![]() ![]() I mean, I understand the event she refers to, but not whether it is a necessary event or can be prevented.Ī great deal depends on the personalities involved. She later understands what happened, but I don't think I do. They do arrange one date, which involves them in some kind of time-loop misunderstanding, I think. All during the movie, we're trying to do the math: It should be possible, given enough ingenuity, for them to eventually spend 2007 together, especially since he can theoretically keep the letters he received from her in 2004 and ask her out on a date and show them to her, although by then she'd know she wrote them - or would she? It makes us hope these two people will somehow meet. What I respond to in the movie is its fundamental romantic impulse. None of this prevents her letter of romantic anguish: That was you that I met!Įnough of the plot and its paradoxes. Is there a way for them to send letters across the gap that will allow them to meet where she was in 2004, or she where will be in 2006, or vice-versa? It is, although it involves many paradoxes, including the one that in 2004 all of this is ahead of both of them, and in 2006 Alex knows everything but Kate either knows nothing, or knows it too late to act on it. The key element in "The Lake House" that gives it more than a rueful sense of loss is that although Alex's letters originate in 2004 and Kate's in 2006, he is after all still alive in 2006, and what is more, she after all was alive in 2004. ![]() Never mind, I tell you, never mind! I think, actually, that I have the answer to how the same dog could belong to two people separated by two years, but if I told you, I would have to shoot the dog. We hear them having voice-over conversations that are ostensibly based on the words in their letters, but unless these letters are one sentence long and are exchanged instantaneously (which would mean crossing time travel crossed with chat rooms), they could not possibly be conversational. The two people come to love each other, and this process involves the movie's second impossibility. The mailbox eventually gets into the act by raising and lowering its own little red flag. They both leave their letters in the mailbox beside the sidewalk that leads to the bridge that leads to the glass house. ![]() It develops that he thinks it is 2004 and she thinks it is 2006, and perhaps she moved in after he left, instead of moving out before he arrived, although that wouldn't fit with - but never mind. He reads the note and sends a strange response to the address she supplies: He thinks she has the wrong house, because "no one has lived in this house for years." She writes back to disagree. She is moving out and leaves a note for the next tenant ( Keanu Reeves). A woman ( Sandra Bullock) lives in a glass house built on stilts over a lake north of Chicago. William F.In "The Lake House," it works like this. FATHER IS A PRINCE, Jan Clayton, George Reeves, Grant Mitchell, 1940 ALWAYS A BRIDE, Virginia Brissac, Francis Pierlot, Rosemary Lane, George Reeves, 1940 SUPERMAN AND THE MOLE MEN, (pilot for tv series), George Reeves, 1951 ALWAYS A BRIDE, John Eldredge, George Reeves, Rosemary Lane, 1940 ARGENTINE NIGHTS, Constance Moore, George Reeves, 1940 THE SAINTED SISTERS, Veronica Lake, George Reeves, 1948 COLT COMRADES, William Boyd, 1943 SO PROUDLY WE HAIL, George Reeves, Claudette Colbert, 1943 SUPERMAN AND THE MOLE MEN, George Reeves, 1951 THE SAINTED SISTERS, from left, George Reeves, William Demarest, 1948 ALWAYS A BRIDE, George Reeves, John Eldredge, Francis Pierlot, 1940 SUPERMAN AND THE MOLE MEN, George Reeves, 1951 ALWAYS A BRIDE, Rosemary Lane, George Reeves, 1940 Frank McHugh, Herbert Anderson, Tom Dugan, William Lundigan, 1940 SO PROUDLY WE HAIL, George Reeves, 1943 THE SAINTED SISTERS, from left, Veronica Lake, George Reeves, 1948 BLUE, WHITE AND PERFECT, Lloyd Nolan, George Reeves, 1942, TM & Copyright (c) 20th Century Fox Film Corp. The Blue Gardenia Photos SUPERMAN AND THE MOLE MEN, Phyllis Coates, George Reeves, 1951 GONE WITH THE WIND, George Reeves, 1939 FROM HERE TO ETERNITY, George Reeves, Ernest Borgnine, 1953 THE FIGHTING 69TH, Guinn 'Big Boy' Williams, George Reeves. ![]()
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