I am sure by now that everyone has heard of the passing of author, journalist, screenwriter and director, Nora Ephron; who passed away at the age of 71 from pneumonia. Her sharp, observant and witty screenplays have influenced many writers and directors since, and, with films like When Harry Met Sally... and Sleepless in Seattle, she has laid down the framework that most American romantic-comedies still use to this day. Today’s review, When Harry Met Sally..., is arguably the most influential film that Ephron has ever written, and often cited as the most important romantic comedy since Woody Allen's Annie Hall.
Our story begins in 1977, when Sally Albright (Meg Ryan) and Harry Burns (Billy Crystal), both of whom are graduates from the University of Chicago, agree to chaperone each other on an overnight car journey to New York. They have never met before today and only know of one another due to the fact that Harry is dating Sally's friend at the time, Amanda (Michelle Nicastro). During the journey, Harry, who is rather brash and obnoxious, announces that, "Men and women can never be friends because the sex part always gets in the way." After their journey, Harry and Sally part ways, and that is the last time either of them see each other for five years, when by happenstance, they run into each other at the airport. This time, Harry announces he is about to get married and Sally has begun a new relationship. Again, Harry rubs Sally the wrong way when he talks about gender roles, and that is the last they see of each other until, again, five years later they run into one another at a book store. Sally has broken up with her boyfriend and Harry is getting a divorce. Through their mutual heartbreak they become friends, and, perhaps, something deeper begins to grow.
What is most remarkable about this film, other than Ephron's sparkling, fast-paced dialogue, is the unity Ephron had with director Rob Reiner. Before making this film Reiner, like Harry, had recently been divorced, and after pitching the idea of the film to Ephron, he became the basis for Harry. Later, when Billy Crystal came on board, he made his own contribution to the script, by making Harry funnier. As it stands, there are few romantic comedies which understand both genders, as most scripts for romantic comedies lean towards the voice of their author. With input from Reiner and Crystal, both genders get equal play, have equal importance, and are able to be fully fleshed characters. Thus, Harry and Sally's feelings of loss over the ending of their respective relationships feel absolutely genuine because they were born out of something real.
One could argue that the characterisation of the two leads is a little broad. For example, Harry is pessimistic to the point where he will read the last page of a book first, just in case he dies before he finishes it, and Sally is highly strung to the point that she will only eat food in a cafe or a restaurant if it is to her exact specification. However, romantic-comedies have always been thus, and, after all, these people are meant to be slightly cartoonish, which makes the moments of pathos more poignant. However, nothing is quite as unsubtle as their discussion on Casablanca, with both characters making opposing arguments about why Ingrid Bergman did not stay with Humphrey Bogart. One feels like that particular piece of dialogue is unnatural and seems only to serve their opposing views, although that is only a minor quibble.
Of course, the notion that men and women cannot be friends is total bunkum, and even for a film that was released in 1989 these moments do not ring quite as true as they could have. Although, considering that this was not an area that had been talked about in film much before, they are allowed a free pass on the brick-to-the-face lack of subtlety of these scenes. However, while this is the framework of the picture, Crystal and Ryan's chemistry manages to pave the cracks of these scenes, and manages to make all of their dialogue seem true. Admittedly, whenever these scenes arrive, One wishes that Harry and Sally would go back to talking about their mutual heartbreak; which in all fairness is the majority of the movie.
Regrettably, there is an argument that When Harry Met Sally's debt to Woody Allen's Annie Hall is closer to derivativeness than mere inspiration. For example, the soundtrack is laden with lounge jazz, including George Gershwin that would not sound out of place in one of Allen's films. Also, the opening credits use the same white font on black background that Allen uses in his films. While it never quite crosses over into the area of plagiarism, it certainly skirts close to the edge several times. Even the central relationship, arguably, would not exist without Annie Hall. Billy Crystal's motormouthed, insufferable Harry is essentially a bolder, younger Woody Allen type of character, and Ryan's Sally is quirky in all the ways that Diane Keaton was in the aforementioned Annie Hall. Luckily, this does not sink the movie, but it does seem blatant at times that they are trying too hard to replicate what made Allen's romantic-comedies so successful.
Regardless of these flaws, Rob Reiner's direction has a warmth to it, even if there is nothing here which is as nearly dynamic as his work on This is Spinal Tap, The Princess Bride and Stand By Me. Clearly he is directing with an honesty that allows his actors to perform without bias, when it comes to acting being in love. What his direction lacks in punch or excitement, it makes up for in emotional conviction and decent pacing. As a director of actors, throughout the 1980s, few directors surpassed Reiner. Crystal and Ryan, despite not being the most obvious cinematic pairing, have excellent chemistry and manage to make their characters suitably vulnerable. Nice touches include a scene where the two have a phone conversation, played as a voiceover over footage of the two going about their daily business. There is a frankness and honesty to their delivery that could have faltered with weaker actors.
Other fine performers include Bruno Kirby and Carrie Fisher as Harry and Sally's respective best friends, Jess and Marie, who inject their characters with wit and charm. One wonders why Carrie Fisher never went on to become a bigger star throughout the 80s and 90s, especially considering that, apart from playing Princess Leia in Star Wars: Return of the Jedi, she also had supporting roles in Joe Dante's The 'Burbs, Michael Hoffman's Soapdish and Woody Allen's Hannah and Her Sisters. Alas, perhaps I should not concern myself with the career she could have had and instead be thankful for the career she does have.
In conclusion, is When Harry Met Sally... a fantastic movie? Well, no, it falls short of greatness and is unquestionably a little too slick for its own good. Is it, however, an excellent example of a romantic-comedy where all the right components in writing, direction and casting come together to make a mostly successful film? Absolutely, and that is why it is remembered so fondly to this day. Nora Ephron will be missed, and I hope her work will go on enlightening audiences for years to come.
8/10
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