Love Actually. Rarely has a Christmas movie drawn such divisive feelings from its audience as the 2003 rom-com written and directed by Richard Curtis. For some, it’s the epitome of grand romantic gestures, set amongst the festive hustle and bustle of London’s most joyous time of year. For others, it exemplifies a poorly-aged cinematic disaster, wrought with misogynistic ideas and lacking in diversity. Let’s delve into what makes one of its most iconic films so utterly charming yet potentially problematic this holiday season.
Widely considered a box office success, grossing $250.2 million on a $40 million budget and earning two highly coveted Golden Globe nominations for Best Motion Picture: Musical or Comedy and Best Screenplay: Motion Picture, Love Actually is surprising in the ire it draws. How could a Christmas movie featuring such an esteemed ensemble cast not be celebrated? Let’s see.
First, there’s the imbalanced workplace dynamic interwoven throughout several main storylines. From the married office manager, Harry (Alan Rickman), having an implied affair with his flirty secretary, Mia (Heike Makatsch), up to the Prime Minister (Hugh Grant), having his attractive, young aide, Natalie (Martine McCutcheon), removed from her position at 10 Downing Street to alleviate his desire for her, there are HR nightmares at every turn.
Critics of the movie are also quick to call out its lack of inclusivity for featuring predominantly straight, white characters. Writer and director Richard Curtis regrets some of his previous creative decisions, stating, “I think I was just stupid and wrong about that. I feel as though my casting director and my producers just didn’t think about it. Just didn’t look outwards enough.”
In addition, Love Actually has been accused of fat-shaming female characters and romanticizing stalking behaviors. When a character, Mark (Andrew Lincoln), inadvertently reveals his love for his best friend’s (Chiwetel Ejiofor) new wife, Juliet (Keira Knightley), through a wedding video and then continues to express his feelings on her doorstep, some believe the script ventures into stalker territory. Instead of being unsettled by his behavior, Juliet chases him down the street, rewarding him with a kiss. Such scenes may seem tone-deaf and irresponsible in today’s politically correct climate.
But it’s more nuanced than that, with each storyline representing a different, often realistic, type of love. One example that resonates with viewers is the bond between washed-up rockstar Billy Mack (Bill Nighy) and his manager, Joe (Gregor Fisher). Although Joe tends to be the butt of all jokes and is relegated to the rocker’s yes-man, Billy realizes that Joe is the most important person he has in his life, someone who has stayed by his side through both the highest and lowest points of his career. In the end, they’re both able to be vulnerable with one another, something that clearly is challenging for the two men, and Billy chokes back tears as he tells Joe, “You turn out to be the f**king love of my life.”
The theme of love continues when Jamie (Colin Firth), who is heartbroken after discovering his fiancée’s infidelity, is led to find his soulmate. He retreats to a remote French cottage to work on his writing, and while there, he starts to develop a bond with his Portuguese housekeeper, Aurélia (Lúcia Moniz). Despite the language barrier, their growing affection is genuine and sweet. The moment when Jamie proposes to Aurelia in broken Portuguese, and she says “sim” (yes), is heartwarming, showing how pure and endearing their love story is.
Another plot that stands out is that of Sarah (Laura Linney) and Karl (Rodrigo Santoro). After crushing on her coworker for over a year, Sarah courageously asks Karl to return to her place. He agrees, and as they’re about to hook up, Sarah receives a call from her brother, who is institutionalized due to an unspecified developmental disorder. Although she doesn’t want to pass up the opportunity to spend alone time with Karl, Sarah calls off her plans with him to check on her brother. While some argue that this story is unsatisfactory because Sarah never ends up with a partner, it shows the significance of how familial love conquers all.
Daniel (Liam Neeson) and his relationship with his 10-year-old stepson Sam (Thomas Brodie-Sangster) also deals with the importance of family, showing that love transcends blood ties. After the tragic death of his wife, Daniel is left to raise Sam on his own. Although uncertain about navigating all the stresses that come with being a single parent, Daniel shows his vulnerability when trying to help Sam impress his school crush, Johanna (Olivia Olson), who happens to share the same name as his late wife. The most touching part of this story is watching the two grow and learn from one another, with Sam referring to his stepfather as “Daniel” at the beginning of the movie but affectionately calling him “Dad” in the end.
Perhaps the most devastating story is Karen’s (Emma Thompson) marriage to Harry. After discovering a gold necklace in Harry’s jacket pocket, Karen is surprised when her husband gifts her a Joni Mitchell CD instead. Suspecting Harry’s having an affair with his receptionist, Mia, Karen excuses herself to cry in the privacy of her bedroom to protect her two children from finding out the truth and to salvage the relationship. She remains strong for her children, helping them prepare for their school’s nativity play, all while staying with Harry to provide them with the best possible life.
Not to mention, three other subplots from the movie that weren’t touched upon also contain wholesome moments. When the Prime Minister and Natalie sneak off together to watch Natalie’s nephew in the school Christmas play, offering them an escape from the high-pressure work environment they’re used to. When Sam runs through Heathrow airport to say goodbye to his crush as she leaves for America for the holidays. When John (Martin Freeman) finally works up the courage to ask Judy (Joanna Page) for a drink after weeks of shyly and awkwardly chatting at work together.
Although it was released 21 years ago, Love Actually still often sparks debate over whether it should be canceled due to its problematic themes that may no longer be considered politically correct. While the film certainly has flaws, it ultimately captures the messy, complicated, and often imperfect nature of love. Instead of offering idealized portrayals of romance, the film embraces the full spectrum of human connection, showing the joy and heartbreak of loving others.
Being released in the aftermath of the 9/11 terrorist attacks, the film explicitly acknowledges the need for love and connection in difficult times. Its opening scenes reflect a desire to unite people, reinforcing that romantic, familial, or platonic love becomes even more vital in a world marked by grief and uncertainty.
It’s complex, it’s layered, it’s imperfect. Much like love…actually.
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