Before saying anything else, I have to say that Jack Weyland's Charly is hands down the worst book I have read in my entire life. I'm not going to go into why here, but suffice it to say, I was cringing at the turn of every page. Every page. Having said that, I must confess that I love Charly. I not completely sure why, but I think it's because I love Charly.

Charly is a strong enough character to keep us watching for her sake alone. Beers really brings Charly to life like few others probably could and her constant charm and goodwill is inspiring. Her upbeat personality is sometimes extreme but eventually realistically established. Add this to her seemingly unconditional love, and Charly is one of the most lovable characters in recent history.

Charly's story starts with Sam (Jeremy Elliot), an overly typical Mormon boy, who dreams about marrying a molly-Mormon type girl and living happily with her for the rest of his life. But then he meets Charly (Heather Beers) and comes realize his dreams were wrong. Not that the two dreams are wrong in themselves, but rather his insistence that things be no other way. So the film really tells two stories, the first is how Sam learns to let Charly into his life, and the next is how he learns to let Charly out of it.

The first has Sam struggling with the idea that Charly is not a virgin, and thus not the type of girl he always thought he would marry. Eventually Sam undergoes a change of heart and realizes that it is his own pride that is getting in the way. His change of heart is touchingly sincere, and even becomes humorous as he exclaims to Charly that he "had the wrong dreams” while being dragged out the door by security.

Sam’s second change of heart is more difficult for him to come by. He can’t accept that Charly is dieing and even gives a lame blessing that she will live (again impressive to see an unrequited blessing in this type of film). Sam realizes once again that his insistence on having his dreams his way is wrong. Sam learns that he cannot expect certain blessing and that life is not about having his own will be done. And we believe it.

Another theme is not just Charly’s love but Christ’s, as an example for us. The story of Christ’s love for Mary and Martha at the death of Lazerus is effectively used and the significance of Christ’s example of unselfish love is powerfully taught.

Given that the film covers so much in terms of plot, it is unfortunate that other important aspects get so little time. One is that we never really know why Charly joined the church, besides a few comments about being heard by God. The film feels like it might be alienating a non-Mormon audience with the quick brush over what can be considered one of the more important aspects of the story.

Perhaps even more importantly, we are never given much evidence for Charly’s attraction towards Sam. Almost all the depictions of Sam are stiff and awkward, which Elliot doesn’t help with frequent overacting. We see a couple of moments where they’re happy together, but nothing that would cause a girl like her to really fall in love with someone like him. In fact, the one time she gives a reason, other than his looks, she only mentions his faith. Kind of strange. And yet, despite all the aforementioned, Charly is surprisingly romantically affecting.

For a first time director with a small budget, director Adam Anderegg does well. The camera work is always professional and the music, although verging on schmaltzy at times, is almost always effective. The most impressive technical part, however, is the lighting. On a low budget film, engaging lighting is often the first to go, simply because it takes so much time to do right. But it is often done right in Charly, and even in a way that often adds to the characters and story.

Charly does have its share of problems; it is by no means a great film. But even when Charly fails, Charly succeeds. Charly's love and vibrance brings joy to the screen and joy to our hearts.