Do Latin Kings And Folks Get Along

Smiles and men - the romantic comedy

The term "romantic comedy" the constancy of a narrative structure and rhythm proper to this genre that may have more difficulty than any other Gender to reinvent itself because it only makes sense in imposing its version by the repetition of the world and love. Today romantic comedy is restricted by the return of the same, sometimes with an ounce of consideration for that changes in gender relations . She seems to want to prescribe a certain direction in changing, feeding and influencing the real (as if the influence of film could only be exercised at this level more malleable than others: the desire between man and woman) while still in the off-topic, off-specific real fiction. The emergence of advertising in the same comedy romantic, like so many common benchmarks to fiction and our reality, plays on this ambiguity it.
The kind of romantic comedy is in itself a disability, a burden that the director and actors agree to bear all and only serves to be transcended, exceeded. A romantic comedy is not assessed for compliance with the codes that must be met for a romantic comedy but the way she arranges with its codes, it is bold despite codes . This is where we often touted romantic comedy "original", lying in an in-between where they are both classified and unclassified in their genre.

Pleasure exacerbated the romantic comedy, more than any other genre, is that it makes us experience a close, meaning that our interest in the film ends exactly when the film ends . the film is not interested in his characters at the same time as us. History is consumed in a sense, thrown at the same time it throws us.
But the closing of a romantic comedy is ambiguous and that is the strength of this kind: it gives us to see what is before it starts, before the relationship finally accepted by the world begins. She shows us the origins of the beginning, when two people decide to form a charismatic charismatic couple as a way to dispose of the viewer who wants to see the couple finally formed. This time they are not yet lost in one another and where there are still enough issues to fight to make a movie. Once the pair formed a symbolically traveling back away from them as if their history, free from strife, had nothing more to say and was lost in the roar of the crowd that filled a thousand other stories. The couple returns to the normal documentation of harmony, link between him and calmed the world, the world becomes euphorically to him.

The film advance evidence to impose, to arise. First there is evidence of ignorance: it is normal that we do not know, we are not the same environment but we still need to treat all business.

Then the evidence of recognition: I realize it's you I was waiting, the world has made you a prostitute and a businessman myself, but I recognized you from across contingencies. Finally
evidence of the struggle: I'm married, I have a situation but before you spend the whole world, yet to the understanding that "everyone". The romantic comedy ends when the struggle for recognition by the world ends. This "world" is: the social milieu of one or the other, where the family still officially one of the two protagonists (human, actually) that is attached to his life before, from this world he has internalized, and who understands that without reinstating the Woman it will be unbearable. Women are very often the one that remains faithful to the end to the idea of their relationship as upcoming project and build. The betrayal by the man just is its movement, its remoteness and return that make the movie, this woman is compared to what human moves. It is when he decides he is in love that the couple can finally refer to themselves as a couple. ( Pretty Woman, Avanti!, Ariane's wedding my best friend, Sabrina, Love without notice, etc.. )

Note that (to my knowledge) the only time roles are reversed and where the woman had the nerve to confess her feelings (she thought shared) his best friend who was about to marry, it has been criticized for ruining everything, and betrothed publicly insulted the woman. The wedding of my best i am , romantic comedy with a rare violence, ending in a slow dance between old friends while the couple recently married was going on honeymoon.

There are several possible endings to a romantic comedy

- there is very often the beginning of the end, the woman accepted a job at the other end of the world and Man has belatedly realized that two years would be impossible without it: it is no longer what it does but is marred by the thought of what is happening just when he goes about his normal activities, aware of a synchronicity that it is unbearable, "she is with her bags in the process of taking and I am working on the case of Mrs. Butler, that is nonsense." Unable to suspend time and join the Woman there is a faster pace until the arrival airport (before it was rather the station), reunion and suspension of time, "say nothing, I went account as "/" I'm next to you on the plane, surprise ", even better, in a fit of euphoria, the public message that everyone can hear, the woman is between shame and delight ( Maid in Notting Hill ). Sometimes the message can be encrypted understandable only to the protagonists ( Roman Holiday )

It may also be the most realistic option "I'll wait for those two years, counting on me, a kind of compromise a little disappointing which saves tied trivial obligations of each other and love which becomes reasonable, peaceful, remote support, two years pass, the struggle becomes useless when you can make compromises.

Note that the ambiguity continues in a different field: we see two types of encounter and relationship, a sort of back and forth between the meeting fictional characters and the real actors. There is the pleasure of seeing X and Y focus slowly to each other but also to see Cary Grant fall in love with Audrey Hepburn. The romantic comedy is a genre that also has its standard characters played by actor-types who play their own role than elsewhere. The reason is that the romantic comedy is the kind that depicts the stories most likely, those who could almost have come to his players: Hepburn (both) and Grant (Cary and Hugh) or Julia Roberts, Meg Ryan Sandra Bullock, Gregory Peck.

should also mention the appearance of anti-heroine ( Bridget Jones, Broken Français), romantic comedies choirs ( Love Actually, Valentine's Day ) stories between woman and ghost ( Adventure and Mrs. Muir) of "I fall in love without knowing you" (Sleepless in Seattle ), the romantic comedy feminist ( An education) and all the movies that speak of love without being romantic comedies.