The Proposal (2009)

I still remember the first time I watched The Proposal — I liked the movie so much I talked about it all the time and I even convinced my mother to watch it. I've been meaning to rewatch it for quite some time to see how I'd feel about it now and, since recently I'm often in the mood for romantic comedies — what is happening to me? — I finally did. 

The story follows Margaret Tate (Sandra Bullock), a successful editor at a prestigious New York publishing house, and her personal assistant, Andrew Paxton (Ryan Reynolds). When Margaret, a Canadian, faces deportation due to an expired visa, she blackmails Andrew to marry her. In return, she would promote him to editor and publish his book. Mr. Gilbertson (Denis O'Hare), however, the clerk of the immigration department is a bit sceptical and schedules an interview on the next Monday, so Margaret and Andrew travel to Alaska to celebrate his grandmother's (Betty White) ninetieth birthday and announce their engagement.

The plot to The Proposal is very far from being perfect as it's very predictable, clichéd and unrealistic — that's kind of the point of romantic comedies though —, there are many plot holes, subplots that make no sense whatsoever — I'm still wondering what was the point of that plot involving Andrew's ex-girlfriend as she doesn't have any impact on the story, and that Andrew and Margaret's love comes completely out of the blue — a scene with them bonding over literature and books would have been nice. Despite these flaws, it still manages to be engaging and fun.

The characters aren't particularly well-written either as they are nothing but clichés — Margaret is bossy and bitchy because of course all women in power have to be portrayed as horrible human beings, and Andrew is the ambitious person willing to do whatever it takes to make his dream come true — and quite cartoonish, especially Andrew's grandma. Also, there are so many secondary characters thrown into the story that are pointless and kind of take away the focus from Margaret and Andrew. Still, it's fun to see them interact with each other and, despite how unbelievable it is, it comes more than natural to root for Margaret and Andrew.

Walt Disney Studios Motion Pictures

The cast is what I love the most about The Proposal. Sandra Bullock — who happens to be the reason I first watched this many years ago — and Ryan Reynolds are both so charismatic and have such nice chemistry — they even dated in real life at some point —, they are a delight to watch. It also helps that they are pretty funny in their roles too. It's Betty White as the dopey grandma, Annie, and Oscar Nuñez as Ramone, the exotic dancer/Mr. I do it all, that absolutely steal the show though with their hilarious, a little over the top performances.

As for the comedy, The Proposal relies a lot on overused jokes and slapstick but it works pretty well and overall the film is quite funny.

Someone Great (2019)

There's something about Gina Rodriguez that I don't like. It's not her fault, it's just that she reminds me of a person I know and don't like much and that person basically ruined Gina for me. She is a great actress though — I loved her in Jane the Virgin — so, despite me not being the biggest fan of romantic comedies and the trailer basically screaming "I'm a terrible movie", I checked out Netflix's newest original film, Someone Great. 

Set in New York, the story focuses on Jenny (Gina Rodriguez), a nearly 30-year-old music journalist who has just landed her dream job as a writer for Rolling Stone magazine in San Francisco. Not even contemplating the idea of a long distance relationship, her boyfriend of nine years, Nate (Lakeith Stanfield), breaks up with her. To nurse her broken heart, she decides to have one last, outrageous night in New York City with her two best friends, Erin (DeWanda Wise) and Blair (Brittany Snow).

Someone Great isn't heavy plotted — the three friends trying to get tickets for a concert is all the plot the film has — but it's not much of a problem as it is a "moving on" story. The fact that the premise of the story makes no sense whatsoever — why would Rolling Stone even send her in San Francisco? They don't even have offices there! —, that there are many other holes along the way, and that the outcome is predictable and the overall story far from being engaging and entertaining definitely is.

It's not like director and writer Jennifer Kaytin Robinson put more thought into the characters though. In fact, for a film that relies rather on its characters than its plot, the characters are tremendously thin — no depth, no development, nothing. We spend an hour and a half with Jenny and her two best friends and yet we don't really know anything about them. Only that Jenny is miserable by the end of her relationship — she is supposed to be very passionate about music, hence the job of her dreams, but this passion of hers never comes through. All she seems to care about is to get back with Nate —, that Erin has commitment issues, and that Blair is uptight, and that they do love drink spirits and smoke weed all day long — seriously, these three do nothing other than that and at the end of the day, literally, they are as fresh as they were in the morning. Also, they don't act like normal human beings but like they were celebrities.

There are also some random strangers the three girls meet that made me feel as if I missed something — I'm specifically talking about Rosario Dawson's character, Hannah. Who is this woman? An old friend? One of Nate's ex-girlfriends? Nate's sister, maybe? All we sense is that Jenny doesn't particularly like her and yet she feels the need to tell her about her break-up with Nate. And why does Erin's girlfriend acts and talks like a psychologist when she clearly is not one?

Netflix

Someone Great also has some positive aspects though. While the comedy is nowhere to be found — there are no big laughs, no small laughs. I only chucked once —, the drama works quite well as the flashbacks to Jenny and Nate's relationship, which are romantic and serious, feel genuine, and really sweet and tender — it also helps that Rodriguez and Stanfield have great chemistry and that they are adorable together. The cinematography is also quite beautiful, and the soundtrack is incredible. The performances are also pretty good, especially Gina Rodriguez's who manages to give her thin character some depth and make her likeable, despite the unlikable character.

The First Annual Valentine’s Day “Meet-Cute” Blogathon is Here!

I am so excited that the First Annual Valentine’s Day “Meet-Cute” Blogathon has finally arrived!

The Posts

Realweegiemidget Reviews starts things off with her Favorite Meet-Cute Moments.

Caftan Woman writes about one of my favorite meet-cutes, the hilarious Support Your Local Sheriff (1969).

Musings of a Classic Film Addict looks at a small but memorable meet-cute in The Big Sleep (1946).

 

The Midnite Drive-In shares his personal memories on seeing Urban Cowboy (1980).

The Story Entusiast gives us her Five Favorite Classic Film Meet-Cutes.

The Stop Button relates the bantering meet-cute in Primrose Path (1940).

Critica Retro shares the hilarious meet-cute in Sunday in New York (1963).

Thoughts All Sorts shares some "Slightly Different" Favorite Meet-Cutes.

Overture Books and Films brings us to New York for They All Laughed (1981).

Cinematic Scribblings shares the rather perverse meet-cute in Marriage Italian Style (1964).

The Flapper Dame finds that meet-cutes can happen in unusual places in Easy Living (1937).

Whimsically Classic talks about the comical meet-cute in That Funny Feeling (1965).

Movies Meet Their Match breaks down the meet-cute in Singin' in the Rain (1952).

A big thank you to all the participants. I hope to see you all again next year!

ANNOUNCING the First Annual Valentine’s Day “Meet-Cute” Blogathon!

One of my favorite feel-good modern romantic comedies is The Holiday (2006). I initially watched it for Jude Law but came away from the film loving the story between Iris (Kate Winslet) and Arthur (played by the adorable Eli Wallach). There is a scene in the movie where Iris meets Arthur for the first time and he explains what a "meet-cute" is. Watch the sweet scene below:

I always wondered whether the film he describes existed and so was very excited when TCM aired a film called Blackbeard's Eighth Wife (1938) in which two people meet while purchasing pajamas (It's switched in the movie though - Cooper buys the top and Colbert the bottom). Unfortunately the scene is only on YouTube in Spanish.

I even liked Jack Black in this movie!

Anyway, this film gave me the idea for this blogathon and I thought, what better day to host this than on Valentine's Day! And, since there are unlimited films to choose from, I have decided to make it an annual event (hopefully lots of you will sign up). Films from any era will be allowed (and I guess if you really want to do a TV show that would be okay too) but since there are so many films featuring "meet-cutes" I ask that there be no duplicates. Please comment with your film choice and LINK TO YOUR BLOG and grab one of the banners below to advertise!! Looking forward to seeing what everyone picks!

ROSTER:

Phyllis Loves Classic Movies: Summertime (1955)

Caftan Woman: Support Your Local Sheriff (1969)

Movies Meet Their Match: Singing in the Rain (1952)

Cinematic Scribblings:  Marriage Italian Style (1964)

The Midnite Drive-In: Urban Cowboy (1980)

The Story Enthusiast: Top Five Meet-Cutes

It Came From the Man Cave: The Big Sick (2017)

Realweegiemidget Reviews: Favorite Meet-Cute Moments

Musings of a Classic Film Addict: The Big Sleep (1946)

Critica Retro: Sunday in New York (1963)

Overture Books and Films: They All Laughed (1980)

In the Good Old Days of Classic Hollywood: Bogie and Bacall Meet-Cutes

The Stop Button: Primrose Path (1940)

 

Screen Dreams: Bringing Up Baby (1938)

 

The Flapper Dame: Easy Living (1937)

 

Whimsically Classic: That Funny Feeling (1965)

If you have trouble commenting you can DM me on twitter (@solidmoonlight) or send me an email (solidmoonlight@gmail.com).

When We First Met (2018)

When I first saw When We First Met on Netflix I was like, nah, I'm not going to watch this. It's going to be just another of those terrible Netflix movies and I don't want to waste my time with it. Then something got into me and I watched it.

During Avery's (Alexandra Daddario) engagement party, Noah (Adam DeVine) recalls when they first met on a Halloween party three years earlier and he is depressed because, well, he is in love with her. He gets drunk and ends up at the piano bar where he works. He uses the photo booth he and Avery used on their first day and he falls asleep. Turns out the photo booth is a time machine, Noah wakes up on October 31, 2014, the day he met Avery, and has the chance to "fix" things. Over and over again. 

The plot is simple and quite predictable, but, to be honest, I enjoyed it. It was fun and engaging from start to finish. I also really liked the idea, even though it feels like something in between Groundhog Day and (500) Days of Summer. It doesn't always make a lot of sense  --I'm not sure a movie involving time travel is supposed to make any though-- and there are many plot holes, especially when it comes to the time travel rules --which are not clear at all-- but it's a lot better than I expected and a little better than your average romantic comedy. 

However, what truly made When We First Met interesting for me was the main character, Noah. He is a friendly and kinda awkward guy, he is likeable and lovable, and the situations he gets himself into are quite interesting. This was the first time I saw Adam DeVine and I was impressed by him. He's got a unique humour and style of delivery which suits very well to the role --I actually read that the producers had him rewrite the script to suit his comedy style. I guess that's the reason the comedy here works so well. Also, DeVine's Noah is such a sweet and nice guy you can't help but wish him all the happiness in the world --so, yeah, he is not like that douche Bill Murray plays in Groundhog Day.

Netflix

As for the supporting characters, they are nothing but clichés with nothing resembling character development, Alessandra Daddario's Avery is actually pretty annoying and unlikable. Maybe we were supposed to feel like that about her because of the "twist" coming later in the movie. Or maybe the role needed a better actress. On the other hand, Shelley Hennig's Carrie, Avery's best friend, surprisingly turns out to be a likeable character. Same goes for King Bach's Max, Noah's best friend. I wish there was more of him in this as Bach is really charming.

Ultimately, When We First Met isn't the kind of movie that wins awards. The direction is flawed, to say the least, and the jokes fall flat sometimes and distract from the plot, but overall it's a fun and entertaining flick. 

Home Again (2017)

You know when you see a trailer and you're like, wow this film looks bad? Well, that was my reaction to Home Again's trailer. But I do love Reese Witherspoon so I watched it anyway, consoling myself by telling it would be just another mediocre romantic comedy. And by the way, it looked a tiny bit fun from the trailer I'd seen months ago. Unfortunately for me, it wasn't your average rom-com but something much worse. 

Alice (Reese Witherspoon) is a recently separated mother of two who has returned home, in California, to start over and to be close to her mother (Candice Bergen), a former actress. She is also turning 40 and goes celebrate with her girlfriends. She eventually meets three young aspiring (and homeless) filmmakers and brings them home. The day after, Alice's mother shows up at her house, and, long story short (because I don't have all day and neither do you, I guess), Alice lets them stay in her guesthouse and starts dating Harry (Pico Alexander), one of the three boys. 

The plot is clichéd, predictable, idiotic, unrealistic to say the least and has no development whatsoever. The story starts in a certain way and ends in that same way. There's a lot going on in the middle, a lot of pointless subplots that have a very predictable outcome, but nothing really happens nor changes in this film. And by the way, the ending is so unsatisfactory. The May-December romance is also terrible. 

The characters are just obnoxious. They are flat, bland, one-dimensional characters, living clichés also. There's one thing I have to praise director and writer Hallie Meyers-Shyer for, writing evenly awful characters. It doesn't matter whether they are female or male characters, they all are very poorly written. And frankly, I feel sorry for Reese Witherspoon. She tries to bring her sweetness and charms into this but she ain't god hence she can't save the unsavable. And the overall acting is so dull and lifeless.

Open Road Films

But the worst is yet to come. As if that I've mentioned above wasn't enough, Home Again is also terribly unfunny. I wasn't expecting the most hilarious film of the year but frankly, mainly given the way the film's title was translated here in Italy (40 is the new 20), I was expecting a movie that would play a little on that concept. I thought it'd show this 40-year-old woman having fun, enjoying life. Instead, Alice spends most of her time worrying and not enjoying life. 

The film has its sappy moments, but not a single funny moment. I'm not sure Meyers-Shyer remembered she was writing a comedy because there aren't gags, jokes, absolutely anything in here to make you laugh. At times, Home Again feels more like a drama rather than a comedy. The problem is that there's no drama whatsoever in this film. It's absolutely flat. 

Doris Day and James Garner: Their Films and Friendship

Doris was everybody's darling and I wish I could have done fifty more pictures with her. 

~ James Garner

Doris Day (whose birthday is April 3rd) and James Garner (whose birthday is April 7th) made only two films together in 1963, but they remained friends until Garner's death in 2014. The films, The Thrill of It All and Move Over, Darling, are not as famous as Day's film pairings with Rock Hudson, but they were extremely successful at the box-office due to the wonderful on-screen chemistry between Day and Garner. This chemistry stemmed from their off-screen friendship and respect for the other's abilities as an actor.

In their autobiographies, both Day and Garner had only nice things to say about each other, despite the fact that Garner (accidently) broke Day's ribs during the filming of Move Over, Darling.

Jim and I worked together only twice, in Move Over, Darling and The Thrill of It All. He's so good at what he does... I felt married. We didn't see each other much over the following years, but we've stayed friends because we talk on the phone regularly. I don't know how, because Jim hates the telephone. I usually have to call him. "Can't you pick up a phone?" I say, but he just grumbles.

We had fun. He's a marvelous actor. He's very real when he talks to you. He's so funny and so nice, I just love him. Even though he broke two of my ribs. Jim, if we don't speak for a while, I forgive you for breaking my ribs. Both of them. Don't give it another thought.

~ Doris Day, The Garner Files. 

 

Doris didn't play sexy, she didn't act sexy, she was sexy. And then she could take a sexy scene and make you laugh. Which is better in the bedroom than a lot of things. And Doris was a joy to work with. Everything she did seemed effortless. She's so sweet and so professional - she made everyone around her look good.

~ James Garner, The Garner Files. 

Garner was also known to say that Doris had the "best tush in Hollywood." In an essay included in Day autobiography, Garner goes on in depth about his love and admiration for her, as well as her "girl next door" image:

I think Doris is a very sexy lady who doesn't know how sexy she is. That's an integral part of her charm... I don't think she could have had the success she's had if she didn't have this sexy whirlpool frothing around underneath her All-American-girl exterior.

I remember the first time I saw her on screen. I was just a regular moviegoer then, hadn't turned to acting yet, and here was this new girl, Doris Day, on a train with Dennis Morgan and Jack Carson [It's a Great Feeling (1949)], singing a song, and I looked at her and said to myself, "Oh, God, ain't that beautiful, and listen to that voice!"

I've had to play love scenes with a lot of screen ladies, but of all the women I've had to be intimate with on the screen, I'd rate two as sexiest by far - Doris and Julie Andrews, both of them notorious girls next door. Playing a love scene with either of them is duck soup because they communicate something sexy which means I also let myself go somewhat and that really makes a love scene work.

One other thing about acting with Doris - she was the Fred Astaire of comedy. You know the way Astaire used to change partners but the dancing was always uniformly spectacular because Astaire just did his thing and anybody who danced with him was swept up by it. Well, same thing about Doris. Whether is was Rock Hudson or Rod Taylor or me or whoever - we all looked good... I used to come to the set with a preconceived notion of how I was going to play a particular scene, but when I saw what Doris was doing in the scene, her tempo, her feel for the scene, 99.9 percent of the time I'd toss my pre-conception away and play it with her. Making a movie with Doris was a piece of cake - a sexy ride on her coattails all the way.

♥ ♥ ♥

The two films that Day made with Garner are very similar to the films she made with Rock Hudson. The main difference is that in both of them they are already married with children at the beginning of the film (Day's character is only married to Hudson's character in their third and final film together, Send Me Know Flowers, made the year after her films with Garner).

In The Thrill of It All (1963), Day plays a normal housewife who is offered a job as the spokesperson of a soap company after she is overheard telling a story about how their soap, Happy Soap, saved her life. Her doctor husband (Garner) is less than thrilled when she signs a one-year contract that keeps her away from the home and her wifely duties. Here's a good synopsis of the film.

In Move Over, Darling (1963), a remake of the 1940 Cary Grant/Irene Dunne classic My Favorite Wife, Day plays a wife who has been lost at sea for five years and been declared legally dead. Upon arriving home, she discovers that her husband, Garner, has remarried just that morning. She heads to the hotel where he is going to be staying with his new wife (which happens to be the same hotel THEY stayed at on THIER honeymoon) to try to stop him before he makes the marriage "official." You can read more about the two films in the post I wrote for my Remakes blogathon.

I highly recommend both films. Not only are they fun to watch but Day and Garner are very convincing as a married couple and evenly matched as comedians.

If Doris Day was the national symbol for the All-American girl, then Jim was her male counterpart - somewhere between a steelworker and a Saturday afternoon football hero.

~  Raymond Strait.

~ Sources ~

Considering Doris Day. Tom Santopietro. 2007.

Doris Day: Her Own Story. Doris Day and A. E. Hotchner. 1975.

The Garner Files: A Memoir. James Garner and Jon Winokur. 2011.
James Garner: A Biography. Raymond Strait. 1985.
 

This post is part of The Doris Day Blogathon hosted by Love Letters to Old Hollywood in honor of Day's birthday on April 3rd. Be sure to read all of the other posts celebrating this icon of Classic Hollywood!

Cinema Wedding Gowns: The Long, Long Trailer (1954) & Forever, Darling (1956)

Recently for the first time I watched The Long, Long Trailer (1954) & Forever, Darling (1956). Both films star real-life couple Lucille Ball and Desi Arnaz, popular from the television sitcom I Love Lucy (1951-1957). Both are about a couple who gets married, has some difficulties, and reconcile in the end. Both use Yosemite National Park as a filming location. And both feature gorgeous 1950s lace wedding gowns (they are also in color but I was unable to take screenshots from either movie).

         

Left: The Long, Long Trailer; Right: Forever, Darling

As you can see, both dresses have a strapless bodice with a lace overlay featuring a high stand-up collar and long sleeves. They also both have a lace apron-like skirt over a full skirt of another type of fabric. Helen Rose designed the gowns for the first film and Eloise Jenssen designed those of the second. Both are ultra-glamorous and chic, as only the fashion-conscious Lucille Ball would have it. While the dresses are both featured somewhat briefly in the films, there are several lovely promo shots that show much more detail.

 

♥ ♥ ♥

 

            

The sketch by Jenssen (note how the veil is different) and the gown as seen on a model.

Lucy in the dress with a matching doll

The veils are tulle attached to a cap-like headpiece made of lace. While the one from The Long, Long Trailer sits on the back of the head and is a very typical 1950s look, the headpiece from Forever, Darling is much more over-the-top and falls well onto the face.

      

 

A coloring page to promote Forever, Darling