“The Longest Ride”
You would expect a movie based on a Nicholas Sparks film to be a sappy romance, and it is. But it’s also a celebration of long-lasting marriage, which we Presbyterians welcome anywhere in cinema.
Scott Eastwood (yes, the son of Clint Eastwood, and the resemblance is
startling) plays Luke Collins, an ambitious professional bull rider.
He’s eager to make it to the top of the world rankings, though he’s
already suffered some serious injuries in the process (which he says happens to
all the real pros). He happens to
meet Sophia (Britt Robertson), a sorority girl from
On the way back from one of those dates, they happen across a fresh wreck, an automobile that has obviously plunged off an embankment and is starting to catch fire. Luke impulsively rushes to see if someone needs his help, with Britt close behind. When they arrive at the crash scene, they find an almost-unconscious older gentleman, whom Luke pulls out of the wreckage, and Britt retrieves the basket he was babbling about.
The older man, Ira Levinson (Alan Alda), is recovering in the hospital physically, but he’s depressed. He’s recently lost his lifelong wife, Ruth, and he re-reads the basket of letters which he wrote to her over the years as a kind of diary of their relationship. When Sophia visits him in the hospital to check on him, he persuades her to read the letters to him. This, of course, provides the occasion for lots of flashback scenes: a much younger Ira (Jack Huston, Anjelica Huston’s nephew) and the lively, artistic Ruth (Oona Chaplin, granddaughter of Charlie Chaplin), in a whirlwind romance prior to World War II. Ira goes off to the War, but unfortunately, is injured there (trying to save another soldier), and winds up unable to have a family. This is a great sorrow to them both, and it almost defeats the relationship, but eventually they settle into a life together that includes much togetherness, and also a lot of art collecting.
You can see where this is going: the presentation of Ira and Ruth’s lifelong romance, despite the absences and obstacles, is starting to make Luke and Sophia think twice about assuming that it just wasn’t in the cards for them. OK, for all you True Romantics out there: when it’s the right person, you make it work. Because real love involves sacrifice. And compromise.
Expect many happy romantic scenes, from fields of bright flowers blowing
in the breeze, to the local watering hole to a romp in the clover.
It’s a little steamy in places for the little kids, but maybe the
teenagers in the Youth Group would benefit from seeing a celebration of mutual
commitment, a commodity which is otherwise in short supply in
OK, so it’s a little sappy. How many movies make you want to walk out of the theater holding hands with your spouse?
Questions For Discussion:
1) Ira says that “love demands sacrifice.” Do you agree with that on a romantic basis? How about its Christological implications?
2) Though the term “soul mate” is not used in this film, that’s what’s implied here. Do you believe that there is only one of those out there for each person?
3) Both Luke and Sophia and Ira and Ruth appear to consummate their love prior to marriage. Does that appear to be increasingly common? Do you think it’s the kind of moral issue that requires forewarning the Youth Group?
Dr. Ronald P. Salfen is the Supply Pastor, First