In the wake of the release of Anyone But You, it’s time to discuss rom-coms (romantic comedies), as well as the much-needed revival of the genre itself.
I believe that the creation of the rom-com as a film genre was perhaps one of the most brilliant ideas in the past century. There’s something so realistically unrealistic about watching the different tropes play out, perhaps they’re enemies to lovers (10 Things I Hate About You), or maybe friends to lovers (13 Going on 30), or my personal favorite trope, enemies to friends to lovers (When Harry Met Sally). With the decline of mid-budget Hollywood films, the rom-com industry is withering away, however, is a revival even possible?
Like many millions of other hopeless romantics, I’ve always found comfort in watching low-stimulation rom-coms. Hollywood is a flashy place, with each modern movie intended to be the next blockbuster and earn millions in profit. While this appears to simply be the reality of today, I fear that we are losing the greatest film genre.
Now, I don’t use the term ‘greatest film genre’ lightly, and this is not to take credit away from thousands of other films. To all who are pondering in what world rom-coms would be considered good movies, I implore you to keep an open mind. Rom-coms and Hallmark movies should not be synonymous. Hallmark movies have mass-produced cookie-cutter stories, which have in turn become the poster-child of rom-coms made to appeal only to a select population of lonely housewives. For the sake of my opinion, and this article, remember that I’m not arguing that Hallmark movies are the greatest films to ever exist — solely the long-lost original idea they were based on.
Rom-coms did not start out with an exclusively female audience, and the versatility within the genre at the start was quite impressive. This versatility made the movies appeal to such a vast audience. For example, with the introduction of director John Hughes (Sixteen Candles, Pretty in Pink, The Breakfast Club, etc.) into the directing scene in the mid-80s, rom-coms began telling the stories of teenagers, instilling an entire generation with the relatability and confidence to be young, make mistakes, and have fun. Hughes’ energetic movies are a fabulous example of coming-of-age com-roms — comedies with a touch of young love.
Conversely, in the 1990s, writer and filmmaker Nora Ephron (When Harry Met Sally, Sleepless in Seattle, You’ve Got Mail, etc.) created rom-coms focused on rom, with hints of com. Her movies epitomize the idea of a cozy movie, the kind that you bake cookies and snuggle up with a cup of tea to watch. With less of a focus on teenage love, Ephron’s movies are about long-term commitment, though she never hesitates to include the child-like, playful behaviors of adults.
So what happened?
It goes without saying that society has undergone large changes since the 80s and even since the early 2000s. But, that doesn’t mean Hollywood should stop making rom-coms. The best rom-coms can be appreciated by an extensive audience. Watch them with a parent, a sibling, a friend, or a grandparent. Everyone should get something from a rom-com because that’s what they were intended to be. A grandparent should chuckle, reminiscing about their youth, parents should be consoled, relating to the actions of the characters, and our generation should take some hints!
This leads me back to the question, could Anyone But You be the much-needed revival of the rom-com industry?
‘Revival’ is a lot of pressure on one movie. I would not say that the new Sydney Sweeney and Glen Powell film is single-handedly reigniting rom-coms. However, I hope that it is the first little spark, reawakening the genre. Rom-coms make us better people. They help us laugh at ourselves, and never give up hope. We need rom-coms!