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I like the storyline of this show,it attract me so much

One of my all time favorites.

If you don't like this, we can't be friends.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Richard Gere and Diane Lane were both in their prime when they made this movie. Gere in his subdue,medicinal way and, Lane epitomizes the every-woman dealing with family issues : hostile teen daughter, prepubescent son and unfaithful husband. Gere is Dr Paul Flanner who is trying to find closure after a failed operation in which his patient died, while his son, the younger Dr Flanner witnessed the mishap. His son resented him because he was a driven doctor who neglected him and his mother. What sets this movie apart were two effects. The first being the iconic beach inn on the Carolina Coast. The stormy scenes around it were unforgettable. One in particular found Gere and Lane arguing heatedly on how he should have handled meeting his patient's angry husband, who was the reason Dr Flanner came to the inn, to see the grieving widower nearby, while the storm was closing in: two worlds collide in more than one way. The second was the message mother (Lane) delivered to daughter that she ought to hold out for true love, the kind that entices you to be better than yourself. Great lesson, without the need to hammer it home. That brings me to think something that is rarely discussed, written or taught. We are so used to viewing romantic love being that nebulous, indescribable feeling that man has toward woman, or vice versa, or between life partners. Love should be codified. There is the love between the creator and the created, parent and child, protector and the protected, giver and receiver (in which much of it is unidirectional almost always), destructive love - the kind that drag each other down, and the kind of love that promotes each other to be better person to the other and the world around them. If I have learned anything from this movie, this would be the message I shall not forget.

Adapted from a book, it seems like the screenwriters just sketched out enough scenes to cover the various plot points in the book, and unimaginatively. Richard Gere is too laid-back to breathe any life into the lifeless, inevitable plot progression, so it was miscast. Since there are no surprises in the story, no crisis/resolution sequences, perhaps the entire movie in flashback with narration could have saved it? I don't know.

I am much at counter current with regard to the reviews and critics here and also as ratings go; the ratings are fair at best and poor overall but I'm not interested in competing with my own assessment, only to express it. Perhaps watching a string of romance pictures, a couple of years old, set my mood and perspective. I will do my best not to spoil the story as I did not read any story lines or synopsis at my usual sources that spoiled it for me, some reviews would have done so but I read those after I watch a movie. Read the IMDb full storyline and you'll have sufficient information, spoiler-free to know i the movie might appeal to you to begin with.Richard Gere is an actor I think I can be objective about because he's not a factor in my decisions to watch any of his movies; "Nights in Rodanthe" was a movie I selected because Diane Lane is an actress for who I'll admit having a bit of a crush. Granted this means a bias for the film. She is mistakenly associated almost exclusively with comedy romances, but the movies, featuring her, I most liked had not a bit of comedy in their stories; this is the case here. The movie's romance is undeniable; it's the tragedy part that you should find unexpected. The portion involving the Scott Glen character has classic drama as well.Viola Davis and Glen Scott's supporting performances are a contributing element in me maintaining firm that it is a touching tragedy and a good drama on a few levels. The location is another element influencing me; I love the Outer Banks of North Carolina and all very similar fragile areas of the East Coast of North America. Any additional commenting would spoil the experience if you haven't seen it. I won't view it again for a long while as there are far enough dramas and tragedies available for my liking. I need my Diane Lane fix now and then so perhaps I might.

To see Richard Gere in another romantic drama and still finding myself questioning what he is doing there is, to say the least, vexing. But in this case, he just about gets it right. On the other hand, Diane Lane gets it very right.Recently separated from her husband having discovered an affair Lane has been focusing on what she feels is her most important role; that of a mother. Lane is asked to house-sit a bed and breakfast for her friend, Jean, down on the North Carolina coast. Seeing this as an opportunity to get away from it all and to contemplate getting back with her husband for the sake of her children, Lane's character, Adrienne jumps at the offer. While house-sitting, she looks after the one guest who has paid double the fee and at off-peak times. As Jean's Grandmother says, "Count your blessings and keep on stepping". Richard Gere is still rather wooden as Dr. Paul Flanner, but the pain and regret is a lot more believable from him in this movie. As he has gotten older, he looks more genuinely like an old man who has looked back on his life and regrets decisions that he has made. It works better at the age of fifty- eight and thus, makes him a better fit in this sort of role than before. But Diane Lane is simply beautiful in this. Toned brilliantly as she rediscovers the pieces of her life that she had deserted, to say that she becomes a new woman in Gere's arms would not be as accurate as to say that rediscovers who she is. This metamorphosis is clear and visible in her character rather than a token gesture and half-hearted as is seen in other movies of this type. There are a few issues with this movie, however. The main one is the pace. For the pace to work, the relationship between Gere and Lane had to be sped up to the point that credibility was strained, but not broken. Also, while I accept that a fourteen year old girl "knows stuff", the way that she suddenly becomes her mother's rock is, again, a strain on credulity, especially when she says to her father that she loves him even though she later states that she knows of the affairs he had by that time.However, the theme of the redemption and the self-forgiveness that both Gere and Lane engage in works very well as do the scenery and vibes of the movie. Hitchcock it is not. However, compelling it is.