Thanks to everyone who voted for their next adventure… and here you have it, an analysis post of your chosen winner! The Time Traveler’s Wife (2009) is a romantic drama based on the best-selling 2003 novel by Audrey Niffenegger. The love story between Henry, a time-traveling librarian (played by Eric Bana) and Clare, an artist (played by Rachel McAdams) provides the central plot, as the film jumps back and forth in time, mirroring Henry’s travels. The two actors do all they can to provide gravitas and chemistry to the movie, but the tone and execution do end up feeling a little heavy-handed.
Any kind of time-traveling-themed film involves its own brand of suspension of disbelief, as the audience has to accept somewhat circular logic and avoidance of plot holes (see also The Lake House and Premonition for other recent examples). This kind of story works better in print, and I did read the book years ago to see if Henry was a librarian in the book (he is). What’s intriguing about this variation on time travel is that Henry can’t choose when he travels back in time, and this brings on a whole host of problems and relationship instability.
*POSSIBLE SPOILER ALERTS*
Henry doesn’t get to keep his clothes when he travels, so most of his time spent time-traveling seems to involve breaking into places to find clothes, only to leave yet another pile of clothes as he disappears again. Also, Henry is older when he goes back in time to meet Clare, who is 6 years old when they meet for the first time on Clare’s timeline (incidentally, Henry is also 6 years old when he first travels through time). A 6-year-old girl and a 30-something-year-old man who later marry? Yeah, the creep factor is always there.
For a romantic hero, Henry is also unusual, because he often has to resort to petty theft, lock-picking, and sometimes back-alley brawls during his travels. (At one point, he also uses his abilities to win the lottery. Personal morality and ethics take a slip when one slips in and out of time.)
It’s hard out there for a time-traveling librarian. 😉
The two library scenes come fast and furious, both occurring within the first five minutes of the film. Three-and-a-half minutes in, we get our first shot of the library archives, as Henry travels back to his present (naked and shivering and emotionally drained). Henry wearily puts on his clothes, which are in a bundle on the library floor.
After a heavy sigh, Henry then bends down to pick up rare books in a pile on the floor, affording us a close-up of his shoes. (Visuals of shoes feature heavily in this film, and a close-up of shoes in a field also graced the book’s cover.) Next, we see Henry bringing the stack of books to a patron in the library.
Patron: That took you long enough.
Henry: You have no idea.
Contrast that with the next scene, which brings sunshine and spring into the storyline. We also learn that Henry lives in Chicago. We get another wide shot of the library, this time bathed in sunlight and warm tones. The difference? This is when he first meets Clare, and they “meet cute” (or rather, “meet awkward”) in the library. Before Clare, his entire world — including his work world — feels cold and dark. With Clare, his world brightens — literally.
Fun fact: Although the library is not named, these scenes were filmed in the Newberry Library in Chicago. This is also the library where Henry works in the book.
In this scene, we also get treated to another librarian, a young, red-haired woman perched in the stacks with a book cart in front of her. She looks quite professional — much more professional-looking than Henry — and is wearing a pin-striped Oxford blouse and a suit vest. This librarian is a typical Information Provider.
Clare: Excuse me. I’m looking for something on papermaking at Kelmscott.
Librarian: Our special collections librarian can help you with that. [She raises her voice to get Henry’s attention, who looks over at them.]
Henry: Can I help you?
Clare: Henry? [Claire recognizes him, but he doesn’t seem to recognize her.]
Clare: Henry. It’s you. You told me this would happen. I’m supposed to act normal, but I’m not really acting very normal.
Here’s Henry’s reaction to Clare’s recognition of himself. Awwwwwwwwkward.
Long story short, Henry agrees to meet up with Clare. Boy meets girl. Boy disappears. Girl has to clean up the mess. You know, the same old story. 😉
Although there are no more physical scenes of the library, there are a couple more mentions of his profession:
- 21 minutes in, Clare introduces Henry to her friends Gomez and Charisse. Gomez isn’t favorably impressed at first, saying, “I couldn’t get anything out of him except he’s a research librarian.”
- 25 minutes in, Gomez goes straight to Clare after learning Henry’s time-traveling secret. Gomez asks if Henry’s around, and she responds, “No, he’s at the library.”
Truthfully, it is not important to the plot that Henry is a librarian — except that it allows him to time travel, which IS the plot — so this film winds up in the Class II category. However, because of the extensive scenes we get to see of Henry outside of the library, and the personality flaws we witness, I would argue he fills an atypical role for reel librarians. Henry’s personality is atypical of most romantic heroes, full stop, and his role as a reel librarian is also secondary to the central romantic drama. It is also atypical to highlight a reel librarian, male or female, who is quite physically active and fit. (See also Rene Russo’s character in the 1989 comedy Major League). Henry is fit out of necessity, in order to survive while time-traveling.
The filmmakers are also not afraid to be critical of the lead romantic hero. Twice, Henry describes himself as a “pain in the ass.”
One could also argue that Henry’s role is that of a librarian as failure; that character type consists of self-perceived “failures” who resort to working in a library. And Henry did choose to be a librarian when he was younger and felt lost and unhappy — before he had met Clare, and before he scientifically explored his condition. However, the “librarian as failure” character type primarily fills the purpose of reflecting flaws in a library, or other social system or construct; this character type is also very closely tied to the library. In this film, the library is just an excuse.
Although Henry’s occupation actually does make it to the back of the DVD case (“… a handsome librarian who travels involuntarily through time”), like I said, it’s not really that important that he’s a librarian.
His occupation is only important because it provides him a way to make a living that, well, doesn’t get in the way of his time-traveling. His job, that of a special collections or archives librarian, affords him time to spend in the archives, alone, so that no one really notices when he’s gone. (Even when he’s gone for two weeks straight, we don’t hear anything about how that affects his work.)
How’s that for an endorsement for librarianship? Be a librarian so that NO ONE will notice if you’re even there or not. SIGH.
This film attempts to end as a testament to true love and how it can stand the test of time. But there is no such love for the library. Because once Henry wins the lottery — surprise, surprise — there is no more mention of the library. Who would continue to work in a library when there’s no need to work anymore?
On that cheerful note, I bid you farewell… but you can count on me that I’ll be back next week, same time, same place. 😉
- The Time Traveler’s Wife. Dir. Robert Schwentke. Perf. Eric Bana, Rachel McAdams, Ron Livingston. New Line Cinema, 2009.