mellow drama with an un-Hollywood feel.

Putting together many big names can be hit or miss but it works well here. The loathing between Baldwin and Cameron Diaz (as mother Sara) in front of Joan Cusack’s Judge De Salvo is proof enough. Diaz has hints of her usual rom-com self, but her portrayal as Sara is well intended to appear slightly villainous and a dramatic role from her is nice to watch. Vassilieva as Kate is strong as her battle gets harder, while Breslin interprets Anna’s seriousness accordingly. Baldwin as the smart-arse lawyer sadly feels underused as the courtroom scenes are reduced to a bare minimum, and the relationship between Campbell and Anna lacks development because of this. As the major plot mover, there isn’t enough shown of the case to see the full effects on the family – including Anna’s relationship with father Brian (Jason Patric). Luckily for Cassavetes, the rich detail in his source material has given him enough to work with and his choice to stick to the female relationships (between the sisters and mother Sara) is the most practical option. With so much material to condense smaller sub-plots have been left out and other intricate details are lost, but the translation works as he creates a moving drama with some surprising laughs amongst the battles. There’s a bit of romance and heartbreak, sombreness and plenty of reminiscing as the story moves at a good pace, although it may have benefited from a slight extension on its 109-minute running time.

Verdict

My Sister’s Keeper is a nice surprise. Not because it manages to remain faithful to Picoult’s excellent novel but because of its minimalist feel. Cassavetes has let the story speak for itself, and rightly so.

[Rating: 4/5]

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