"Holy Hanna!!!" That is a phrase frequently recurring in the soaper called "Love Notes."
Nora Flannery is a successful critic of classical music with a popular radio program. Nora grew up with a nasty, single mom, and she would never think of a child having to experience what she did.
Jamie Denniger (a.k.a., James Keen) is a country and western star who was adopted and raised in entitlement by a wealthy Kentucky breeder of horses. He is tormented by not knowing his birth parents and would hate to see a child given up to be raised by strangers.
Like two ships passing in the night, Nora and Jamie have a single encounter. And the result is: pop and boom!!! Nora becomes pregnant with Jamie's child. The majority of the film consists of Nora trying to track down the busy Jamie and secure his signature on the release agreement form on the legal documents. Nora also busies herself in interviewing couples interested in adoption.
A weakness of the film was in the treatment of the character of Claire, Nora's best friend. Nora chose to bring the baby to term because she was planning for the infertile Claire and her husband Jeff to raise the child. But when Jeff sues for divorce, Claire essentially drops out of the film until the very end. The screenplay never addressed why Claire would not have wanted to raise the child on her own after Jeff ended the marriage.
Early in the film, there was the attempt to identify a romantic reference point in the relationship of the Russian composer Pyotr Ilyich Tchaikovsky and Nadezhda von Meck. The composition known as the Pathétique (Symphony Number 6) attempted to set the emotive tone of the film. But the analogy was never made very clear in the curious relationship of Nora and Jamie; it was nothing like Tchaikovksy and Nadezhda. On the other hand, the filmmakers did a good job in demonstrating how the two characters' shared love of music was tied to the search for "a full and honest love."
Invariably, Jamie seemed lost and confused, utterly bewildered about both his feelings for Nora and the prospects of becoming a father. There was an interlude on the old Keen Estates, where Nora is diagnosed with a case of Braxton Hicks by a veterinarian! It was during the stay on the ranch that Nora and Jamie truly begin to bond.
It all comes down to a single moment of truth in a Kentucky hospital at the time of delivery and whether Nora will be willing to give her child up for adoption. It turns out that she will have many different options, all of which augur well for a beautiful baby girl. Nora decides to name the child Jamie. "Jamie, meet Jamie!!!"
Holy Hannah!!!
Nora Flannery is a successful critic of classical music with a popular radio program. Nora grew up with a nasty, single mom, and she would never think of a child having to experience what she did.
Jamie Denniger (a.k.a., James Keen) is a country and western star who was adopted and raised in entitlement by a wealthy Kentucky breeder of horses. He is tormented by not knowing his birth parents and would hate to see a child given up to be raised by strangers.
Like two ships passing in the night, Nora and Jamie have a single encounter. And the result is: pop and boom!!! Nora becomes pregnant with Jamie's child. The majority of the film consists of Nora trying to track down the busy Jamie and secure his signature on the release agreement form on the legal documents. Nora also busies herself in interviewing couples interested in adoption.
A weakness of the film was in the treatment of the character of Claire, Nora's best friend. Nora chose to bring the baby to term because she was planning for the infertile Claire and her husband Jeff to raise the child. But when Jeff sues for divorce, Claire essentially drops out of the film until the very end. The screenplay never addressed why Claire would not have wanted to raise the child on her own after Jeff ended the marriage.
Early in the film, there was the attempt to identify a romantic reference point in the relationship of the Russian composer Pyotr Ilyich Tchaikovsky and Nadezhda von Meck. The composition known as the Pathétique (Symphony Number 6) attempted to set the emotive tone of the film. But the analogy was never made very clear in the curious relationship of Nora and Jamie; it was nothing like Tchaikovksy and Nadezhda. On the other hand, the filmmakers did a good job in demonstrating how the two characters' shared love of music was tied to the search for "a full and honest love."
Invariably, Jamie seemed lost and confused, utterly bewildered about both his feelings for Nora and the prospects of becoming a father. There was an interlude on the old Keen Estates, where Nora is diagnosed with a case of Braxton Hicks by a veterinarian! It was during the stay on the ranch that Nora and Jamie truly begin to bond.
It all comes down to a single moment of truth in a Kentucky hospital at the time of delivery and whether Nora will be willing to give her child up for adoption. It turns out that she will have many different options, all of which augur well for a beautiful baby girl. Nora decides to name the child Jamie. "Jamie, meet Jamie!!!"
Holy Hannah!!!