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Sunday, July 27, 2003
Lead Article

How to Lose a Guy... not an all-out winner
Ervell E. Menezes

A scene from How to Lose a Guy in 10 Days
A scene from How to Lose a
Guy in 10 Days

THE trouble with Hollywood these days is that it goes in for outlandish plots but does not have the substance (read screenplay) to flesh them out with credibility. The net result is a film which takes off well but flatters only to deceive. So it is with How to Lose a Guy in 10 Days.

When glib-talking, ambitious ad executive Ben Barrington (Matthew McConaughey) lays a bet with his colleagues that he can ensnare any woman in 10 days, he doesn’t know it but there’s an attractive fashion magazine columnist Andy Anderson (Kate Hudson) whose latest assignment is diametrically opposite to his wager –how to lose a guy in 10 days.

But it is Ben’s female colleagues, pitching for the same account, who work it out in such a way that Ben decides to date Andy for his 10 days’ conquest. Matthew Conaughey, who a few years ago was one of Hollywood’s most promising stars (in A time to Kill) is slimmer and trimmer but as cocky and exuberant as Kate Hudson (Goldie Hawn’s daughter). Now the two of them are well matched. So are their close friends who provide a good deal of the laughs in what has come to be known as male/female camaraderie. But all eyes are on the wager.

 


It is a men versus women thing and Andy does all the wrong things women are known to do to put men off. But then`85and no prizes for guessing, Cupid has a way of hanging around these situations. But after the initial novelty wears off, the film traces a laboured course because the script is loaded with physical comedy, quite often bawdy and below the belt. The few good gags are few and far between and drowned in risible, puerile humour that is anything but funny.

Director Donald Petrie, who was more convincing in Miss Congeniality, is quite unable to sustain interest in the romance which later deteriorates into a slanging match. This happens much before the halfway mark. What’s even worse is that when Cupid shoots his arrow there is hardly any conviction. It is as physical as the slapstick gags, which means that the viewer has to wade through 10 days of this dubious humour to get to the punchline.

The film could have done with more music though the rendition of Moon River is far from as enchanting as it was with Audrey Hepburn in Breakfast at Tiffany’s. Despite the usual glamour and glitz associated with most Hollywood productions these days it was a case of prolonging the agony. May be a five-day wager would have made a big difference.

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