In the realm of romantic comedies, When Harry Met Sally is more than a film – it’s one of the most classic entries to come out of the genre, staying leaps and bounds above most other pictures released before and after it. Fifteen minutes into the movie, the thematic question is posed: Can men and women be friends without romantic entanglements? The answer, as we discover, is no – and for Harry and Sally, that is a good thing.
What makes When Harry Met Sally so great is its simplicity. Most romantic comedies rely on wild circumstances for their characters to overcome before they can be together. For example, writing an article on how to make a guy fall in love with you or exploring the cultural differences between a prostitute and a businessperson. When Harry Met Sally doesn’t do this. The film is extraordinarily realistic in a way that could almost be boring if it weren’t so skillfully done. All that’s required for When Harry Met Sally to succeed is the presence of Harry and Sally, and this is evident throughout the film. There isn’t a wild overarching plot or circumstances preventing them from being together. They’re only kept apart by their own hang-ups. It makes for a much more relatable film. As viewers, we watch them grow together rather than having to take in a gimmicky plot to keep us guessing. We know where the film will end, but the journey is worth watching.
Harry and Sally themselves are also two extraordinarily likable protagonists. This isn’t to say they’re without flaws. Harry can be abrasive and blunt, and Sally is fussy and high-maintenance. But, ultimately, their flaws make them more likable – they’re two complex and well-written characters who genuinely display the “opposites attract” idea that so many rom-coms aim for (and often fail to achieve). The film begins with the two of them as strangers journeying from their college in Chicago to New York City, bickering the entire way before departing, thankful that they’ll never see each other again. Over the years, they reunite and develop a strong and loving friendship, calming each other’s neuroses and always being there for one another.
On a technical level, When Harry Met Sally is masterful. Every aspect of it is aesthetically pleasing, from the autumnal outfits and the New York City backdrop to the soundtrack of Harry Connick Jr. I can’t go a fall season without watching it at least once. Nora Ephron, a renowned writer in the romantic comedy genre, writes the screenplay for the movie. She has also written famous works such as Sleepless in Seattle, and You’ve Got Mail. The screenplay perfectly blends wit and emotional depth, skillfully transitioning from scenes of Harry and Sally singing karaoke in a store to Harry’s moments of sadness when he bumps into his ex-wife in public. Never does a line feel out of place or is a joke misused. Of course, the true genius of the film is the actors. Billy Crystal and Meg Ryan have great on-screen chemistry as they transition from enemies to best friends to lovers, making their relationship emotionally engaging.
The romantic comedy is difficult to nail. Many entries lack balance between romance and comedy, have cliche plot lines, or lack chemistry between leads. When Harry Met Sally is a film that defies the typicality of its genre. It never allows the audience to get bored and refuses to rely on gimmicks or tropes. Every time its runtime ends, I’m tempted to restart and rediscover the answer to the age-old question – can a man and a woman ever be friends?