The rise in “Tent Pole” Rom-coms.
The genres of film have seen a drastic shift over the past few decades. While my own writing is inspired by the rich characters and masterful themes of the classics, today’s blockbusters have left much to be desired. But while comic book heroes and worn out adaptations account for much of today’s popular releases, the genre that has peaked my curiosity the most lately is the modern day romantic comedy.
With such films as Love and Other Drugs, No Strings Attached, and the upcoming Friends with Benefits, today’s romantic comedies have thrown romance out the window in exchange for casual sex. Sam is no longer playing piano to recount fond memories, Sally’s diner orgasm has been one upped by many actresses’s climactic moans, and passionate emails have been replaced with horny text messages.
It is hard to criticize this advance, however, as there is no arguing against the fact that these themes not only attract todays youth, but in many ways speak to the cultural acceptance of recreational sex. These films are telling it like it is in many ways, as the traditional plot of classic romantic comedies would generate a significant gap between themselves and their audience. Such liberated themes provide great comic opportunities as well. There is certainly something to be said for an actor’s ability to transition from an intense sexual expression to a juvenile boner joke with such fluidity, and it is moments like these that make such films so entertaining. I personally died laughing at Jake Gyllenhaal’s stubborn erection, as well as Natalie Portman’s infatuation with Kutcher’s “3-D” manhood. So the entertaining value of these films is present, but there is one industry wide shortcoming that resonates in these new sex-comedies.
The writing doesn’t convince me any more. I dont believe that our protagonists fall madly in love with their female co-stars based solely on the physicality displayed on screen. I am all for sexual chemistry and what not, but I still want dialogue that makes me fall in love with these characters. I want rich characters that come to life and make me all gooey inside. When I write romantic characters I try my best to make the audience want them to come through the screen and propose, but to be honest I found Hathaway’s character Maggie Murdoch to be irritating, and Portman’s Emma to be frustrating and insulting. So much time was spent sexualizing these women, that the only insight we had into their real characters came in the form of obstacles for our heros, which were naturally their flaws or hesitations. How is that attractive?
In this aspect I feel that the writers have sold them selves short. I think that they over looked the dramatic potential of emotional conflict that comes from longing, desire, and affection. They skipped right over the powerful stuff and jumped right in the sack. Be it as a means of raising the box office numbers by exploiting hot young stars, or by serving the demand of the audience, they didn’t pay enough attention to the good stuff. When it is presented, it’s stifled. Gylenhaal nearly has a heart attack trying to say “the L word,” and Portman stuffs her face full of doughnuts when she finally realizes what she lost.
I hope that romantic comedies can return to their prior glory. In the end, boy will always love girl, and girl will love boy, but I want to believe that what got us there was more than a string of orgasms. It will be hard to work these themes of sincere affection into today’s market, but it would be a shame to abandon America’s favorite genre on account of America’s favorite pass time.