As winter tightens its hold, Netflix’s Jan. 9 launch of “People We Meet on Vacation” directed by Brett Haley brings some much needed sunshine to the screen. A movie adaption of Emily Henry’s 2021 novel with the same name, this release proves the first of many films based on the Henry romance universe, with others such as “Beach Read” and “Book Lovers” in various stages of scriptwriting and filming.
The energetically quirky Poppy, played by Emily Bader, and charmingly quiet Alex, portrayed by Tom Blyth, first meet during their time at Boston College. Their shared roots in Ohio lead to the chance carpool back home that kicks off countless adventures, inside jokes and ever-increasing emotional tension. The romantic comedy spans years of intimate and tumultuous moments between the two — who annually reunite on a summer vacation — as the strength of their friendship is tested by the intricacies of adulthood.
Viewers will fall in love with Poppy and Alex’s back-and-forth banter and feel the palpable tension of the bumps in their relationship. With Poppy’s sense of spontaneity and career as a travel writer sending her across the globe, her life proves the polar opposite of the stability sought by Alex as a teacher in their hometown. Regardless of these differences, the strength of their friendship keeps the two tethered together.
The cast had large shoes to fill in embodying Emily Henry’s beloved characters. Bader’s rendition of Poppy encapsulates the character in all her quirks, from her endless enthusiasm to her carefree confidence. Blyth, on the other hand, tackles both the reserved, introverted day-to-day Alex and the more spontaneous “Vacation Alex” brought out by Poppy’s influence. As the slow-building tension between the pair begins to heat up, the on-screen chemistry between Bader and Blyth brings to life the vibrant yet complex narrative of Poppy and Alex’s friends-to-lovers journey.
Readers of the original novel, however, may notice the foregone swoon-worthy scenes and years of longing woven into the book’s narrative. With a runtime just under two hours, including all Poppy and Alex’s escapades proves impossible, but the exclusion of important details leaves a noticeable mark on the narrative’s pacing and progression.
Small details such as trip location changes do not compromise the heat of the romance, but the condensed timelines and reordering of events minimizes the depth of the pair’s relationship. Both the book and film employ a series of flashbacks to vacations of years past to contextualize the history of Poppy and Alex’s bond. The film, however, omits multiple character-building trips tenderly detailed in the novel and brushes aside years of finely tuned familiarity.
Perhaps the most notable discrepancy lies in the climactic reunion of the two travelers. The book version features a rekindling following the emotional confusion and fallout of an earlier summer trip. When Poppy reaches out to Alex, the two fall back into their old ways, and Alex invites Poppy to join him for his brother David’s wedding in Palm Springs, Calif.. The two embark on a low-budget trip that calls back to their college days as they embrace the awkwardness of their time apart and their moments of vulnerability.
The cinematic depiction, on the other hand, seems to forego some of the duo’s sensitivity and willingness to expose their true feelings. Their eventual reunion is portrayed more as a result of chance than one of an unbreakable bond. Poppy is invited to David’s wedding by David — notably not Alex — diminishing the slow burn so beloved by fans of the novel. The exclusion of some of the couple’s most genuine moments mutes the intimacy and enduring yearning in favor of a quicker and perhaps cheesier resolution.
Creative liberties aside, the film captures the magical essence of Poppy and Alex’s trips, and their unconventional encounters with bizarre characters in each location. Shots of the rugged mountains of Canada, bustling bars of New Orleans and breathtaking Tuscan landscape highlight the beautiful settings in which the pair’s friendship flourishes. In cases where Henry’s narrative may not have been fully brought to life, Haley’s on-screen adaptation enhances the story beats that actually are present through these stunning visuals.
Netflix’s “People We Meet on Vacation” is an enjoyable watch with a charming display of chemistry and camaraderie. Still, viewers may be disappointed by the earnest emotions of the source material missing. Arguably a natural consequence of a movie’s restricted timing, the sacrifice of valuable relationship-building subtleties gives the film a slightly different essence than its literary counterpart.
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