Posts Tagged romantic comedy
Title The Shop Around the Corner
Starring James Stewart, Margaret Sullavan, and Frank Morgan
Director Ernst Lubitsch
Writer(s) Samson Raphaelson and Miklós László
Genre Romance | Comedy | Drama
Release Date January 12, 1940
Filming Location Metro-Goldwyn-Mayer Studios, Culver City, California, USA
Parental Guidance TV-G
IMDB Rating 8.1
Synopsis: Alfred Kralik (James Stewart) is the First Salesman at the Matuschek & Co. boutique store, which has allowed him a rather comfortable bachelor’s living thus far. Sure, his relationship with the store’s owner Hugo Matuschek (Frank Morgan) is more-often-than-not contentious given that, whenever invited to share an opinion, he ends up challenging the old man’s decisions for the benefit of the store; nevertheless, he also knows that his longstanding tenure with the company and faithful efforts towards its success is appreciated by the big guy, albeit grudgingly. Besides, with a wonderful staff under his supervision, Alfred wouldn’t change a thing about his life. That is, until a steady mail correspondence with an anonymous woman has him wondering about married life and he decides, come Christmas, he will ask Matuschek for a raise. Just around the same time, a woman walks into the store and tries to cheekily talk Alfred into giving her a job by applying to his optimism regarding the upcoming Christmas sale that is likely to demand additional help. Alfred is less than approving of having his gullibility played upon by this Klara Novak (Margaret Sullavan) and refuses her a position. However, Klara, with her salesmanship, manages to impress Matuschek into hiring her and what follows is weeks of resentful verbal combat between Alfred and Klara where neither is aware that the other is the secret pen pal each has been gradually falling in love with. With just a week to go before Christmas, the epistolary lovers decide to finally meet and Alfred gets ready to ask Matuschek for a raise. Alas! His recent exchanges with the boss, who himself has been rather preoccupied with marital problems, is rockier than usual and Alfred ends up getting fired instead of being promoted. When Alfred decides to keep his date anyway, he discovers his mystery girlfriend is, in fact, Klara and there ensues a disastrous evening for both. Meanwhile, other events bring on unforeseen twists of fate for Matuschek that does not bode well for anyone related to their “shop around the corner”.
Title You’ve Got Mail
Starring Tom Hanks and Meg Ryan
Director Nora Ephron
Writer(s) Nora Ephron, Delia Ephron, and Miklós László (play)
Genre Romance | Comedy | Drama
Release Date December 18, 1998
Filming Location Manhattan, NY, USA
Parental Guidance PG
IMDB Rating 6.6
Synopsis: Kathleen Kelly (Meg Ryan) is the owner of an independent children’s bookstore in Manhattan, NY. It was whimsically named The Shop Around the Corner by her late mother, who had founded the enterprise as the local creative resource for children, from everyday reading requirements to the most unusual literary undertaking – a responsibility that Kathleen was only too happy to inherit and now upholds with relish. All this, and her reflections on the mundane topics that interest her, she relates to a mystery man she met in a chat room many moons ago and with whom she has since been keeping up a steady e-mail correspondence. Though neither reveals any particulars about their lives that may compromise their identity to the other, it is clear that their online relationship gradually takes precedence over their individual longtime love affairs. Enter Joe Fox (Tom Hanks), the heir to the mass book retail chain Fox Books, who has been entrusted to expand the family business nationwide and whose current project is ready to commence operation, literally, just around the corner from Kathleen’s store. Kathleen’s fellow storekeepers are wary of this major corporation, which they feel should be considered a formidable adversary, intending to seduce readers away with its cutthroat discounts and designer coffee. Kathleen, however, feels Fox Books’s impersonal salespeople and overstocked shelves are no threat to the knowledgeable service and rare book collection that The Shop Around the Corner provides. At first, it seems that Kathleen’s predictions will ring true, as the community rallies around her store. Even Joe, who harbors something akin to survivor’s guilt over all the independent establishments he has put out of business, becomes enchanted by Kathleen’s naturally gracious disposition towards her patrons and genuine desire to help young readers connect with the world of books – though he cunningly hides his identity from her. However, when Fox Books begins operation, sales at The Shop Around the Corner begins to decline. And when Kathleen discovers Joe’s deception about his professional identity during a later chance encounter, she vehemently condemns him as a spy and the two cross words. Yet, each continues to remain unaware that the other is their online confidant. So while on cyberspace, Joe guides Kathleen to “go to war” with her rival, in the business world, a bitter struggle for survival ensues between the two that forces each to discover a previously dormant side to their natures – and maybe learn to accept the other for their better sides in the process.
Experience: THIS is what watching romantic comedy is all about – discovering the many ways people overcome everyday challenges to learn about their individual weaknesses and strengths to converge as a unit that is better for being a whole. I don’t know how many times I have seen You’ve Got Mail. My DVD experienced its share of wear over the years before I finally laid it to rest when online streaming became the norm. Therefore, it’s funny that it took me so long to get around to seeing The Shop Around the Corner, the original movie from which the famous Hanks-Ryan feature was remade. What did I discover? Well, despite the much higher rating on IMDB for the old B&W classic, I think Nora Ephron made a vast improvement. So much so that it deserves discussing.
You know how sometimes you hear actresses complaining that Hollywood greatly prefers telling stories about male rather than female characters, that there are more hero-centric movies than heroine-centric? If you watch The Shop Around the Corner and You’ve Got Mail back-to-back, you will realize that it ain’t all wack. The original screenplay was filmed entirely from the perspective of James Stewart’s character Alfred Kralik even though the plot aimed to show how a pair of mystery correspondents who, despite acting as foils to one another in their physical realm, unbeknownst to them, may fall in love over anonymous letters. It is a meeting of the minds that transcends all other superficial qualities one regularly seeks in one’s mate. It is the realization that even daily interactions with a person may only reveal so much about them to form an honest verdict of their character. Indeed it is a story that deserved to be told from both sides of the veil since something must’ve made Klara Novak fall in love with a man she knew not in person as much as Alfred did with her but alas! Luckily, Stewart is a talented actor and the story does not suffer from his singular presence on the screen. Also, the steady earnest gaze of his soulful long-lashed eyes is dreamy beyond comparison.
Mercifully, some six decades later, women finally gained greater access to the rein in Hollywood and thus could endeavor to do better. Ephron put on her hard hat and rewrote the screenplay to tell the story how it should have been told. By adding just twenty minutes to the plot, we are presented deeper insights into both the main characters’ backstories, discovering who they are as individuals and not just the superficial perception that each form about the other. I love how, this time, the screen presence is equally divided between Kathleen Kelly and Joe Fox. I love how both the lead characters are allowed time away from one another that demonstrate their actual individual lives and responsibilities. We no longer witness who they are just over a series of arguments. They are given ample room to breathe as separate entities so that when they come together, we can savor the full-bodied texture of their romantic endeavor.
And I’m grateful that we can have more of those letters read to us – letters that were the key component to the main characters falling in love. With The Shop Around the Corner, by the time I reached the end, I couldn’t see why Alfred and Klara finally choose to be together – not after all we initially see is how horrible each is to the other when they personally interact. It almost seemed that when it finally came for the curtain to fall, the two couldn’t walk away from each other simply because they had held fast for so long to the idea that the person writing the letters was the love of their lives that admitting they were wrong would be too great a blow. I did not see love but resignation. Comparatively, in You’ve Got Mail, whatever compromise each character makes with their ego is more believable – in fact, it seems like no great sacrifice. When Joe and Kathleen first begin to fall in love, we can see why those letters compel them to emotionally stray from their respective lovers despite the uncertainty that lurks in their minds regarding the moment they should really meet lurks. When they finally fall in love, it is a person with whom they know they can genuinely share the mundane realities of life – that they once only discussed over letters – without becoming bored. It’s also love that blossoms because two people allowed themselves to wait around long enough to be proven wrong about the lacking of the other’s real self to see how great the other person truly is. The months of war becomes only a prelude to a love that is irrevocable and a friendship that is enduring.
Which brings me to the main gripe I have towards the makers of the original movie. It’s not so much as the lack of focus on the female lead character – Margaret Sullavan did receive first billing in the credits, so there’s that at least – but the fact that Klara is never given the opportunity to rise in our esteem. In fact, if I ever re-watch The Shop Around the Corner, it will only be because Alfred managed to impress me with his integrity and resilience; and should I turn myself away from the opportunity to re-watch it, it will be because Klara managed to annoy me with her myriad of character flaws. Klara is self-serving, whether she is talking a customer into purchasing an unnecessary and trivial cigarette box by pawning it off as a candy box or suddenly complimenting the supervisor she despises to get out of working late on a night she has a date. Klara is manipulative in a way where she repeatedly tries to lead others in conversations so that they would give her what she wants but think it was their own idea. But most of all, Klara is spiteful; she demonstrates a natural tendency to say hateful things, attacking Alfred with a certain regularity and feels no remorse for the hurt they cause unless it has a chance of coming back to bite her in the ass. In comparison, we see genuine guilt etched in Kathleen’s face when she witnesses the hurt her words cause Joe; it is immediate and it is sincere even though she is reluctant to admit that she is at fault. And even though when she does get around to apologizing she also slips in a compliment to herself by professing it is uncharacteristic of her to not be a nice person, we also can be sure she truly is sorry to have caused hurt and that she knows that she has no right to do so. And since there is no self-interest in her apologies other than to rectify a misbehavior, the apologies are not hollow. While Kathleen’s personality just takes a wrong turn every time she comes into close proximity of Joe Fox the corporate big shot, we can’t be as sure that Klara is not self-promoting and mean. So when Klara claims she had found Alfred attractive, it rings abrupt and false, but when Kathleen cries she had hoped her mystery man would be Joe, we have to believe her. Frankly, I feel that, once the novelty wears off, marriage between Kathleen and Joe has much higher chances of survival than Alfred and Klara.
Recommendation: Giving a final recommendation at this point seems superfluous, but unless you wish to do a comparative analysis of the two features, spare yourself from watching The Shop Around the Corner. Contrarily, my heartiest wishes to you for watching You’ve Got Mail; they rarely make sensible romance movies like that anymore.
Title Holiday Affair
Starring Robert Mitchum, Janet Leigh, and Wendell Corey
Director Don Hartman
Writer(s) Isobel Lennart and John D. Weaver (story “Christmas Gift”)
Genre Romance | Comedy | Drama
Release Date December 24, 1949
Filming Location Paramount Studios, Hollywood, California, USA
Parental Guidance TV-G
IMDB Rating 7.2
Synopsis: Mrs. Connie Ennis (Janet Leigh) is a young widow with a precocious six-year-old son Timmy (Gordon Gebert). Though Timmy is too conscientious of the daily challenges his mother must face to ever ask for anything that might hurt her dignities in being unable to provide, Connie slogs away at her job as a comparison shopper to make a comfortable living. An indubitable friendship exists between the mother-son duo that prevents her longtime boyfriend Carl Davis (Wendell Corey) from gaining an official entry into their family. Though he is a fairly successful lawyer, cares for Timmy dearly, and an all-around nice guy who promises to provide a safe loving home for Connie and her son, she repeatedly turns down his marriage proposals, assuring him that when her heart is fully recovered from the loss of her army husband, she will ask him for his hand. But then Connie meets Steve Mason (Robert Mitchum), a children’s section salesman at the department store where she purchases a train set on Christmas sale for her client. When Connie returns the toy the day after her purchase, Steve calls her out on her deception but, instead of passing her on to the store authorities, he takes pity on her and writes her a refund. As a result, Steve loses his job and spends the day assisting Connie in her professional shopping. Through a series of mishaps, Connie and Steve are separated and then he eventually ends up on her doorstep, much to Carl’s consternation. What follows are days of confusions in which Connie proposes to Carl even as she is drawn to Steve for his forthright manners, Timmy has his first temper tantrum, and a mysterious Christmas present arrives from “Santa”. Oh, and yes, someone ends up in jail.
Experience: Traditionally, December is the month when one would find me immersed in Christmas jollies. I sing, watch, and read all things red, green, and snowy. Since it’s been a month since my post-surgery recovery began, keeping me from any physical activity beyond eating, rolling over in bed, and making the obligatory trips to the loo, my winter binge began early this year whence it progressed uninterrupted. And though there is a bounty of Christmas entertainments out there, I eventually had to play roulette on what to watch next. And sometimes when you toss it up to fate, you end up catching a big one. I have to say, Holiday Affair was an unexpectedly heartwarming and sensible romantic comedy that just about made my season.
While I love B&W cinemas to bits, the element in midcentury romantic comedies that, I always felt, there could have been less of are the comedic devices used. The farce, the puns, the slapsticks, the double entendre, the frequent cases of mistaken identity – there was just so much of it back in the days. Yes, I fully appreciate how much writers and directors of the time relied upon such ruses to reward the audience with some much-needed relief from the mounting romantic conflict but I have often found them just as unnecessary to the plot as not and their impacts somewhat forced. I admit there are actors who managed to efficiently portray these “funny accidents” in a believable way, but the accidents themselves are distracting nevertheless – and not altogether relatable. Or rather, if you miss such a scene, you haven’t missed anything momentous to the story arc. I was happy to see that Holiday Affair kept these parlor tricks under tight wraps and rather focused more on satire and situations, observations and even self-derision to generate humor, often delivered with deadpan sobriety. This produced an effect much more in keeping with the struggles that surrounded the young family of a fallen soldier and those who come into intimate contact with them. Even the little plot twist involving the jail scene, though surreal and absurd, managed to amplify the consistency of each major character, helping them forward with their respective character arcs.
No, instead of slapstick comedy, this movie presented some truly insightful scenes that endeared it to me. I loved Steve’s direct approach towards nailing Connie’s issues with love and romance. He does not apologize for his feelings for her but he can also understand that she needs to make her own decisions and would not settle for scraps. I love how Carl does not blind himself to what is happening, his character is consistently loyal to Connie’s happiness but he also knows that his own happiness cannot be achieved by ingratiating himself to another. But most of all, I love how even little Timmy is so self-aware and willing to be taught and guided onto the right path, even when he is having a hard time adjusting to the surmounting changes in his life. He can appreciate the reasons behind the actions of the adults around him and truly is a responsible little man even as his soul is uncorrupted by self-interest.
In fact, it is the sincerity and generosity of each major character that onsets the conflicts in this movie. Connie is falling in love with Steve but doesn’t want to cheat Carl out of the conclusion to their relationship that he has been awaiting so long. Carl is pleased that Connie is finally ready to marry him but is unsure what brought on this change of heart and doesn’t want her to sacrifice herself. Steve is forthright about his feelings but, though often lacking tact, he is insightful and tries to help everybody. And little Timmy, a child with such a generous heart that he would sacrifice a deeply coveted toy by first hiding his desire from his mother and then by returning the gift to help a friend out with the refund, inadvertently brings on some terrifying crisis. It seems that everyone’s self-dilemmas get in the way of everyone else’s happiness. But even when one character accidentally acts as the foil to another’s wishes, you can’t blame them for it. Generosity of spirit is the making and breaking of all conflicts in this movie and that’s what makes it a great Christmas story.
Finally, a note for Gordon Gebert, the child actor playing Timmy. Bravo! According to his records, Holiday Affair was his first credited role on screen but to see him act, you would not believe it. As the saying goes, the kid had a calling. Yet, for some reason, the character Timmy was considered a small role by Hollywood standards, which I feel is a total failure to recognize talent – since he had as many dialogues and scenes as the lead actor, which he performed with great gravitas. Gebert went on to perform in other roles in tinsel town though not in anything well-recognized. An utter underutilization of human capital, if I saw any. Not for little Gordon though; he went on to become an architect.
Recommendation: I really really liked this movie. To reiterate, it was rationally hilarious and had intelligent characters that benefited from the honest efforts of the actors who portrayed them. And most of all, it touched all the right notes that call out to the bounty of Christmas.
Via: Daily Prompt – Identity
Title A Monster in Paris
Starring Adam Goldberg, Jay Harrington, and Vanessa Paradis
Director Bibo Bergeron
Writer(s) Bibo Bergeron and Stéphane Kazandjian
Genre Animation Adventure Comedy
Release Date October 12, 2011
Filming Location France
Parental Guidance PG
IMDB Rating 6.8
Synopsis: Emile (Jay Harrington/Sébastien Desjours) is a shy projectionist with a passion for films, working in a movie theater and crushing on the ticket girl Maud (Madeline Zima/Ludivine Sagnier) in his free time. When he finally plucks up the courage one day to woo her, his exuberant best friend Raoul (Adam Goldberg/Gad Elmaleh), an inventor and deliveryman, literally drives a halt in the situation with his bizzare delivery van “Catherine” when he arrives to pick up Emile to help him buy a belt for his projector. Lamenting the courtship interruptus, Emile blames Raoul but Raoul takes no notice of his error, too busy encouraging his best friend to go for it. On this transport route, Raoul has Emile tag along for an “adventure” to the private nursery of a scientist, where they roam unchecked in the absence of said scientist. Despite the warnings from the scientist’s guard-cum-assistant, a monkey named Charles, Raoul fools around with the various chemicals in the chemistry lab while Emile records what happens on his new video camera. An accident ensues, during which a flea off the monkey’s back is hit by two unstable chemicals that turn the flea into a human-sized figure. The disgruntled flea, upon seeing Emile’s fearful reaction, “flees” the vicinity and is on the run ever since throughout Paris whenever witnesses reject him in terror upon the sight of him and eventually ends up in the back alley of the cabaret in which Raoul’s childhood friend and crush Lucille (Vanessa Paradis/Vanessa Paradis) sings. At first Lucille, too, is afraid of the giant flea but when the flea with human emotions and the voice of an angel breaks out into a song about his harrowing experience being seen as a monster from the moment he turned, she takes pity on him and invites him in to hide in her dressing room, dubbing him with the name Franceour (Sean Lennon/Matthieu Chedid), which means “honest heart”. Only, in him, she finds the perfect singing partner who inspires her to perform even better. The duo is instantly popular with the audience, except the power-hungry Police Commissioner of Paris Maynott (Danny Huston/François Cluzet) is out to capture and murder the monster in a hope that it will gain him enough popularity to win the mayoral election.
Experience: I had this movie on my TBW list for a while now – years, actually. I just kept skipping over it for some reason but I wish I hadn’t. Yet, I guess, everything has its time and this Halloween prep-season was the time to watch A Monster in Paris. And what I learned is, not all monsters are bad.
And this monster can sing. It doesn’t take animation to realize that almost all species are capable of emotions, many of which are quite human. But I think cartoons do have a way of humanizing creatures better than any other medium. Turn your suspension of disbelief on and it seems perfectly plausible that a flea off a monkey’s back (a monkey which is a scientist’s assistant and guard too) turns to singing to express his fears upon becoming a seven-feet-tall monster instead of sucking the blood out of terrified and lonely pedestrians when he meets them in dark alleys. “It” becomes a “he”, and we sympathize with him and try to give him an opportunity to excel at his talent. The monster in distress becomes the central character with whom we commiserate.
Appropriately juxtaposed, we witness a power-hungry police commissioner out to kill this pathetic creature in a bid to gain popularity and politically climb up to the lofty perch of the mayor of one of the world’s most modish cities. And, in his single-minded track, he is ready to slaughter any civilian in his path. We see the human become the real monster. The story now has greater meaning – not all whom we see are who they are. We learn that before we assume one’s reality or feel any partiality towards or against a person, we should give them a chance to prove their true worth.
Meanwhile, two beautiful romances unfold amidst citywide chaos. We already see early in the movie that Emile is trying his best to hold onto his courage to inform Maud of his feelings (and for a while, I was sure it will be Emile who will end up becoming the monster and start wooing Maud in his new form), but slower to blossom is the romance between Raoul and Lucille. In fact, I found the chemistry between the latter duo much more scintillating than the former, despite (or perhaps because of) the apparent volatility of their relationship. The mystery behind Lucille’s obvious disparage of Raoul and his attempt to jovially disregard it hints at a past and titillated the romantic curiosity in me immediately. Especially because under all the witty comebacks lobbed at one another, the two seem to truly care for each other’s interests.
While at first, I thought the sweet shy Emile might be the hero of the story, and he does rise to the occasion when necessary, driven as he is by friendship, Raoul is adorably comic (think Ryan Reynolds) and he comes alive more throughout the movie. And I found it great that Lucille’s character wasn’t far behind him. She was no damsel in distress even though Raoul did his best to “save” her by protecting her friend-flea Franceour. Yet even while they are working together, they continue to bait each other with hilarious effect. But we see the knot loosening and it’s charming to witness.
Recommendation: I’m sure you all too have plans for this Halloween to catch a monster-flick or two. But I sincerely suggest you make time for this uplifting monster movie this year – especially if you haven’t seen it already. Especially, after all the political and environmental chaos we have experienced throughout this year. It’s a great reminder that human endeavor may be found even in the most unlikely places if we only make the effort to see.
* Original animation was dubbed in French so I have included the name of the French voice-over artists beside the English voice-over artists post forward-slash in the synopsis.
Title Pretty in Pink
Starring Molly Ringwald, Andrew McCarthy & Jon Cryer
Director Howard Deutch
Writer(s) John Hughes
Genre Romantic Comedy Drama
Release Date February 28, 1986
Filming Location LA, California, USA
Parental Guidance PG-13 for thematic smoking
IMDB Rating 6.8
Synopsis: Ever since Andie Walsh’s (Molly Ringwald) mother skipped out on the family, Andie has been busy working at a strip mall record store to keep house for her heartbroken and unemployed father Jack (Harry Dean Stanton), i.e. when she’s not already at school striving to remain on the honor roll. She is generally admired by the faculty and her employer Iona (Annie Potts) alike for the level of commitment she demonstrates in all her undertakings. However, this goodwill is not shared by the more affluent “richie” kids in school, namely Benny Hanson (Kate Vernon) and her boyfriend Steff McKee (James Spader), who take great joy in bullying Andie and her friends for their humbler lifestyle. Prom is coming up but Andie has no time to worry about attending, especially since she hasn’t been asked yet. Andie’s best friend “Duckie” Dale (Jon Cryer) is in love with her but Andie is oblivious to the nature of his “devotion” as he lacks solemnity in his professions of love. When one of the richies Blane McDonough (Andrew McCarthy) begins to show his interest towards Andie, often finding reasons to catch up with her at the record store or school, Andie reluctantly reciprocates, unsure whether dating a rich kid would be advisable. However, with a gentle nudge from Iona, Andie begins dating him and, when he asks, ecstatically agrees to go with him to the prom. Duckie is livid, seeing their relationship as a form of betrayal, and issues an ultimatum. Blane’s own friends, in particular Steff, too object to the union. Steff, who once himself tried and failed to conquer Andie’s “favors”, reminds Blane that not only will Blane be rejected by his society but asks if he’s willing to put Andie through his parents’ ridicule. Blane withstands the peer-pressure with less aplomb than Andie and their fledgling relationship seems to dive before even taking a proper flight.
Experience: Amazingly, I did not see this classic rom-com until this week. For one, when the movie was released, I was all of four years old. And B, there was never any occasion to before since plenty of romantic comedies were released annually to occupy my time since the days I turned a teen and was allowed to watch movies with smooching in them. But have you noticed how few and far between rom-coms have become lately? Yeah! Apparently, the audience doesn’t pay for romantic movies anymore. In fact, I recently read in a review of this one chick-flick version of Harold & Kumar… that made a statement to that fact. How rude! But I need my regular fix of the romantics and while The Hallmark Channel tries diligently to keep me in supply, those flicks lack a bit of variety, don’t they?
So Pretty in Pink! I liked it even though I think I have grown out of it a bit. I think I would have loved it when I was younger and such teen angst actually would seem like a do-or-die crisis. At this point in time of my life, I was like, “Chuck Duckie and chuck Blane! You can do better, Andie!” In fact, I thought Steff was someone I could work with [yes, I do have a bit of a taste for the bad boys] – you know? Save? I saw a lot of anguish in Steff, the abandoned rich boy who bullies others to make himself feel more important. Oh, yes! Andie the-good-girl could have totally saved his soul. But I’m getting ahead of myself and prattling about that which DID NOT happen in the movie.
Yet, the premise of the story was Andie handles her various romantic options: there was her wacky best friend, the kind-hearted-but-confused rich boy, and the self-assured web-spinning kingpin of haut monde. Which will she end up with? We watch as the Andie tries to find a balance between the world she is accustomed to and the “inside” world where she is invited. But the aspect of this movie that makes Andie such a special girl isn’t her ethereal red-headed sweet looks, her off-the-track fashion sense (all designed by her, by the way), or her great taste in music; it is the fact that even in the middle of her greatest predicaments, she is never dishonest with herself. Andie has a mind for speaking only the truth. She knows exactly what she wants and she is never afraid to let it be known. She does not allow Steff, Duckie, or even Blane talk her into doing what she doesn’t want to do. The way I see it, this movie was a feminist movement all unto itself, and I can only imagine how necessary for the adolescent girls of the 80’s, nay, even now. Even though many of the thematic angles of the story were a bit dated (I mean, I would never have been caught dead in all that lace and rhinestones though Andie’s style became iconic), I would give this movie all the stars in IMDB for holding steadfast to the stance that girls can risk swimming against the current and still get what they want if they only set their mind to it. And that getting the guy is NOT more important than being true to oneself.
Another aspect of the movie that really stood out for me was how writer John Hughes showcased “youth”. As movie aficionados may be aware, Pretty in Pink was only one among a lineup of teenage-angst movies that Hughes had written-directed to great success and followed Sixteen Candles and The Breakfast Club, both of which Ringwald also starred. However, unlike the doe-eyed timid Samantha of Sixteen Candles or the snobbish Claire of The Breakfast Club, Andie has both her feet planted firmly on the ground and, perhaps, is more adult than even her father. She is able to demand if necessary but with humility, provide solace with a bit of sternness, and even learns to let go at times to let fate take its course. And while we watch all the clichéd and prepossessed rules still prevail over her life and the lives of her peers, guiding how they behave and accept themselves, we watch Andie, 18 and on the cusp of graduating from high school, ready to break free and find independence. At the same time, we see a very self-sufficient daughter who never complains about having to be the adult, opening up to her father to ask him to give her a chance to be a kid and the father acknowledging his culpabilities in denying her the opportunity of a youthful existence. As Iona [who happens to be my favorite character in the movie and, frankly speaking, the best dressed] so poignantly and truthfully summarizes, “Oh, why can’t we start old and get younger?”
Recommendation: This is a must-see movie for teenagers everywhere, boys included. While the ladies would probably enjoy it a bit more, and I imagine there would be a few eye-rolls from the male side of the audience, there is still a lot to be learned for both parties in their youth and a few reminders for the older crowds too.
Via: Daily Prompt – Grit
Title The Americanization of Emily
Starring James Garner, Julie Andrews, and James Coburn
Director Arthur Hiller
Writer(s) Paddy Chayefsky (screenplay), William Bradford Huie (novel)
Genre Comedy Drama War
Release Date October 27, 1964
Filming Location Dukes Avenue, Muswell Hill, London, England, UK
Parental Guidance PG for thematic semi-nudity, carousing, and war imagery
IMDB Rating 7.4
Synopsis: Lt. Cmdr. Charles Madison (James Garner) of the US Army is a “dog-robber”, or batman, to Adm. William Jessup (Melvyn Douglas) and is known for managing the best supplies to make his superior’s lifestyle near the frontline of WWII opulent. Even based in London, Charlie can arrange the best prime cuts for the Admiral’s lunch, the most lavish food, drink, and women – down to the preferred hair color – for the evenings, and the biddable bedpartners for his best friend and co-worker Lt. Cmdr. Paul ‘Bus’ Cummings’s (James Coburn) nocturnal exploits with less than 24-hour notice. Such blatant display of pleasure-seeking in the middle of war rationing is something that Emily Barham, a driver from the British military motor pool and a woman who has lost her father, brother, and husband to the war, finds deplorable and has no compunction informing Charlie of her feelings to his face. Charlie too is wary of her moralization and forthright about giving her a piece of his mind. Charlie, who openly advocates his anti-war sentiments and is a self-proclaimed “practicing coward”, enjoys his position as the Admiral’s adjutant because it keeps him from having to actually fight in the war and feels Europeans have caused wars for centuries, which is nothing to boast about. However, soon Emily realizes that there is a kind of charm in his cynical honesty and approaches him to initiate a no-strings-attached affair, which quickly develops into a more serious meet-the-parents kind of tableau. When the Admiral, already depressed from the death of his wife, has a mental breakdown over the Army and Air Force overshadowing the Navy and initiates an idea of filming a “reality” movie of the bombing on the French shore of Omaha Beach on D-Day, Charlie is assigned the responsibility of getting it made and Bus is adamant to get Charlie onto the war site, putting a damper on his amorous plans for Emily and even risking his very life.
Experience: I think there is a bit of a pattern among my celebrity crushes and I realized it after seeing James Garner in this movie. It’s a weird revelation too. I like men who have wide foreheads with horizontal creases on them. Do you see it?
Be still my heart! There is something similar about their physique as well, though at different levels of buff. I just had to get this out of the way before I carried on with the review.
Aside from Garner, there is another heart-stopper to sigh over in this movie. I think the whole world has been crushing on Julie Andrews since The Sound of Music. With additional star actors Melvyn Douglas and James Coburn, this movie was destined to shine. But it’s not only the cast that makes it a success but also the eccentric plotline, the unabashedly candid characters, the snappy dialogue, and the unique theme for its time that helped it win hearts – at least, it did mine.
Let’s talk about the message of the movie. There is no doubt that the producers and director of the film took a big risk when they decided to make an anti-war dark romantic comedy at a time when the US government was only becoming more aggressive in its foreign policies throughout – or maybe it was just the perfect time. Sure, there was also a rising anti-war sentiment among the public but did it constitute the dominant segment of the public? Hardly. So the movie could have tanked.
But the plot carried the message of the movie by ensuring that it was “the virtue of war” and not the men and families who sacrificed their lives and loved ones that deserved criticism. We see an old man, bereaved by the loss of his wife, dictating and demanding what the movie should feature: a make-believe unnamed soldier who is the first to die on D-Day to stir up public sentiments for the glory of the Navy. He goes on as far as to enlist the president’s endorsement for a monument for this fake martyr. The idea reeks of the same self-indulgence that is depicted earlier in the movie where we see the American military that “can buy anything with a Hersey bar” enjoying a good bout of hedonism. With a finely written script, the argument cuts deep and succinctly.
Speaking of his lines, I was quite taken with how magnificently Garner delivered his dialogues. There is no apology in his expression when Charlie presents a set-down to Emily after she demonstrates her disdain for the amount of “swanky goods” occupying the bedroom-converted-pantry in the Admiral’s quarters. You would never imagine that he was talking to a beautiful woman that he had been slapped by after patting her bottom during their initial meeting. And Andrews, always the epitome of sophistication, demonstrates a starry-eyed enchantment even as she sincerely tells him why he is just all-wrong.
In fact, there is a bit of name-calling between the two throughout the movie that aptly describes the traits of each character. She is “something of a prig” with an “ingrained British morality”, “facile” yet a “fancy Euro”, and “emotionally sticky” with a propensity for “sentimental contempt” who takes “sensual satisfaction in grieving”; he is a “rascal”, “charmer scoundrel”, the “most immoral man [she] ever met… a shameless coward, selfish as a child, and ruthless about what he wants”, “a Yank who can’t even show affection without buying something”, “dotty” but who “cuts to the core of things”. Gee, tell us how you really feel. But it really makes you want to see the two actors saying it all to each other, doesn’t it?
And the two actors wear their roles like finely fitted gloves. Andrews manages to generate a certain softness towards him even as she is exasperated with him and listing out all his negative qualities. While there are such competence and cockiness to Garner that a girl cannot but help swoon. In fact, there is this scene early in the movie where Charlie goes about folding clothes and running baths and doing all the things a valet does while preparing the bedtime rituals for the Admiral, and I was so mesmerized watching him in action of domestic efficiency that I had to keep replaying the scene to catch what the Admiral was yammering about. It made me think there’s a man who is comfortable in his skin no matter what the situation. Garner in motion is a graceful thing to watch. That scene alone is worth re-watching the movie.
Recommendation: It’s a fine movie, as efficient in delivering the message as the actors were in playing their roles. Prepared to be riveted.
Via: Daily Prompt – Pluck
Title Seducing Mr. Knightly
Series The Writing Girls #4
Author Maya Rodale
Genre Historical Romance | Regency | Adult
Publication Date October 30, 2012
Setting London, Great Britain, 1825
Synopsis: It has been exactly three years, six months, three weeks, and two days since Ms. Annabelle Swift fell in love with her boss Mr. Derek Knightly, the owner and editor of The London Weekly. This is precisely the amount of time she has been employed as one of the Writing Girls to feature in her own advice column and since the day she laid her eyes on the tall, dark, and determined Knightly. Unfortunately, not only is he totally unaware of her feelings but he seems also oblivious of the fact that she is a living breathing flesh-and-blood single woman worthy of male attention. Exasperated with being continuously overlooked and desperate to get out of her brother’s house where she lives as an unpaid servant and governess to her malicious sister-in-law, niece, and nephews, Annabelle decides to resort to drastic measures – she courageously reaches out to her readers for advice for a change on how to attract the attention of the nodcock! she’s in love with. Suddenly all of London swoops in to assist her cause, sending mails carrying the most outlandish and scandalous advice and, with the additional help from her fellow Writing Girls, she finds herself in lowered bodices and silk unmentionables, waltzing with lords of the ton, flirting up a ruse with fellow male colleagues, and being dropped off home after work by Knightly in his private carriage. Her quarry is finally paying attention but one obstacle still stands in the path of true love. Knightly, who has built his empire and reputation as a media tycoon to raise himself from the status of a by-blow of a late earl, has one other life goal: marry high into the aristocracy so that his half-brother is finally forced to acknowledge him as one of his class. Unfortunately, this puts Annabelle squarely out of the running for his affection… or does it?
Experience: I came to know about Maya Rodale a little late. Only this year, in fact, upon watching the live feeds of the #RomanceisFeminist discussion hosted by Avon Romance at The Strand bookstore in NY, NY where Rodale was on the panel of authors. I appreciated a particular comment she made about being more than willing to “throw historical accuracy under the bus” for the sake of diversity and inclusion. That is precisely what I have found – as much as the realm of believability will allow – since I began reading her works (three novels so far) and thought I should do a review of at least one. I picked Seducing Mr. Knightly because I have a soft corner for heroines who write professionally and this is the most hilarious piece of Rodale’s works I have come across thus far.
Imagine Lucille Ball in I Love Lucy and you will get a rough idea of the kind of scrapes Annabelle gets into in this novel. Short of hitting our hero in the eye with her spilling bosoms, she has done it all – leave a shawl behind to find herself alone with him at work during after office hours, fake a swoon and fall lush into his arms so she can awaken his “baser inclinations”, make all of London – including the hero’s best friends – fall in love with her and defend her heart for her candid attempts to lasso the hero, and climb into his bedroom via a gradually-splintering bark in the middle of the night in hopes of ravishment, etc. And Knightly likewise reciprocates with a steady repeat of “Oh Annabelle, you have some explaining to do” whenever he finds himself at the end of her courtship tactics. It makes the relationship between our heroine and hero positively adorably frustrating – just what good romances require.
But apart from the cat-and-mouse conflict development of the romantic plot, the individual characters of Annabelle and Knightly are also fully plausible. I enjoyed how much pluck Annabelle demonstrates as pushes herself to cross her self-imposed boundaries to blossom out of her shell even as her natural timidity continues to attempt to keep her in check. She may be meek by genetic disposition (her brother shows fairly submissive traits in his marriage too) but that doesn’t mean that she doesn’t dream big or aim high. After all, she pulls the wool over her family’s eyes for over three years pretending to go out on charity work while really working for a national newspaper and saving up for rainy days. She continuously challenges her shortcomings and faces her fears, which is a lovely display of feminism.
Our hero too has his demons to fight and has been fighting them quite successfully for over a decade. Being the firstborn son of and earl and a renowned stage actress, he craves acknowledgment from his step family and society. He has slogged day-and-night to build up his newspaper, laboring at the press himself and pushing boundaries of polite expectations, to get himself noticed, following three simple rules of life: “Scandal equals sales, drama was for the pages, and be beholden to no one”. It’s has made him a bit stoic but it has worked for him. And even as his heart tugs while watching Annabelle amidst her antics and his heart begins to unfurl the more details of her he starts to notice, he refuses to examine the burning question being asked in parlors across London, “Who is the nodcock that has yet failed to fall in love with Annabelle?” because he is afraid the answer might demand he surrender his heart to the heroine, which he is not in the position to do. Because all he wants to do is marry Lady Marsden, claim his rightful place in society while avoiding getting his newspaper shut down by her brother Lord Marsden’s mass inquisition against media extortion and nefarious means of procuring news, and kill two birds with one stone. The struggle is real.
Yes, I truly did enjoy reading this book. The only thing perhaps that did not suit me entirely was Rodale’s roundabout way of prolonging the story. While I loved each scene, I found reading through all the inner workings that bracketed each scene that mostly related the same conclusions over and over a bit tedious. Frankly, I felt there was more room for editing and perhaps leaving a little for readers to infer. But this is easily discounted for the fact that the overall content was engaging and oh-so-funny.
Recommendation: Well, if you haven’t read it already, what are you waiting for? I thoroughly endorse this novel as an experienced romance reader.
Title The Apartment
Starring Jack Lemmon, Shirley MacLaine and Fred MacMurray
Director Billy Wilder
Writer(s) Billy Wilder, I.A.L. Diamond
Genre Romance Comedy Drama
Release Date September 16, 1960
Filming Location USA
Parental Guidance PG-13
IMDB Rating 8.3
Synopsis: C.C. Baxter (Jack Lemmon) works as a Premium Accountant at a top insurance company in New York City trying to work his way up the ladder. He is also a man who can’t say no to his superiors who all take advantage of his Buddy-Boy goodwill to use his apartment with the myriad of women they are having affairs with. In exchange, they put in a good word with the Big Boss Jeff Sheldrake (Fred MacMurray) in the staff review. Sheldrake, in turn, also takes Baxter for a ride in exchange of a promotion scheduled in the coming month. Unfortunately, this time the other woman is the Elevator Girl Miss Fran Kubelik (Shirley MacLaine), on whom Baxter has had a crush on for ages. Miss Kubelik is truly in love with Sheldrake and is duped into believing that he will soon be out of his bad marriage to marry her. When things come to blow, Baxter finds Miss Kubelik in his apartment after she consumes too many sleeping pills, a situation he must rectify to avoid jail as well as heartbreak.
Experience: It’s one of those romantic comedies that hits you where it counts. I came to know about it when MacLaine’s acting in the movie received an honorary mention at this year’s Oscars by Charlize Theron as her inspiration for joining Hollywood. MacLaine was certainly charming in the film, delivering her self-deprecating dialogues with deadpan humor. Her pixie look was just what is required for the small-town naiveté of her role, which she fulfills with subtlety. However, it was Lemmon’s performance that had me regaled.
This was one of those movies where the protagonist is utilized in nearly every frame and Lemmon proves his stamina for the role. His happy-go-lucky attitude is undercut with frustration at just the right level to evade the perception of his superiors. He does not try to portray a better character than his role demands, which is just a chump trying to make it big in the corporate arena and is not immune to corruption himself. For much of the movie, he is aware of being “taken” by his coworkers but he is not a moralizing fool. He can take care of himself when necessary. We can’t like him if we put on a holier-than-thou air and must allow him time to prove his mettle in his own time, which he also does with poignancy. With refined expressions, Lemmon gently tugs the heartstrings for this comic anti-hero. The catch is that eventually, he must forgo his self-serving goodwill with the Big Boss to become our damsel’s champion and the audience can well feel his panic.
Playing the villain, MacMurray also does not complicate his screen presence. He assumes a reflective quality as the Big Boss taking advantage of his junior by using his apartment while having extra-marital affairs. The role of Sheldrake is one who does not want to come off as the bad guy and, for the most part, does not think he is a bad guy. MacMurray steps in and out of the limbo between selfish actions and self-justifications with the quick pace required of a dramedy.
The screenplay is written with aplomb and directed superbly. It is fast-paced and gets right to the heart of the matter with quick scene shifts that do not undermine the ethos of the story. For all purpose, it is a romantic comedy with a backdrop of drama. We see a degenerate world where the sanctity of marriage is abandoned by the whole corporate society and wonder how any love affair is to flourish in such a surrounding. But then we also see a family present to guide the derailed and weary back to the light. Even amidst the drama, comedy is not forsaken to remind us of the promise of a happy ending.
Recommendation: Of course it should be watched! Once, twice, own the DVD. This is the stuff of classic romantic comedy, lovely from beginning till end.