Whether you have big Valentine's Day plans or were just going to spend it with a box of chocolates and a DVD of Love Story, CS Weekly highlights seven films that most accurately capture the reality of romance -- warts and all.
Who doesn't love the sweeping majesty of an epic film love story? Even before Humphrey Bogart told Ingrid Bergman to get on that plane and long after Ryan Gosling kissed Rachel McAdams in the rain, the romance genre has reduced even the strongest of us to tears. But despite what Disney may have told us, love isn't like in the movies. It's often painful, complicated, and unrequited. But there are several films that get it right.
CS Weekly decided to counter this Hallmark holiday with a reality check, looking at several romances that ring true on screen. (Warning: spoilers abound!)
It Happened One Night (1934)
Written by Robert Riskin
Story by Samuel Hopkins Adams
Down-and-out reporter Peter Warne (Clark Gable) agrees to help runaway socialite Ellie Andrews (Claudette Colbert) get back to her new husband, provided he gets the exclusive on her story. Of course, sparks fly.
Why it Works:
If you go back and take a look at this 1934 classic, you'll realize that not only did it set the standard for road-trip movies, but every bickering couple from The African Queen to Moonlighting owes a debt to the crackling dialogue between Peter and Ellie. From the moment Peter assures her "you're just a headline to me," it's easy to see the two are meant for each other. But the sharp banter also gives way to some sweet and unexpected moments. Some lines are a combination of both, like when Peter confesses to Ellie's father that he loves her, snapping, "But don't hold that against me, I'm a little screwy myself!" There is nothing forced about the relationship, which evolves from a place of mutual need into an appreciative friendship and, finally, to love.
The Philadelphia Story (1940)
Written by Donald Ogden Stewart
From the play by Philip Barry
On the eve of her wedding, heiress Tracy Lord (Katherine Hepburn) must choose between her fiancé, her ex-husband C.K. Dexter Haven (Cary Grant), and reporter Macaulay Connor (James Stewart).
Why it Works:
The chemistry between the three stars is palpable, but it's the clever and insightful dialogue they deliver in a rapid-fire manner that has made The Philadelphia Story a classic in all of its many variations, including stage and screen versions and a musical (High Society). On the page, it might sound difficult to relate to Tracy's dilemma -- which suitable man should she choose? But any woman (or man) who has ever been torn between an old flame and a new love can certainly relate. Tracy knows she should move forward, but can't resist sparring with her ex. No punches need to be thrown with such cutting dialogue, as when Dexter tells Tracy, "You should've stuck to me longer" and she quips, "I thought it was for life, but the nice judge gave me a full pardon."
The Apartment (1960)
Written by Billy Wilder and I.A.L. Diamond
C.C. Baxter (Jack Lemmon) allows his bosses to use his apartment for romantic trysts, never knowing one of them is trysting with his longtime crush, Fran Kubelik (Shirley MacLaine).
Why it Works:
Fran Kubelik is all-too recognizable as the decent girl who makes every wrong choice in the book. She's oblivious to the advances of sweet C.C. while wasting her time pining after married Mr. Sheldrake (Fred MacMurray). Listening to her talk about how she can't break free of Sheldrake's spell and how she believes one day he will leave his wife, one wants to hand her a pint of Ben and Jerry's and a copy of He's Just Not That Into You. The fact we even care about her plight -- and hope she ends up with good guy C.C. -- is a credit to Wilder and Diamond's sharp and sparkling script. There's even an exchange between the two about suicide that manages to be both heartbreaking and hilarious.
Annie Hall (1977)
Written by Woody Allen and Marshall Brickman
The off-and-on relationship between neurotic Alvy Singer (Woody Allen) and flighty Annie Hall (Diane Keaton), set against the backdrop of New York City.
Why it Works:
Over 30 years later, Woody Allen's paean to love and loss is still the standard by which all romantic comedies are judged. From the painful getting-to-know-each-other chitchat (complete with subtitles to translate what the pair really mean) to the distant sex (in one fantasy sequence, Alvy imagines Annie actually leaving her body to observe their lovemaking) the script never stumbles. Along the way are so many Allen gems -- "Don't knock masturbation, it's sex with someone I love" -- the audience almost doesn't notice the profound statements about life and love sneaking up on them.
When Harry Met Sally… (1989)
Written by Nora Ephron
Harry (Billy Crystal) and Sally (Meg Ryan) fall in love over the course of a 12-year friendship.
Why it Works:
There are those who will complain that When Harry Met Sally… is little more than an Annie Hall imitator, a Woody Allen rip-off. To them I would ask: Why is that a bad thing? Nora Ephron's script gets every detail of what makes a male/female friendship so unique as Harry and Sally offer each other perspectives on what the other sex is thinking. She also nails the strange contradiction of friends encouraging each other to date -- Harry even offers Sally advice on what to wear -- but feeling a bit uneasy when they see how happy someone else can make their friend. And perhaps no script has better captured the tenuous transition from friends to lovers in all its delicate, awkward glory.
Jerry Maguire (1996)
Written and directed by Cameron Crowe
Hotshot sports agent Jerry Maguire (Tom Cruise) is fired from his flashy job after a crisis of conscience and left with only football player Rod Tidwell (Cuba Gooding Jr.) and his burgeoning romance with single mother assistant Dorothy Boyd (Renee Zellweger).
Why it Works:
It's no surprise to see Cameron Crowe's name on this list; as he proved with Singles and Say Anything, the auteur has a knack for capturing the way people in love talk. The reason Jerry Maguire makes the cut is not because of its famous catchphrases -- "You complete me" and "Show me the money" -- in fact, those overused chestnuts almost cost it its place on this list. It's because Crowe has beautifully captured something rarely seen on screen: a man who marries the girl, but still has to learn to fall in love with her. Just when most couples would be sailing into the sunset, Jerry and Dorothy's biggest problems begin. And when Dorothy finally sits down and tells Jerry its okay to leave, what woman can't relate to her statement, "On the surface, everything seems fine. I've got this great guy. And he loves my kid. And he sure does like me a lot. And I can't live like that. It's not the way I'm built." Proving that if you truly love something, you set it free, Dorothy's selflessness is part of what brings Jerry back in the end. At this point, the film has earned its clichés: the big race through the airport, the speech to win her back, and her classic response line, "You had me at hello."
Eternal Sunshine of the Spotless Mind (2004)
Written by Charlie Kaufman
Story by Charlie Kaufman, Michel Gondry and Pierre Bismuth
Joel Barish (Jim Carrey) learns that his ex-girlfriend Clementine (Kate Winslet) has had him erased from her memory. Driven by revenge and despair, he undergoes the same procedure, only to learn that some relationships are destined to repeat themselves.
Why It Works:
Wait a second…a movie about heartbroken individuals selectively erasing certain memories to ease their pain? Does that really belong on a list of "realistic" movies? While the idea may be fantastical -- though the script manages to make it seem perfectly reasonable and within scientific means -- the depiction of a fracturing relationship is all too real. Charlie Kaufman's Oscar-winning script captures it all perfectly; beginning with Joel and Clementine's first meeting and how they're instantly drawn to each other while also recognizing their inherent differences. As the romance begins to fade, the biting dialogue hits all too close for home for anyone who's ever endured a break-up, as does the false bravado Joel hides behind when Clementine begins to disappear in bits and pieces, causing him to scream, "I'm erasing you and I'm happy!" But the film also offers hope, as the partners meet anew. Joel suggests giving things another shot, as Clementine points out they will only bring each other more pain and misery. Agreeing with this, Joel simply says, "Okay." And Clementine repeats, "Okay." It's tragic and joyful all at once -- just like real life.
Jenelle Riley is a journalist and playwright living in Los Angeles. She enjoys good food and bad horror movies.
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