It’s January 2012 and time for The Rom-Com Project to begin. Each month, I will be viewing a set of romantic comedies that fit into a certain theme. January’s theme is “Ensemble Romantic Comedies.”
For me, the quintessential Ensemble Romantic Comedy is Shakespeare’s A Midsummer Night’s Dream. It has all the ingredients of an Ensemble Rom-Com: all sets of characters are consumed by some form of love, and all sets of characters are connected by some overarching theme or event. In Midsummer’s case, the overarching event is the wedding of Theseus and Hippolyta – an event that is of utmost important to Oberon/Titania/Puck, Bottom and the other mechanicals, and Hermia/Lysander/Helena/Demetrius, but concerning characters who are much less entertaining and engaging than the three sets of characters I just mentioned. (The play also explores themes of magic, love triangles, deception, and all sorts of interesting ideas that makes it one of Shakespeare’s best comedies.)
In the case of Love Actually, the Theseus/Hippolyta’s wedding is Christmas – or, arguably, the terminal at Heathrow Airport – and the three sets of main characters become nine sets of characters, and the themes of magic/love triangles/deception is whittled down to a Captain Obvious statement about love: “Love is actually all around us.”
Wow. Really? Love is everywhere, movie? Really?
Yes, I’m being sarcastic, and maybe I shouldn’t be. I don’t think Love Actually is meant to be incredibly deep or profound. I think it’s meant to be a movie that shows a series of fleeting moments and how people are connected to each other, and that’s it. It explores different types of (heterosexual) love, and some stories end sadly while others end happily.
The problem for me is that the only stories that worked for me were the ones that ended on a sad note.
The sad-ending stories
Keira Knightley/Andrew Lincoln/Chiwetel Ejiofor
I felt nauseous all throughout Keira Knightley’s story because I knew Andrew Lincoln was in love with her, and I was afraid that she was going to leave her new husband Chiwetel Ejiofor for his best friend. I liked that it ended on a melancholy note after the cue card scene, where she only kissed him once – maybe as a thank you, or just an acknowledgment of his feelings for her – and then walked away to go back to her husband, and then Andrew Lincoln told himself, “Enough,” and resolved to get over her. She wasn’t going to leave her husband for him just because he had a grand romantic gesture, and he didn’t expect her to leave him. It worked.
Except I couldn’t shake the feeling that it’s more than a little weird and creepy to give any kind of grand romantic gesture to your best friend’s wife regardless of your expectations, especially when said best friend is only a few feet away.
But maybe I’m being too critical.
Laura Linney/Rodrigo Santoro
Two people who loved each other from afar for years after working together for years finally connect on a romantic night, except that romantic night is disrupted when Laura Linney has to go take care of her mentally ill brother.
That one scene in the hospital where her brother has a violent reaction, the doctors come to intervene, and she quietly gets her brother under control…yes, it got to me. Perhaps on a more personal level than I wanted it to.
Except I couldn’t shake the feeling of dissatisfaction that Laura Linney and Rodrigo Santoro never shared an onscreen conversation about that interrupted romantic night, and that I didn’t understand the depth of feeling he had for her.
But maybe I’m being too critical.
Emma Thompson/Alan Rickman/tarty secretary dressed like the devil
I liked that the movie didn’t show us how Emma Thompson and Alan Rickman’s marriage turned out. In the epilogue, I couldn’t tell if they were together and trying (and failing) to make it work, or if they were separated and keeping up a good front for the sake of their kids. I liked that she held him responsible for the almost-affair and didn’t lay all the blame on the homewrecker, but on the person who was actually responsible for being true to their relationship.
Except I couldn’t shake the annoyance that the homewrecking secretary character was literally dressed like a cleavage-showing devil in a red outfit at a Christmas party. Come on. Really?
But maybe I’m being too critical.
The happy-ending stories
Keep in mind that those were the stories I liked. As for the other ones?
Hugh Grant/Martine McCutcheon
I liked that Prime Minister Hugh Grant was mindful of keeping professional boundaries between himself and the junior assistant he loved at first sight. I liked that he never overstepped his bounds and in fact had her transferred to a different job so he could uphold those professional boundaries. And, of course, I loved the dancing (although I prefer this dancing as far as Hugh Grant Dancing clips go). What I didn’t like was the unnecessary “Sexual Harassment from the American President” sidebar. It was unnecessarily political for a Christmas movie/rom-com (and somehow still had nothing to do with politics), it was a cheap American stereotype, and worst of all, it introduced a moment of sexual harassment for the sole purpose of giving the male character a Hero Moment.
Really, Love Actually? We needed a “I shall stand up against sexual harassment!” moment to see what a good guy he was? I guess it was a sign that his love for Martine McCutcheon was for real, but, well, I would hope that Our Hero would stand up for any of his employees that were being sexually harassed, not just the ones he happens to fancy.
Liam Neeson/son
First of all, watching this story was totally uncomfortable, given that Liam Neeson is playing a widower. But it’s not the movie’s fault that his real-life wife tragically died two years ago.
It is the movie’s fault that I got absolutely no sense of grief from Liam Neeson’s stepson for his mother. I get what the writers were going for – the little boy fixates on a girl his age named Joanna (his mother’s name) because he’s focusing on the one person/thing that makes him happy after his mother died. But even if that’s what the movie was going for, it’s not what I felt. What I felt was that the boy’s mother’s death was completely incidental to his life. “Mom’s dead, yeah, whatever, this American girl in my school is really cute.”
Too bad. There was real potential to explore how a stepfather and stepson might come together in shared grief for a wife and mother they both loved.
Colin Firth/Not Elizabeth Bennet
I’m sorry, but how many romantic cliches can happen in one storyline? The papers float into the water, so Not Elizabeth Bennet HAS to strip down in slow-motion while Colin Firth watches in amazement? The proposal in broken Portuguese and the acceptance in broken English? The “Hey, we’re having the same conversation and are TOTES ON THE SAME WAVELENGTH!” conversation while they speak in different languages?
And let’s not forget the delightful fake-out where Colin Firth goes to his beloved’s father to ask for her hand, and he hilariously confuses Colin Firth’s intentions, thinking that Colin Firth intends to marry the other daughter – and then we see that the other daughter is more than a size 4 and not Hollywood beautiful! LOL at the idea that the fat cow could find love with anyone, much less Mr. Darcy!
(Incidentally, I’m calling Lucia Moniz’s character Not Elizabeth Bennet only because I have a hard time seeing Colin Firth as anyone but Mr. Darcy. That is not the movie’s fault, or Lucia Moniz’s fault, or Colin Firth’s fault, for that matter.)
The comic relief stories
Meanwhile, there were three other storylines that are roughly the equivalent of “the mechancials put on a play for Theseus and Hippolyta.”
Martin Freeman/Joanna Page
I could have watched a whole movie about two body doubles finding love while they simulate sex with each other onscreen. Curse the DVD for skipping during one of their most important scenes.
Some dude goes to America to pick up chicks
Pretty self-explanatory. Praise the DVD for skipping during one of those crucial scenes.
Bill Nighy is an aged rocker who’s cynical about love.
He’s cynical about romance but realizes he had love all along in the beleaguered assistant who puts up with his crap. He’s the most cynical character in the movie, and yet he inspires the least amount of cynicism in me, the viewer – that is, no cynicism at all. I have no complaints about this storyline. I loved it.
My verdict
Love, Actually had a few effective comedic and dramatic moments. I appreciate the hilarity of Emma Thompson’s daughter proudly announcing that she got the part of “First Lobster” at her school’s nativity play, and I was moved by Emma Thompson trying not to cry during Joni Mitchell’s “Both Sides Now.” Keep in mind, though, that Emma Thompson is one of those performers who never fails to move me no matter what the circumstances.
The movie as a whole, though? The stories that worked for me were the ones that either ended sadly, or were played for pure comedy with no tragicomic or dramatic elements. If the movie wants me to believe that “love actually is all around us,” I don’t think it worked.
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Just a note – I have spent a lot of time in various countries learning various languages, and in my experience, it IS, in fact, totally possible to be on the same wavelength with someone to whom you can only say a few broken phrases. Of course, there are equally times where you realize hours later that you were talking about two different things, but…not SO far-fetched.
Totally on the same page with you for everything else though!
Oh, I believe you that it’s possible. The way it was presented in the movie, though, just seemed way too pat and cliched. I think that kind of story can play believably, but it didn’t for me in this movie.
Actually the High Grant story was really awesome for me. Because the whole thing was a huge “tongue-in-cheek” joke with the not-so-infamous story between Bill Clinton and Monica Lewinsky (I mean… come one, the really dark hair, red dress, working for the president PLUS the almost-assault from the American president? It was hilarious. 🙂 And of course the fact that it ended “well, we like each other, so… fuck it, we are not going to sneak around or lie”).
The story of Alan Rickman/Emma Thompson/The Devil co-worker… I think there was some intended humor on their side and the whole “devil wardrobe”… I mean, it could be just me, but I was sympathetic to the devil girl, I think she was painted quite human, as having a crush on her boss but still a person. 🙂 Emma Thompson is awesome in every role… the same goes for Alan Rickman. 😉
The kid story… you are right, the kid was really fickle… but… kids are fickle… I was glas it didn’t suffer the “the really complicated child which would show the way to his elders”, well it did, but by faling in love. Also… the fack that Claudia Shifter made a cameo, AFTER they showed the funeral in which the wife stated that he should totally move on if she comes along was… sweet and sad both at the same time.
The Collin Firth story was cringe-inducing, at least about te “other sister” which was unnecessary cruel and completely NOT needed. The piggin-languages they were talking was kind of cute and I liked that they both acted on their fancy. 🙂
The Keira Nightly story seemed quite real to me… yes, not the best decisions but you can totally relate. 🙂
Bill Nighy is awesome whatever he plays “and remember kids” 🙂
For me the movie is sweet and nice and a lot nicer that most American rom-coms because there is diversity in the stories and in the endings. Nobody changed their life around because of the person they liked (maybe, besides the kid?) and everyone looked human and also happy and normal with their lives (maybe besides the lady with the mentally ill brother, I was surprised they had such a character but I think they skimmed over her and her situation too much). The movie is a fluff but it gives a good feeling and makes you want see your loved ones, which is on the very plus size of it. Not to mention how many tongue-in-cheek jokes were in it. 🙂
I don’t know, I didn’t get any deeper characterization for the office girl other than “girl who likes her boss.” I didn’t get the sense at all that the red devil outfit was meant to be ironic or tongue-in-cheek.
I like the idea of a movie that simply shows us a “slice of life,” and I think the structure of putting it all in the Heathrow airport is a good one. But I didn’t feel myself swept away or particularly moved by most of the storylines. I see why it works for other people. It doesn’t for me.
OK, to clarify, I don’t find the “sexual-harassment-with the president” moment hilarious. Just everything else. I hink it was completely unnecessary.
Keira Knightley storyline: I found the cue-card scene cute, but appreciated the fact that she didn’t leave her husband. Believable on that end. Not to mention the wedding gesture was cute. And I love the Beatles.
Hugh Grant storyline: I didn’t think his calling-out-America speech was just about the harassment (though it helped), because even when they’re discussing politics (or something like that), PotUS was kinda-sorta throwing his weight around. But the speech was great. The dancing was the best part though 😀
Colin Firth storyline: Cheesy. But I love Colin Firth. And I have to admit the unrealistic-but-whatevs proposal scene was cute.
Bill Nighy storyline: The man is a genius. ’nuff said.
But other than that, tis a good post. As usual.
I know it wasn’t just the sexual harassment that prompted the speech, but the subplot seemed rather unnecessary to me, period. I couldn’t take it seriously at all, especially since the PM had left the room for like FIVE SECONDS before Not!Bill Clinton made his move – like wow, you don’t waste any time, do you, Not!Bill Clinton.
On one hand, I guess I appreciate that they show a Prime Minister character doing something politics-related, but it seemed weird and out of place.
I can’t speak to the films you’ve commented upon since I haven’t seen them.
On the other hand, I question whether whether it is love that the characers in MND are “consumed by.” I do like your verb–consumed–for it implies a loss of self, but real love promotes the one who is in love even as it promotes the health and growth of the object of that one’s love.
Demetrius “loves” Helena because he’s been drugged. When will that high wear off? Hippolyta marries Theseus under duress; she is one of the spoils of his military victory. Titania and Oberon two-time each other, maybe even three and four time each other. Maybe, just maybe Hermia is in love with Lysander. But how much has her heart been scarred by his eariler repudiation of her?
Shakespeare gives us few examples of couples truly in love. The Macbeths are in love, and what comes of that.
Maybe it would be more accurate to say that the couples are consumed by thoughts of love?
Love, Actually is among my favorite Rom-Coms (which is a rather short list as I don’t care for many of those that are traditionally put into the category) along with Much Ado About Nothing (another brilliant Emma Thompson performance IMHO and the simply hilarious ‘acting’ of Keanu) but I have to agree that Love Actually has some weak bits and the bittersweet bits do tend to be the more real moments. I think the Liam Neeson storyline would have been better with some other reason for the boy’s mother to be absent as the storyline is to me more about a father connecting with his son than dealing with loss. Sort of a polar reversal of Up (wherein the protagonist is fixated on his loss and missing the chance to connect with a child in need of a father figure).
I think the Liam Neeson storyline would have been better with some other reason for the boy’s mother to be absent as the storyline is to me more about a father connecting with his son than dealing with loss.
Good point. It could just as easily have been about the boy’s mother suddenly landing an important job that takes her out of the country for awhile, leaving him with his father or stepfather with whom he hadn’t previously had much of a relationship.
Oh and in regards to Shakespeare, I am hugely in favour of the theory that he is actually making fun of love and that in his works love (romantic love) is criticised and ridiculed. 🙂 So this gives “Love Actually” a completely new look and interpretation, doesn’t it?
Not really…I mean, I agree that Shakespeare has a very pessimistic view of love, but that doesn’t make me look at “Love Actually” any differently. I was using Midsummer as a starting point primarily to look at structure, not theme.
I know, what I meant is, some of the stories look (for me) a lot more different when you change the original intention of the author (in your head). 🙂
Anyway, I liked you review, I will be awaiting the others.
Oh, I dunno, I liked it well enough to buy the DVD but now I watch the outtakes with more enjoyment than the movie.