A tender kiss, a passionate embrace and an awkward exchange of glances are disappearing from filmmaking. A growing number of audiences have condemned romantic comedies, leaving theatres last Valentine’s Day empty. This trend derived from neither the jokes nor the acting, but instead the film’s failure to connect with the audience.
In essence, comedy depends on its creativity or association with the audience; romantic comedies depend on the latter of the two for their comedic value. Take for example, a good romantic comedy, The 40 Year Old Virgin.
Many endure the social pressure of ether losing or preserving their virginity in school and college. Therefore, each joke matters to the audience because they can connect to it. Despite the popularity of The 40-Year-Old Virgin with critics, most romantic comedies abandon associating with their audience entirely. New Year’s Eve exemplifies this trend. It compacts an ensemble cast of talented actors, including Robert De Niro and Halle Berry.
Yet not one joke truly strikes a chord with its audience because no one has the chance to connect to the characters or, worse still, comprehend the plot. Each joke depends on the actor’s iconography, which has become a growing trend in romantic comedies as A-list actors are recruited for D-grade roles.
The other key component of romantic comedies is the romance and again this depends on the film’s ability to connect to the audience through the believability of its characters. In most romantic comedies however, the characters behave irrationally. In No Strings Attached, Natalie Portman’s character rejects the love proclamations of Aston Kutcher’s character and then, minutes later, proclaims her love for him. Without the believability, the love seems artificial to the audience.
Conversely, films like Knocked Up strike a tee with their audience because their characters function within the realm of rationality. Seth Rogen’s character behaves like a man afraid to be a father and Katherine Heigl’s character behaves like a woman unprepared for motherhood. Their humanity is what makes the film enjoyable.
Although each Valentine’s Day, hoards of people flock to see these films, not one good romantic comedy has come out in four years. This trend stems from the lack of realism in the genre. Romance is meaningless in film as well as in life if it is not related to its audience.
Romcoms to embrace and avoid:
To embrace
1. Forgetting Sarah Marshall: Mila Kunis’ breakout role, this film realistically portrays a breakup but through a hysterical tale.
2. Hitch: The concept of Hitch may seem trite at first but the film still manages to have a good message and good jokes.
3. Bride and Prejudice: The Bollywood version of Jane Austen’s classic revitalizes what some consider an overtold story.