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Examples include Killers , Knight and Day , Mr. Romantic thriller is a genre of film which has a storyline combining elements of the romance film and the thriller genre.
This common characteristic is based on a variation of the Bluebeard folktale of a wealthy man who forbids his new wife from entering his castle's underground chamber, to which she finds the corpses of his many former wives.
Romantic fantasies describe fantasy stories using many of the elements and conventions of the romance genre. Paranormal romance is a popular genre of film which features romantic relationships between humans and supernatural creatures.
From Wikipedia, the free encyclopedia. Film genre. For the UK-based video service, see LoveFilm.
For films entitled "Romance", see Romance disambiguation. Main article: Historical romance. Main article: Chick flick. Main article: Bromantic comedy.
Main article: Romantic comedy. Main article: Romantic thriller. Main article: Gothic romance film. Main article: Romantic fantasy. Retrieved 10 November Oxford: Oxford University Press.
New York: Oxford University Press. Choice Reviews Online. Retrieved The Telegraph. Archived from the original on 11 August Archived from the original on 27 October Cinema Journal.
Robinson October University of Tennessee, Knoxville. Retrieved 18 January Through a series of bloody physical confrontations and, worse yet, sticky etiquette breaches, Lucy's desire for emotional freedom starts to bubble, coming to the boil when George kisses her in a cornfield.
But Charlotte witnessed the snog, so Lucy is whisked back to Surrey, where she gets engaged to the horribly priggish Cecil Vyse Daniel Day-Lewis , to the polite distaste of her family, and the Rev Beebe Simon Callow, uncharacteristically subtle.
Then the Emersons reappear …. What might have been starched and talky in other hands comes out of the wash alive with spring and spirit.
The botched embrace between Lucy and Cecil, and the heartbreaking moment when he, after being rejected, puts his boots back on, are once seen, never forgotten.
Smith's Charlotte — so funny as a curmudgeonly drag "The ground will do for me," she says, as cushions are assigned on a picnic, "I haven't had rheumatism for years.
And if I do feel a twinge, I shall stand up" — is just tragic alone, as Lucy might well have been, had her story not had such a happy ending.
The final scene, a ravishing in a room, with a view, as the bells of Florence chime out, would leave only a stone unmoved.
Catherine Shoard. Boy meets girl. They fall in love. Girl gets fed up with boy. Girl erases all memories of boy from her mind in a dubious brain-zapping procedure.
Boy finds out and does the same. This is a romantic movie, Charlie Kaufman-style. It takes its title from a poem by Alexander Pope and charts the side of love that movies usually try to ignore: the arguments, the boredom, the irritating habits that drive couples apart and the dreadful, stilted moments that accompany a break-up.
Love Actually, it ain't. As you would expect from the writer of Being John Malkovich and Adaptation, this is not the story of a doomed relationship told in a straightforward fashion.
Joel Barish is a withdrawn, greyish man, played with uncharacteristic restraint by Jim Carrey.
Clementine Kruczynski a brilliant Kate Winslet is free-spirited, reckless and prone to dying her hair blue.
When they meet on a train travelling through wintry Long Island in the film's opening scenes, it's as if they've never met before — but of course they have.
The strange attraction that draws them together is down to the fact that, until very recently, they were lovers.
Their forgetting is the work of Lacuna Inc, a shady New York company that liberates its clients from unwanted memories.
Eternal Sunshine was Kaufman's second collaboration with Michel Gondry. The resourceful French director proved the perfect match to Kaufman's freewheeling script, which puts us inside Joel's memories as they are being stripped away.
The film's concept — that a couple can delete each other after a painful break-up so they can live on in blissful ignorance — seems at first a pessimistic take on love.
But chinks of light begin to shine through as Joel's memories of Clementine are systematically sought out and zapped. He recalls that, before the unhappiness set in, there were genuinely happy moments too and he recaptures too late?
In spite of all its pitfalls, Kaufman still makes love seem like the most precious thing in the world.
Killian Fox. The film shuffles interconnecting storylines concerning three Manhattan sisters: the warm, well-meaning Hannah Mia Farrow is married to the bumbling Elliot Michael Caine , who is in turn attracted to her sister, Lee Barbara Hershey.
As an affair begins between the two, Lee's own relationship with the tormented artist Frederick Max von Sydow comes under strain, and light is brought to an otherwise dark canvas by Hannah's ex-husband, fussbudget TV producer Mickey Allen , who becomes involved with Hannah's other sister, the jittery Holly Dianne Wiest.
So what was it about Hannah that made it so successful? The balance of comedy and drama is deftly maintained, and there's a palatable, soapy aspect to Elliot and Lee's affair.
The film, with its chapter headings, aspires to a novelistic structure, each part favouring a different character or storyline.
And the performances are uniformly subtle, especially from Caine who won the Oscar for best supporting actor and the underrated Farrow, who was then an Allen regular as well as his off-screen partner.
Indeed, Farrow brings genuine mystery to a nurturing figure who may not be as saintly as she seems.
Typically, the perfectionist director was far from pleased with the movie. It was the relatively happy ending that was to blame: "That was the part that killed me.
Ryan Gilbey. Two perfect comedies in a row: how's that for a double whammy? The germ of the idea for The Apartment had actually sat in Wilder's notebook for many years, ever since he watched Brief Encounter and scribbled down the words "Movie about the guy who climbs into the warm bed left by two lovers.
CC "Bud" Baxter Lemmon is the poor sap in question. He's rising fast at work, one promotion after another, but the secret of his success is that he loans out his apartment to the company executives for their trysts, one minute slot at a time.
It's a sleazy little set-up, and Wilder keeps the movie galloping along so briskly that we can overlook the unpleasantness at first.
But then reality starts to creep in as Baxter realises that the woman he longs to bring home in his arms — chirpy elevator assistant Fran Kubelik Shirley MacLaine — has already been to his apartment, in the company of his boss Fred MacMurray.
The question of how Baxter finds out allows Wilder and Diamond to demonstrate their knack for succinct storytelling: one broken compact mirror is all it takes to make his heart break.
They're unbeatable at turning out these "moments" — witness also Baxter's classic straining-spaghetti-through-a-tennis-racket scene, born out of Diamond's realisation that "Women love seeing a man trying to cook in the kitchen.
Such stand-out scenes never impede the film's precise, fluid rhythm. Wilder shot the picture in 50 days flat, and edited it in under a week.
This is funny, fat-free film-making, expertly paced and played, ending in a romantic flourish to swoon over. It won five Academy Awards, including best picture, best director and best screenplay.
Wilder said it was "the picture [of mine] that has the fewest faults. Wong Kar-wai takes his time shooting a film, setting out without a conventional script and waiting to see where the mood takes him; his actors rarely have possession of the bigger picture.
As it turned out, this is a sizzling romance about two cuckolded next-door neighbours Tony Leung and Maggie Cheung who fall in love with one another.
As rendered by Wong's regular cinematographer, Christopher Doyle and his replacement, Mark Lee Ping-bin, who took over when the shooting schedule overran , the lush colours on screen are mellowed with nostalgia and ripened by sensuality.
As much as this is the story of love blossoming out of rejection, it is also a testament to its director's ongoing infatuation with cinema.
What he can do with a passage of music, a close-up or an adjustment in film speed makes most other directors look unfit to shoot a nativity play.
Doyle observes the tentative encounters from behind lamps and cabinets, or from under a bed. If you didn't already know this cinematographer's work, you might assume Wong had hired a private detective for the job, so skilful are the furtive compositions.
It is an unorthodox romance, widely regarded as the director's finest work. And it is as impeccably turned out as you would expect from a Wong film.
Audiences might well emerge craving props and costumes featured in the movie — the silk and gossamer dresses worn with perfect Audrey Hepburn poise by the regal Cheung, or the brilliantine that gives Leung his authentic Clark Gable sheen, or the snazzy noodle-flasks with which these almost-lovers collect their supper from a basement cafe.
Unlike its semi-sequel, , there is more here than just style. A heartbreaking final scene more than substantiates the idea that it is a Brief Encounter for the 21st century.
Maybe the Hollywood dream never had a purer, crazier manifestation. But here we are, 15 years later: Bogart is dead and, worse, his Hollywood has entered its funeral years.
And then arrives Jean-Luc Godard , half in love with that old mythology, half contemptuous of it. So Jean-Paul Belmondo, a magnificent jerk, will model himself on Bogey and take off.
Breathless was Godard's first feature, and his first demonstration of how to turn the raiment of the Hollywood dream inside out.
In addition to putting Godard's love-hate relationship with Hollywood up on the wall like graffiti, it was a signal that movies could be made nearly as quickly and cheaply as we might write emails.
So it's important to remember that while Breathless still feels desperately modern, it was made before the machinery of our modern culture.
She's Patricia, an American who sells the New York Herald Tribune on the streets, and Belmondo is Michel, an existentialist idiot on the run after he shoots a cop.
His days are numbered and the film moves like a Charlie Parker solo — so hectic you wonder if the alto sax will live out the next 16 bars.
There's no way it should work, being made up as they went along, but Godard knew it was time to treat the audience like dirt and his characters like shit.
This casual malice turned into a monument nonetheless.