essay on romantic movies

The 50 Greatest Romantic Movies of All Time

It’s the closest thing there is to a universal genre. That’s because, with rare exceptions, everyone falls in love, or at least wants to. And when you think about it, almost every movie is a love story. Thrillers, comedies, sci-fi — no matter what the form, the spectacle of two people falling in love in the middle of it has always been what makes the world of movies go round. That’s why choosing the greatest movie love stories presents a special challenge. Because really, what isn’t a contender? In a way, though, we kept our criteria simple. We were looking for grand passion, for chemistry and heat and all that good stuff. Yet there’s an ineffable quality that elevates a truly great movie romance. Let’s call it the Swoon Factor. It’s about the swoon that happens onscreen; it’s about the swoon that happens between the audience and the screen. What follows are the 50 films that, more than any others, got our hearts racing.     

Dirty Dancing (1987)

Set in 1963 but oh-so-’80s in its idea of hairstyles and heartthrobs, this sexy summer-camp romance defied its critics to become a classic. Nicknaming Jennifer Grey’s character “Baby” went a long way to illustrate what’s really going on here: The teenage daughter of conservative Jewish parents is forever being infantilized by her folks, until she meets a slightly older — but undeniably adult — dance teacher (Patrick Swayze) who shows her the time of her life. Corrupted by rock ’n’ roll, Baby grows up fast, getting over her initial shyness (“I carried a watermelon”) while rehearsing with her seductive instructor, who practices a racy new style of close-contact, ultra-suggestive moves that can only be read as carnal. Like “Rebel Without a Cause” and “Grease” before it, the movie plays on the fantasy of an off-limits attraction between Baby and the bad boy. — Peter Debruge

Trouble in Paradise (1932)

In this gold-standard screwball caper comedy, a gentleman thief, a lady pickpocket and a Parisian heiress form an elegant triangle, the preferred shape of Ernst Lubitsch — that sublime architect of romantic instability — who loved to test how seemingly solid couples might respond to a good romantic upset. Here, the temptation isn’t merely sentimental, as there’s a potential fortune on the line. What’s more, Gaston Monescu (Herbert Marshall) and Lily (Miriam Hopkins) make clear from the moment they meet that each is perfectly capable of robbing the other blind. She boosts his wallet, he knicks her garter (we needn’t see the deed to be scandalized). The movie came out before the Production Code, and it sparkles with the kind of naughty innuendo that was soon prohibited in Hollywood, but which Lubitsch was sophisticated enough to suggest even behind closed doors. — PD

Splash (1984)

A man falls in love with a mermaid: What could be simpler, or sweeter, than that? Yet Tom Hanks, in the movie that made him a movie star, does not go lightly into his communion with a woman who’s half-fish. Ron Howard’s landmark comedy was one of the first films to demonstrate that a high-concept premise could be executed in a way that was artful and classic: a throwback to the Hollywood that used fantasy to put us in touch with reality. Daryl Hannah, as Madison the red-tailed mermaid, acts with a dazed curiosity and eagerness that’s irresistible, and Hanks turns his disgruntlement into a profound expression of love’s challenge – namely, that we can’t choose who we love, but we can choose to embrace the love that chose us. — Owen Gleiberman

The Bridges of Madison County (1995)

Amid a career of macho performances, Clint Eastwood tapped into his sensitive side to deliver one of his most indelible characters in Robert Kincaid, a National Geographic photographer on assignment in Iowa, who stops by a farmhouse to ask for directions. He’s greeted by Francesca, a lonely war bride who offers to show him around (an Italian-accented Meryl Streep, who says so much in her silent gestures, like the way she absentmindedly touches herself in the places she wants to be caressed). It’s no big surprise that this dissatisfied housewife develops feelings for this stranger. More touching is Kincaid’s admission that he’s fallen for Francesca, too, but knows she has no intention of leaving her family. Still, that doesn’t stop him from trying. “This kind of certainty comes but just once in a lifetime,” he tells her. The sight of Kincaid looking desperate in the rain, the downpour likely masking tears, is so radically counter-Eastwood, you’ve gotta believe it. — PD

The Notebook (2004)

In the two decades since “The Notebook,” Ryan Gosling has cultivated his image as a chiseled heartthrob to such a degree that he seemed the perfect choice to play a live-action Ken doll in the “Barbie” movie. But back when director Nick Cassavetes was casting the role of Noah Calhoun, he saw the actor (and former Mouseketeer) differently — as someone both relatable and reckless enough to chase his dream girl (Rachel McAdams’ Allie) up a Ferris wheel. No matter what Allie does, he keeps on loving her in the best possible version Hollywood can make of a Nicholas Sparks novel. The secret formula here comes in catching up with Noah and Allie half a century later, as played by screen legends James Garner and Gena Rowlands, coupled with the tear-jerky reason we’ve been reliving all their most romantic memories. — PD

All That Heaven Allows (1955)

The colors gush in Douglas Sirk’s lush 1950s melodrama, about a New England widow, Cary (Jane Wyman), who falls for the studly but respectful hunk (Rock Hudson) who tends the trees at her house. It may be love, but her two grown children — and nearly the entire community — are disapproving of Cary’s feelings, pressuring her to break off the relationship. Seen today, neither the age difference nor the class divide seem like deal-breakers, which makes Cary’s sacrifice seem all the more futile. (Years later, Todd Haynes updated the dynamic with a Black gardener and a still-living gay husband in “Far from Heaven.”) During the 1950s, Hudson carved out a niche as a sensitive leading man, to the point that he’s almost pathetic here (consider the state of him in the final scene). Others may try to meddle, but in the end, it’s her decision alone whom she loves. — PD

The Sound of Music (1965)

You might ask: How romantic could a musical this notoriously G-rated and squeaky-clean really be? But if “The Sound of Music” has incandescent songs, as well as a singular true-life story about the Von Trapp Family Singers (seven motherless Austrian children returned to vitality through the life force of Julie Andrews’ nun-turned-governess Maria), the movie’s secret weapon is its love story. Andrews, while she’s certainly playing the soul of goodness, invests her slow-blooming affection for Christopher Plummer’s Capt. Von Trapp with an almost forbidden sense of broken decorum. And Plummer, who looks like he belongs in a far darker movie, plays the captain as a lost man literally coming back to existence. When these two dance and realize, at the very same moment, that they’ve fallen in love, it’s one of the most electrifying scenes in movie history. — OG

Once (2007)

It’s not unusual to see a musical scale the heights of romantic passion. What’s different about John Carney’s film is that it’s a small-scale, non-stylized, kitchen-sink indie drama, yet in its lo-fi and platonic way it uses songs to create the majesty and devotion of a musical daydream. On the sidewalks of Dublin, a 30ish busker (Glenn Hansard) strums a guitar with a worn-out hole where the pick board should be. Most folks pass him by, but a girl (Markéte Irglová) lingers. They’re drawn into each other’s orbit, and though we never learn their names, a romance — or is it? — begins to play out in the songs they sing together. They both have other relationships, yet ”Once” tells the delicate tale of how, through song, these two save each other. As they give themselves over to numbers like “When Your Mind’s Made Up,” the movie swoons, and you will too. — OG

Pretty Woman (1990)

Some think of it as the ultimate guilty-pleasure rom-com. Others say that its story of a wealthy businessman (Richard Gere) who hires an escort (Julia Roberts) for a week to be his public romantic partner represents Hollywood at it most reprehensibly sexist. The truth, however, falls right in between. “Pretty Woman” only got tagged with the guilty-pleasure label because it came out at the dawn of the modern rom-com era (it sparkles like Tracy and Hepburn next to a lot of the films that came afterward). And as far as morality goes, it’s not the movie that’s sexist. It’s the world of high-gloss commodification that Vivian, played by Roberts not just with the boldest smile of her era but with the vivacity that turned her into a singular movie star, must navigate. Look closely at the dance of chemistry and arbitration between Roberts and Gere, and you’ll see that “Pretty Woman,” in its slickly-packaged-by-director-Garry Marshall way, is nothing less than a screwball celebration of the politics of love. — OG

Mississippi Masala (1991)

Mira Nair took a pioneering risk in depicting the romance between Demetrius (Denzel Washington), a blue-collar Black carpet cleaner, and Mina (Sarita Choudhury), a young Indian woman whose family fled Uganda to the American South. Set in Greenwood, Miss., where locals helped the creative team finesse the authenticity of the movie’s dialogue and detail, Nair’s contemporary interracial romance confronts the pushback of both the African American and South Asian communities to Demetrius and Mina’s relationship. But unlike Sidney Poitier social drama “Guess Who’s Coming to Dinner,” her parents’ reaction makes up just a fraction of the script, which gives complex backstories to each side of the couple. It’s also incredibly sexy, whether they’re chatting by phone in separate beds or sharing the same one in the movie’s scorching love scene. The movie argues for colorblindness while celebrating both cultures, modeling a relationship never before seen on screen. — PD

Say Anything (1989)

“Optimism is a revolutionary act,” writer-director Cameron Crowe quips in the commentary for his late-’80s teenage touchstone. That kind of radical confidence drives high school senior Lloyd Dobler (John Cusack), who musters the nerve to ask out valedictorian Diane Court (Ione Skye), even though all his peers think she’s out of his league. At first, Lloyd may seem like a nobody when compared to his most-likely-to-succeed sweetheart, but over time, he proves to be loyal, decent and unflappably sincere — qualities that made him the model boyfriend for kids of the ’80s. The clincher: Even when dumped, he shows up with a boombox, blasting Peter Gabriel’s “In Your Eyes” outside her window. The gesture became an iconic declaration of love for a generation … and still holds up, even if the technology is obsolete. — PD

The Way We Were (1973)

Today, it would probably be a rom-com about opposites attracting: Katie (Barbra Streisand), a wisecracking Marxist Jewish political activist, and Hubbell (Robert Redford), a debonair WASP writer born with the entitlement not to have to worry about “causes.” But 50 years ago, when the story was filmed by director Sydney Pollack not as a comedy but as a romantic drama of tumultuous love-hate passion, the film, in its high-end soap-opera way, seemed to be expressing something new in the culture — the way that love, after the 1960s, was no longer going to be asking people to stay in their ethnic lanes. “The Way We Were” is a hefty slice of middlebrow Hollywood corn, yet the irresistible tug of it is that Streisand and Redford embody their characters on a level of romantic mythology. And let’s not forget the power of that title song! As sung by Streisand, it’s the incarnation of nostalgic beauty. — OG

Carol (2015)

Movies that involve romantic stories of same-sex couples are inevitably placed in a category called “gay” or “queer” or whatever, often by their biggest fans. Yet if you think about it for five seconds, that’s a retrograde way of putting movies into boxes. The director Todd Haynes has made several masterpieces (“Far From Heaven,” “Superstar: The Karen Carpenter Story”), but he has never made a drama more darkly romantic and enticing, more seductive in its suspense, more mired in the agonizing compulsion of love than this lavishly mesmerizing adaptation of Patricia Highsmith’s 1952 novel “The Price of Salt.” During the Christmas shopping season, Therese (Rooney Mara), a New York department-store clerk, meets Carol, a woman of the world played by Cate Blanchett with a femme fatale swagger just this side of threatening. Their relationship will be fraught with the drama of divorce, blackmail, a private detective, and other elements that, as staged by Haynes, acquire the heightened quality of a vintage film noir. The final scene, set in the bar of the Oak Room, features one of the most transporting locked-gazes-across-a-crowded-room moments you’ll ever see. — OG

The Bodyguard (1992)

Is there anything more romantic than someone jumping in front of a bullet for you? Technically, that’s Frank Farmer’s job, but by the time Kevin Costner’s clean-cut, ex-Secret Service agent leaps in to protect endangered diva Rachel Marron (Whitney Houston) — on Oscar night, no less — we know he’s acting out of love more than duty. Frank sweeps both audiences and Rachel off their feet much earlier in the film, during a concert meltdown where he lifts her up and carries her through the mob — a chivalrous image immortalized on the film’s poster. Amazingly enough, “The Bodyguard” never made a big deal of its interracial romance, and that itself was a big deal. Powered by one of the all-time great soundtracks, the pop blockbuster is a classy entry in the oft-smarmy category of R-rated ’90s thrillers. Recent talks of a remake raise the question of which couple could out-sizzle Costner and Houston. — PD

Sunrise: A Song of Two Humans (1927)

Marriage, they say, has its ups and downs. But it’s doubtful that any movie has ever dramatized the ebb and flow of feeling in a relationship with the primal power of F.W. Murnau’s silent classic. In outline, it could almost be a murderous film noir: A man — known only as The Man (George O’Brien), and haunted by better times with his wife, known only as The Wife (Janet Gaynor) — leaves the farmhouse where they live with their child to be with a woman from the city (Margaret Livingston). She wants him to drown The Wife, and part of the film’s shock is that he nearly does. But “Sunrise” proceeds as a series of shocks, which have the effect of jolting love back to life. Shot as a kind of sensuous living daydream, it is the cinema’s most profound and stirring roller-coaster of passion, an affirmation of what it means for two people to be meant for each other. — OG

The Princess Bride (1987)

Presented as a beloved fairy tale passed down between generations, screenwriter William Goldman’s tongue-in-cheek riff on classic adventure tales takes the best parts of nearly a century of cinematic love stories and remixes them for the home-video set (the goal was to get through to media-savvy audiences who thought they’d seen it all). Starting with two impossibly beautiful leads in Cary Elwes and Robin Wright, he builds a legend of swashbuckling pirates, dangerous rescues and well-earned revenge, describing it all (via kindly narrator Peter Falk) as the ultimate example of the form. That’s an impossible tall order — a genre-straddling smorgasbord the studio didn’t know how to market at the time — which director Rob Reiner miraculously achieves by enlisting an astonishing ensemble. Everyone from Billy Crystal to Christopher Guest, Wallace Shawn to Andre the Giant assemble to support the sacrifice Westley makes to save his beloved Buttercup from marrying the wrong guy. — PD

Past Lives (2023)

Two men and a woman sit at a bar, and before the audience knows anything about them, we try to figure out what their relationship is. Who belongs with whom? That we can’t entirely tell is key to what makes Celine Song’s remarkable drama such a haunting fable of love’s enigma. It turns out that Nora (Greta Lee), a New Yorker born and raised until the age of 12 in South Korea, is married to Arthur (John Magaro), a mouthy homegrown American she met at a writers’ retreat. The other man, Hae Sung (Teo Yoo), is the childhood friend Nora has maintained ties with; he’s at once her past, the spirit of her homeland, and maybe her romantic partner in another avenue of existence. “Past Lives” is a movie that will strike chords of recognition in any true romantic, as it’s about the secret journey that love takes: a communion that may occur in this life, or that may just be waiting for the next one. — OG

Beauty and the Beast (1946)

It’s one of the most poetic distillations of romantic desire in all of movies; you could also call it the “Splash” of its day. Jean Marais plays the Beast, who in Jean Cocteau’s film is a kind of delicate aristocrat with the face of a courtly lion. Josette Day is Belle, who ends up imprisoned in the Beast’s castle to work off a debt accrued by her father. What follows is an intricate fairy tale of deception and magic, built around the luminous ingenuity of Cocteau’s visual effects. Yet the most magical thing about it is the bond that develops between Belle and her disarmingly chivalrous captor/lover, a character so touching in his passion that when Greta Garbo saw the movie, it’s reported that she reacted to his death at the end by crying out, “Give me back my Beast!” — OG

Love & Basketball (2000)

The title of this Y2K sports classic references two very different games, and the rules aren’t fair in either one. After discovering that they both love basketball, Monica cockily challenges childhood friend Quincy to a match (later, famously, she’ll play for his heart). Monica wins that first bout, but he winds up injuring her — an early sign that the dynamic is different when two sexes occupy the court at the same time. That gap widens as they grow up (into Omar Epps and Sanaa Lathan). He finds it relatively easy to follow in the footsteps of his NBA-pro dad, whereas there’s no equivalent path for female players. Writer-director Gina Prince-Bythewood empathizes with Monica, who watches fame go to her old friend’s head. Per the formula, audiences are conditioned to root for the romance to work out, but basketball occupies a bigger part of Monica’s heart, and the movie finds the perfect solution. — PD

Call Me by Your Name (2017)

Italian director Luca Guadagnino (“I Am Love”) turned André Aciman’s ecstatic, wildly overwritten novel of a formative first love between teenage Elio (Timothée Chalamet) and his father’s slightly older — but still relatively inexperienced — teaching assistant, Oliver (Armie Hammer), into a sensual summer dream. There’s an intensity to the sights, sensations and emotions that imprints itself on audiences, such that Elio’s memories become our own. One needn’t be gay to recognize the significance that such an all-consuming early infatuation can leave on a young person’s romantic identity, though the movie offers a welcome message to all who’ve struggled to come to terms with their own sexuality in the eloquent heart-to-heart between the boy and his surprisingly understanding dad: “How you live your life is your business. Just remember, our hearts and our bodies are given to us only once,” he says. “Don’t kill it and with it the joy you’ve felt.” — PD

Vertigo (1958)

For a director who was known as the thrillingly precise and methodical Master of Suspense, Alfred Hitchcock was not shy about portraying romantic rapture. A number of his films (“To Catch a Thief,” “Notorious,” “Rear Window”) are entrancing love stories, but in “Vertigo” he dove deep into an almost private zone of love-as-fetishistic-obsession. James Stewart’s middle-aged detective falls for the woman he’s hired to follow — played, with a depressive carnality, by Kim Novak, who also plays the woman’s shop-girl look-alike, who Stewart then feels compelled to transform into the first woman. No classic Hollywood movie balances love on the precipice of kink and danger the way this one does, which is why “Vertigo” opened the door to everything from “Blue Velvet” to the career of Brian De Palma. — OG

La La Land (2016)

Damien Chazelle’s glorious, heartrending, bittersweet musical does an extraordinary job of retro-fitting the song-and-dance pleasures of vintage Hollywood into the sunlit freeway landscape of contemporary Los Angeles. Yet the film’s most radical feature is the way it brings Mia (Emma Stone), an aspiring actress, together with Seb (Ryan Gosling), a jazz pianist drowning in his own purity, and celebrates their union with intoxicating affection — only to show you how their love crashes on the shores of warring egos. What lifts “La La Land” into the realm of transcendently moving love stories is that it presents a happy ending that almost happened, and that could have happened if only life had turned out a bit different. — OG

Eternal Sunshine of the Spotless Mind (2004)

Dramatically speaking, the most exciting part of a relationship occurs either during the time a couple is falling in love or else at the moment it’s falling apart. Screenwriter Charlie Kaufman incorporates both aspects — albeit as endangered flashbacks — while exploring a fantasy that anyone who’s been through the emotional wringer of a relationship can identify with: What if you could erase all traces of an ex from your memory? Director Michel Gondry proved the perfect partner to visualize the sketchy sci-fi apparatus that makes a brain scrub possible for Joel (Jim Carrey), who realizes halfway through that, however painful, he can’t live without any trace of his soulmate, Clementine (Kate Winslet), the manic free spirit with the Kool-Aid-colored hair. As Joel tries to hold on to the good times while his mind’s being wiped, Kaufman allows audiences to absorb their best memories and make them our own. — PD

Four Weddings and a Funeral (1994)

Hugh Grant stammered his way into our hearts, fumbling and fluttering his eyelids the whole way, in a delightfully English rom-com from screenwriter Richard Curtis (who juggled no fewer than eight couples in his 2003 directorial debut “Love Actually”). This more streamlined love story starts where practically every Jane Austen story ends: at the altar. Grant’s not the one getting hitched at those opening nuptials, though he does fall hard for an American guest played by Andie MacDowell. Their courtship is unconventional (it amounts to shagging anytime their friends tie the knot), but the chemistry is undeniable. When it’s time for Charles and Carrie to get married, however, each of them says their vows with someone else. So how do they wind up together? It’s the little surprises that delight. — PD

Out of Sight (1998)

In terms of sheer sex appeal, it’s hard to top the chemistry between George Clooney and Jennifer Lopez, who play an incorrigible bank robber and the U.S Marshall tasked with apprehending him in Steven Soderbergh’s sultry, time-skipping Elmore Leonard adaptation. It’s steamy from the start, as a prison break leaves cop and quarry stuffed in a trunk together — a cozy way to get acquainted. Four years after “Pulp Fiction,” the picture came at a moment when Soderbergh was experimenting with film editing and features several nifty innovations, including an unconventional love scene that turns up the heat by cutting between flirtation and payoff. In one thread, Jack Foley and Karen Sisco roleplay in the hotel bar, pretending to be strangers. Skipping ahead, it teases glimpses of the “time out” where all this cocktail talk is headed: a striptease upstairs, in which the pair put aside their differences long enough to make love. — PD

The Unbearable Lightness of Being (1988)

Great as he is, we don’t tend of think of Daniel Day-Lewis as an overwhelmingly romantic movie star. In Philip Kaufman’s heady, intoxicating, high-wire adaptation of the Milan Kundera novel, he plays Tomas, a character who is very much a fickle Lothario — a randy physician in 1960s Prague who bounces from one conquest to the next, though he does have a regular thing going with Sabine (Lena Olin), an artist who likes to spice their lovemaking with mirrors and bowler hats. But then Tomas meets Tereza (Juliette Binoche), whose gravity pulls him down to earth. And then the Soviet tanks come rolling in, blowing up all their lives. When that happens, “The Unbearable Lightness of Being” becomes one of the most seriously moving love stories in cinema, a tale of three lost souls yearning to connect, to survive, to unlock love’s mystery. — OG

A Star Is Born (1954)

For 30 years, the Judy Garland/James Mason version of “A Star Is Born” was tainted by the messy circumstances of its making. The script kept getting rewritten, Garland was a notoriously unstable presence on set, and when the movie premiered in New York, it was three hours long — but executives at Warner Bros. then chopped it by half an hour, without so much as consulting the director, George Cukor. Yet when the movie was re-released in the ’80s, its reputation was elevated in a way that’s comparable to what happened with Hitchcock’s “Vertigo.” A world of moviegoers discovered that Cukor had crafted one of the most darkly entrancing love stories ever made. Its haunted spirit of rapture and loss is incarnated in Garland’s performance of “The Man That Got Away,” in Mason’s jaw-dropping drunken slap of Garland during a scene set at the Oscars, and in the tragic finale, which touches the secret heart of love: the faith necessary to sustain it. — OG

The Remains of the Day (1993)

Repression and strict social restraints are constantly keeping lovers apart in the works of director James Ivory, producer Ismail Merchant and screenwriter Ruth Prawer Jhabvala, who together made a career’s worth of exquisitely nuanced literary adaptations frequently (and often unfairly) lumped in with lesser, made-for-TV costume dramas. While “A Room with a View” and “Maurice” are more overtly passionate, the trio’s take on Kazuo Ishiguro’s celebrated novel offers a heartbreaking portrayal of a couple kept apart by codes beyond their control. In this case, a butler (Anthony Hopkins) born and raised to serve the English aristocracy is so mindful of his place that he can’t bring himself to tell the housekeeper he adores (Emma Thompson) his true feelings. It’s wrenching to watch this docile attendant struggle between emotions for a colleague and devotion to his job, and yet, between the lines, and in these two masterful performances, are written volumes. — PD

Sid and Nancy (1986)

The director Alex Cox brought off something singularly audacious by centering a punk biopic on Sid Vicious, the Sex Pistols’ bassist and all-around showman-fuckup who was so dissolute most of the time that he could barely play his instrument or keep from nodding out. Yet the ultimate audacity of Cox’s film is that it dares to present Vicious’s relationship with Nancy Spungen, the torn-fishnet groupie from suburban Pennsylvania who turned him into a heroin addict, as if they were the Tristan and Isolde of the rock ‘n’ roll gutter. As Sid, Gary Oldman gives what may still be his greatest performance, and Chloe Webb, as Nancy, gives what is simply one of the most powerful performances in the history of cinema. Her Nancy is a caterwauling liar and junkie, such a damaged shard of a human being that it tears your heart apart just to behold her. Nancy and Sid are barely functional narcissist addicts, yet their love affair is fused on an animal level; they need each other to live, and to die. “Sid and Nancy” is raw and exhilarating — the greatest of all music biopics, and (not so incidentally) the most romantic. — OG

Moonlight (2016)

Told through poetic glimpses over three separate chapters in the life of its main character, “Moonlight” doesn’t feel like a love story at first. Director Barry Jenkins introduces Chiron at age 10, too young to recognize his own homosexuality, and yet already being teased as soft by his peers. In the middle segment, the boy meets Kevin, with whom he starts to explore his feelings, only to have that possibility derailed by bullying. Subverting stereotypes at every turn, the movie gives this lost soul a second chance in the final stretch, focusing on a tender, tentative reunion between Chiron (bulked up and thick-skinned from his time in prison) and his former crush. By this point, audiences are so invested in the character that “Moonlight” broke free of the rigid box that confines most queer stories to LGBT audiences, making it a crossover success and historic Oscar winner. — PD

The Apartment (1960)

The dialogue still zings and the heartbreak still stings in Billy Wilder’s ahead-of-its-time depiction of two Manhattan office drones who are both exploited by the same manager: Jack Lemmon plays ultra-cynical insurance salesman Bud Baxter, while Shirley MacLaine is Fran Kubelik, the elevator girl who brightens his days … but loves his boss. The plot (which involves Bud lending his place to higher-ups to schtup their secretaries) anticipates the #MeToo movement, while also acknowledging the reality that well-intentioned workers frequently fall for their colleagues. Bud goes about it the relatively respectful way, while Fran’s plight illustrates how unfair the world can be to those who mix business and pleasure. For audiences that love “Mad Men,” but identify with the underdog, the movie poses a wonderfully adult conundrum — one which forces Bud to decide between personal ethics and professional ambition, knowing it could all go sideways for him, career-wise. — PD

An Officer and a Gentleman (1982)

In the New Hollywood ’70s, a great many aspects of classic big-screen romance — the unabashed yearning, the sparkle, the lock-step gender roles — began to fall by the wayside. There was a lot of chatter about how romance itself was fading out of the culture. But that’s part of what made “An Officer and a Gentleman” loom so large. In its meticulous throwback of a story about a drifter, played with pinpoint narcissistic glamour by Richard Gere, who enlists in the Navy and falls for one of the “Puget Sound Debs” (Debra Winger) who want to marry a future jet pilot, the movie seemed to bring back, for the post-feminist era, the kind of shamelessly ardent love story that had fallen out of fashion. It helped that director Taylor Hackford infused it all with a contempo grittiness. As a basic-training movie, “Officer” anticipated much of ”Full Metal Jacket,” but what makes it indelible is the hungry desire enacted by Debra Winger, whose gaze of soulful adoration brings Gere fully alive as a romantic actor. — OG

In the Mood for Love (2000)

Cinema could hardly conjure a more lovely or elegant couple than cigarette-smoking Tony Leung and Maggie Cheung, who floats through stairwells in form-fitting cheongsams. Operating on the wisp of a plot, improvised and evolved over nearly a year, Hong Kong director Wong Kar-wai denies these two beautiful avatars a conventional romance. They play neighbors who discover that their spouses are having an affair, and rather than sink to the same level, they indulge in a bit of imaginative detective work, reenacting how their partners might have met. This thin outline leaves near-infinite room for Wong to evoke a subjective range of responses from his audience, using the full range of cinematic tools — color, costume, gesture, music — to solicit a different reading from each viewer. Your mileage may vary, but keep in mind: Wong’s a feel-maker as much as a filmmaker, rewriting the rules via this elliptical dance between unrequited lovers. — PD

Moonstruck (1987)

At early test screenings, audiences weren’t falling for Norman Jewison’s now-classic New York romance the way they were supposed to, until he laid the tune “When the moon hits your eye like a big pizza pie…” over the opening credits. Cher tamped down her natural glamour to embody pragmatic Italian-American widow Loretta Castorini, who’s ready to settle for Johnny’s (Danny Aiello) passionless marriage proposal when she meets his brother Ronnie, played by a hot-blooded Nicolas Cage. Let’s just say, Ronnie gives this sensible Catholic woman reason to go to confession. The script by John Patrick Shanley is all but bursting with culturally specific detail, from drool-worthy dishes to unusual superstitions, but it’s the colorful ensemble — family members who want what’s best for Loretta — that ultimately serves to validate her seemingly reckless choice. After a lifetime of listening to her head, she finally decides to follow her heart. That’s amore! — PD

City Lights (1931)

Charlie Chaplin stubbornly resisted the film industry’s embrace of sound, releasing this silent treasure into a sea of talkies. Cinema may have gone a different direction, but his stubborn adherence to pantomime (plus his obsessive need to reshoot every shot until perfect) makes this love story seem all the more timeless, as Chaplin’s signature character, the Tramp, falls for a blind flower seller (Virginia Cherrill). She mistakes him for a wealthy man, and the Tramp allows her to go on imagining him that way in the most poetic version of a familiar rom-com trope ever committed to film: At some point, he’ll have to come clean. Will she still love him when she discovers the truth? The final scene, in which she recognizes the vulnerable fool after her vision has been restored, not by sight but by contact, ranks among the medium’s most romantic. — PD

Bonnie and Clyde (1967)

Of the many qualities that made it a revolutionary movie, two stand above all others. The first, and most talked about, is how violent it was — the bystander shot through the eye, the climactic slow-motion blood ballet, and everything else that rubbed the audience’s nose in what being a criminal really meant. But the other quality that defined “Bonnie and Clyde” was how shockingly sultry and romantic it was. The ads for the movie said, “They’re young. They’re in love. And they kill people.” The subtext was that something in the connection between Faye Dunaway’s torrid hunger and Warren Beatty’s vulnerable stud glamour was itself so dangerous that it was lethal. Just check out the two stars’ faces as they exchange one last look before being strafed to death by a hail of bullets. That look is the essence of true love. — OG

The 'Before' Trilogy (1995, 2004, 2013)

Taken by itself, 1995’s “Before Sunrise” represents the perfect encapsulation of young love: Two strangers meet on a train, get off together in Vienna and spend the night walking and talking (there’s some debate as to whether they make love, as the movie’s too modest to show it). Nine years later, director Richard Linklater delivered one of the most satisfying sequels of all time in “Before Sunset,” reuniting with his two characters, Jesse (Ethan Hawke) and Céline (Julie Delpy), in Paris. Their time is once again limited, but now, the conversation deals with their regrets. But the attraction remains, and the movie ends with the implication they wind up together. But is it happily ever after? Linklater and company caught up with the pair once again with “Before Midnight,” and the movie finds them together, but dissatisfied, acknowledging the challenges that confront couples after nearly a decade together. It was impossible to guess when they first met how deep this relationship would go, and still anybody’s guess how it will end. — PD

Annie Hall (1977)

“I lurve you,” says Woody Allen’s Alvy Singer, coming about as close as he can to declaring his feelings for Annie Hall (Diane Keaton), the beguiling thrift-shop space cadet who charmed the world with her la-di-da innocence. Allen’s late-’70s classic was, at the time, a new kind of love story — the saga of a “relationship,” which is to say a partnership not truly built to last. And maybe Alvy Singer had to say “lurve” instead of “love” because, deep down, he wasn’t really sure that he could commit himself to the L-word. Yet the magic of “Annie Hall” is that is channeled how an entire generation had come to regard love in the age of therapeutic navel-gazing: as something intoxicating yet transient, rooted in a seems-like-old-times nostalgia that felt more at home looking back than forward. — OG

Jerry Maguire (1996)

Tom Cruise had always been a solo vessel — a cruise missile of a movie star. It was Cameron Crowe’s inspiration, in casting Cruise as a sports agent who gets tossed out of the game and has to reinvent himself as a better person in order to come back, to pair Cruise with Renée Zellweger, an unknown actor who did not come off like some female-movie-star equivalent of Tom Cruise. She had a homespun allure that seemed to be calling his cockiness, his very stardom, on the carpet. The beauty of the line “You complete me” is that Cruise seemed, at last, to be letting down the guard of a dozen years of mega-stardom. The beauty of “You had me at hello” is that it reminds us of how easy love is when it’s real. — OG

Roman Holiday (1953)

Audrey Hepburn plays the fed-up crown princess of an unspecified country in this escapist romp through the Eternal City. The project kicked off a seven-picture run with Paramount, during which she may as well have been the queen of Hollywood romances: “Sabrina,” “Funny Face,” “My Fair Lady” and more. Suffocating under the obligations of her position, she sneaks out during a European tour, landing in the hands of Gregory Peck’s dishonest (yet honorable) American newspaperman. He thinks he’s hit the jackpot, betting his editor he can deliver an exclusive interview with the princess — but he doesn’t gamble on falling for the dame. Their whirlwind romance lasts but a day, but in that time, the reporter gives Ann/Anya/Audrey a taste of freedom. She plays it coy for most of the movie, but the closeup on her face at the end says it all. — PD

Gone with the Wind (1939)

The scene where Clark Gable carries Vivien Leigh up the stairs, with intimations of (to put it mildly) erotic coercion, would not pass muster today. Yet that scene, and others that rhyme with it, are part of what make the most epic of Old Hollywood love stories one of the most darkly complicated and enthralling of Old Hollywood love stories. Leigh’s Scarlett O’Hara is fierce, strong, manipulative — the Southern belle as aristocratic vixen — and so she and Rhett Butler are destined to turn love into a battle that’s doomed to end in a draw. But what heat and light their fireworks give off! “Gone with the Wind” is a movie that’s now seen as “problematic,” yet one of the most seemingly imperfect things about it — the alternating currents of sex and anger, devotion and contempt that fuel the central relationship — is what makes it such a tumultuous classic. — OG

The Umbrellas of Cherbourg (1964)

A couple needn’t end up together for a love story to stand the test of time. In the case of Jacques Demy’s bittersweet musical, there’s a relatable quality to the way circumstances keep a working-class French couple from their happily ever after. That downbeat fate serves to balance the bright colors and bold choice of delivering every line of dialogue, no matter how banal, through song. That recitative strategy is common enough in opera, but downright revolutionary on film, still fresh and highly unusual all these years later. Naive young Geneviève (Catherine Deneuve, doll-like at 19) sells umbrellas in the family shop. Guy (Nino Castelnuovo) fixes cars at a nearby garage. They seem destined to be together, until military service calls him away. Michel Legrand’s score leans into the melancholy what might have been in what feels like a snow globe rendering of real life. — PD

Brokeback Mountain (2005)

It’s a queer love story set entirely in the closet. Yet by dramatizing the inner lives of two cowboys who find a romantic home on the range in early 1960s Wyoming, Ang Lee’s breathtaking adaptation of the Annie Proulx short story undermined every expectation of contemporary audiences. In showing us two men who discover a love that they themselves think is forbidden, the film dramatizes how prejudice can worm its way into the very fabric of people’s lives; it also demonstrates that the myth of the straight-as-an-arrow American macho he-man is just that – a myth. At the same time, our yearning for Ennis and Jack to make a life for themselves becomes overwhelming in its heartbreak. The performances of Jake Gyllenhaal and Heath Ledger are indelible — and, in Ledger’s case, miraculous, as he turns the muffled, barely articulate Ennis into a living metaphor for a love that cannot speak its name. — OG

Ghost (1990)

It’s a love story, a ghost story, a corporate crime story, a pottery story, and a movie in which Whoopi Goldberg plays the world’s funniest cut-up mystic. But who would have guessed that just four months after “Pretty Woman,” it would be the headiest romantic movie of its year? The director, Jerry Zucker, was a veteran of the “Airplane!” troupe, yet somehow he juggled all these elements to touch a chord of pure fairy-tale rapture, spinning out the story of a New York banker who’s killed by a mugger and returns as a ghost to protect his artist girlfriend. The way Patrick Swayze and Demi Moore bond across the ectoplasmic divide is at once thrilling and moving (true love, it seems, knows no restrictions, from either physics or the spirit world). The film turned the Righteous Brothers’ “Unchained Melody” into a retro smash, but only because of how it tapped the film’s emotions: intimate, operatic, quavering with devotion. — OG

Brief Encounter (1945)

It all began with a little piece of grit in her eye. Fortunately — or not — for Laura Jesson (Celia Johnson), a doctor was present to remove the offending particle, and when her vision cleared, there he stood, Dr. Alec Harvey (Trevor Howard), handsome and kind. The train station where this meeting happens serves as a kind of romantic purgatory, with each locomotive that steams through reminding Laura and Alec of their obligations to their actual partners. But every Thursday, they meet in town, too weak to resist the growing love between them — feelings which the conservative forces of the time could not condone, but which spoke to a human experience too widespread to go ignored. And so David Lean’s slender, achingly honest film has stood for years, staunchly refusing to judge two would-be adulterous souls, letting audiences in on a secret that even their spouses don’t suspect. — PD

A Star Is Born (2018)

It’s a seesawing Hollywood love story that’s been told on the big screen close to half a dozen times, yet never more powerfully or artfully than by Bradley Cooper in his astonishing directorial debut. From the bombastic kitsch of the 1976 Streisand/Kristofferson version, Cooper borrowed the idea of turning the central character into a rock ‘n’ roll star, and his performance as Jackson Maine — a half-deaf drunken burnout, running on fumes, even though he’s able to fool the world into thinking he’s still a rock god — grounds the soap-opera story in something disarmingly earthy and real. When Jackson meets Ally (Lady Gaga), a budding singer-songwriter, and invites her onstage to sing “Shallow,” you will get chills the way few romantic movies have given them to you — and the tremors don’t let up, as the two get on a serpentine roller-coaster of love vs. jealousy, arena rock vs. dance pop, and tragedy slipping into redemption. — OG

Moulin Rouge! (2001)

Baz Luhrmann’s visionary jukebox musical is in love with a lot of things: the look and feel of faux 1890s sound-stage Paris (that nightclub windmill etched in light), the epiphany of pop songs like Elton John’s “Your Song” when they pop up in what should be the wrong place (but then why does it feel so right?). Mostly, though, the film is in love with Christian and Satine, the romantic bohemians played by Ewan McGregor and Nicole Kidman, who summon gazes of such doomed longing that the film’s ultimate love affair seems to be with love itself — the unearthly kind, the kind that lives as an impossible dream. — OG

To Catch a Thief (1955)

From “The Awful Truth” to “An Affair to Remember,” Cary Grant enjoyed a two-decade run as Hollywood’s most dapper leading man, romancing everyone from Katharine Hepburn to Ingrid Bergman, sometimes multiple times over. But it was paired with impossibly elegant star (and future princess) Grace Kelly that Grant sparkled brightest, playing a notorious jewel thief who finds Kelly’s wealthy American tourist even more irresistible than her invaluable diamond necklace. Like a well-practiced cat burglar, this sprightly Hitchcock movie tiptoes so lightly it hardly touches the ground, sweeping audiences away to the chicest of locations on the French Riviera. Whether it’s the scene of Kelly’s gems outdazzling a fireworks show (she stands in the shadow while her diamonds glisten in full view of Grant) or the hilltop picnic overlooking Monaco, the vibrant full-color fling gave landlocked Americans a fizzy Mediterranean fantasy featuring the most distinguished couple imaginable. — PD

Titanic (1997)

The swooniest romantic movie of its time, and also the most sublime, James Cameron’s ocean disaster epic is the rare Hollywood blockbuster that achieves a larger-than-life quality. Yet its secret weapon as a love story is the too-often-unacknowledged deftness of its storytelling. As Jack and Rose, the sweethearts from opposite sides of the class divide, Leonardo DiCaprio and Kate Winslet have an effervescent chemistry, yet they’re playing starry-eyed youths caught in a puppy-love fling. The implication is that their union might last just about as long as the Titanic’s voyage — were it not for that fateful iceberg. In “Titanic,” it’s disaster itself that elevates love into something timeless. — OG

Casablanca (1942)

It was often said that in the 20th century, the movies taught people how to fall in love. You certainly know that watching “Casablanca.” In all of cinema, there is no love connection more pure, more impassioned, more haunted by the past, more alive in the present, more complicated by circumstance than the one between Rick (Humphrey Bogart), the expatriate owner of a shady Moroccan nightclub and gambling den, and Ilsa (Ingrid Bergman), the woman he fell in love with in Paris in 1940, only to be abandoned by her for mysterious reasons. Do they still love each other? The answer to that is as simple as listening to Sam (Dooley Wilson), the saloon pianist, play “As Time Goes By” and hearing that it’s really about how a kiss is just a kiss…for all time. Yet if Michael Curtiz’s ageless Hollywood classic celebrates what love is, it’s also about the deepest level of what love means : not just rapture but sacrifice, devotion to the other, a giving over of oneself to something larger. “Casablanca” remains the ultimate big-screen romance, in part because Bogart and Bergman show us that love is a force within us powerful enough to connect to — and save — the world. — OG

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105 Best Fresh Romance Movies

Jason's Lyric (1994) 58%

Chocolat (2000) 63%

Pretty Woman (1990) 65%

Love Actually (2003) 64%

An Affair to Remember (1957) 67%

Dirty Dancing (1987) 72%

About Time (2013) 71%

10 Things I Hate About You (1999) 71%

You've Got Mail (1998) 70%

The Curious Case of Benjamin Button (2008) 72%

Pretty in Pink (1986) 75%

William Shakespeare's Romeo & Juliet (1996) 74%

Ghost (1990) 75%

Sleepless in Seattle (1993) 75%

Moulin Rouge (2001) 75%

An Officer and a Gentleman (1982) 79%

A Very Long Engagement (2004) 79%

Punch-Drunk Love (2002) 79%

Bridget Jones's Diary (2001) 80%

The Theory of Everything (2014) 80%

Lars and the Real Girl (2007) 81%

Death Is a Woman (1967) 82%

Notting Hill (1999) 84%

Bright Star (2009) 83%

Atonement (2007) 83%

Doctor Zhivago (1965) 82%

Jerry Maguire (1996) 84%

The Lovers on the Bridge (1991) 86%

Harold and Maude (1971) 86%

The English Patient (1996) 86%

Pride & Prejudice (2005) 87%

Only Lovers Left Alive (2013) 86%

Blue Valentine (2010) 86%

Brokeback Mountain (2005) 88%

Breakfast at Tiffany's (1961) 88%

Chungking Express (1994) 88%

Amélie (2001) 90%

Titanic (1997) 88%

Blue Is the Warmest Color (2013) 88%

All That Heaven Allows (1955) 91%

The Bridges of Madison County (1995) 90%

Edward Scissorhands (1990) 90%

Gone With the Wind (1939) 90%

Chloe in the Afternoon (1972) 86%

Now, Voyager (1942) 91%

Brief Encounter (1945) 93%

When Harry Met Sally... (1989) 89%

In the Mood for Love (2000) 92%

La La Land (2016) 91%

Shakespeare in Love (1998) 92%

Southside With You (2016) 91%

Eternal Sunshine of the Spotless Mind (2004) 92%

Silver Linings Playbook (2012) 92%

West Side Story (2021) 92%

The Shape of Water (2017) 92%

Jules and Jim (1962) 94%

The Apartment (1960) 94%

West Side Story (1961) 92%

Amour (2012) 93%

Moonrise Kingdom (2012) 93%

The Best of Youth (2002) 94%

Moonstruck (1987) 89%

Howards End (1992) 94%

Manhattan (1979) 94%

Beauty and the Beast (1991) 94%

Away From Her (2006) 94%

Before Sunset (2004) 94%

Her (2013) 95%

Carol (2015) 94%

Call Me by Your Name (2017) 94%

Romeo and Juliet (1968) 95%

My Fair Lady (1964) 95%

Weekend (2011) 95%

Lost in Translation (2003) 95%

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Stolen Kisses (1968) 97%

City Lights (1931) 95%

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A Matter of Life and Death (1946) 97%

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A Study On The Influence Of Romantic Comedy Films In Cultivating Unrealistic Perception Of People About Love and Relationship

The concept of romance has changed throughout the centuries. In the past, the ideal of love was expressed through poetry. Love stories were commonly depicted in plays and novels. People read Shakespeare or Jane Austen and formed a concept of love based on chivalry, love at first sight, and damsels in distress saved by the knight in shining armor (Lubomir, et al., 2009). In these days, love and romantic stories are mostly depicted in films. Romantic comedies and chick flicks are the main genres which include these themes. The intended audience is generally women and teenagers. The popularity of these films leads to the thesis statement: People’s perception of love is greatly influenced by films, and this leads to false expectations about “ideal romance.” It has become increasingly apparent to researchers that with its rise in popularity, film and television have become teaching tools for how to behave in society. This ability for the media to shape social interactions, has led many to theorize on how mass media alters the individual. Two of these theories are: cultivation theory (Gerbener, et al.) and social cognitive theory (Bandura). “Social cognitive theory suggests that individuals may actively observe media portrayals of behaviors in romantic relationships for insight into how they themselves could behave in their own relationships”.

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For ages, the neo-liberal Hollywood has relied on its formulaic approach, which often takes the form of genres such as Rom-Coms to attract the unsuspecting audience. The study analyzes the content of Hollywood made romantic comedies. Using Social Cognitive theory and Cultivation theory as the basis, the study carried out content analysis of top five highest grossing romantic comedies of all times, produced in Hollywood. The study found repetitive relationship-based elements in these films indicating that Hollywood uses formula approach to ensnare the audience around the world. The study also concluded that Hollywoodmade-rom-coms had a negative effect on the perception of romantic love among its viewers.

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Media has become saturated with messages about romance. Yet, very scarce work has been done in studying the effects of romance oriented media on beliefs about romantic relationship. The present study aims at investigating the relationship between exposure to romantic media, perceived realism of the media and beliefs about romantic relationship among adults. An Expost facto research design was used and a sample of 439 individuals (121 males and 318 females) over age 18 was selected through purposive sampling. Online portals were used to circulate the survey. Sprecher and Metts Relationship Beliefs Scale (1989) and Rubin’s Perceived Realism Scale (1985) were used. The data was analysed inferentially by using Person Product Moment Correlation to establish relationships and t- test to study gender differences. The findings revealed that exposure to romantic media was not significantly related to beliefs about romantic relationships (except for beliefs about love at first sight), but per...

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This study analyzed the romantic content of a sample of 40 romantic comedy films using a basic grounded theory methodology. Analyses revealed that such films appear to depict romantic relationships as having qualities of both new and long-term relationships; that is, to be both novel and exciting, yet emotionally significant and meaningful. Further-more, relationships were shown to have both highly idealistic and undesirable qualities but for any problems or transgressions experienced to have no real negative long-term impact on relationship functioning. The potential for viewer interpretations is discussed and the need for future research highlighted.

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Media has grown in popularity throughout time, and with it, so has media’s ability to influence those who watch it. Specifically, romantic media has the potential to influence personal romantic beliefs. However, to date, research has typically relied on self-reported questionnaires for determining associations. Therefore, the present study examined the influence of romantic reality media on a specific set of romantic beliefs (i.e., individuals’ implicit theories of relationships) using an experimental procedure. Participants from a small liberal arts college first completed an online, prevideo survey (N = 128) assessing their prior romantic media consumption and their current romantic beliefs. A subset of the participants (n = 81) then came into a computer lab and watched 1 of 3 videos: emphasizing growth beliefs, emphasizing destiny beliefs, or a nonromantic media video. Immediately after the video, participants filled out a postvideo survey assessing their romantic media consumpti...

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The mass media have been saturated with messages and stories about romantic love-fed to us through various channels, including television, movies, music, books, and the Internet. In addition, it is currently believed to be a critical love coach, as well as a source of idealized views of love and romance, for today's youth. This research aims to examine the potential impact of romanticized media on generation Z's understanding and expectations of romantic relationships. By systematically investigating relevant scholarly literature, we analyze and review how individuals develop perceptions of romantic relationships through media exposure. By engaging in an online survey with 152 young people aged from 17 to 26, this study attempts to explore the relationship between the consumption of romance-related content and generation Z's perception of romantic love. Overall, the result suggests that romanticized content preference is significantly associated with highly idealized beliefs and unrealistic expectations of romantic relationships.

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In every interpersonal relationship, a social exchange takes place whereby people tend to balance their emotional investment in the relationship by constantly comparing their current relationship to their perceptions of what they deserve. Cultivation theory suggests that heavy consumption of media might create false schemas about ideal relationships, thereby creating false perceptions of what we deserve. Based on a survey of males and females (N = 108), this study sought to investigate the relationship between media consumption and our expectations from romantic relationships as well as our level of satisfaction in these relationships.

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The 50 Most Romantic Movies of All Time

Whether you're looking for an old classic or a new favorite, these are the top romances to watch.

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People talk about romantic movies like it's just one genre, but there are actually so many different types of romances. Most attention is given to the great romantic comedies , which get people to laugh as much as they tug on people's hearts. But then there are also the romantic teen movies , which recall the intensity of a first love (and are now becoming franchises, when you think of Netflix series like The Kissing Booth , To All the Boys I've Loved Before and Tall Girl ). There are romantic action movies, romantic Christmas movies , romantic noirs — basically you can find romance in any genre you can think of.

But when you want a straight-ahead, no-frills romance, these are the best romantic movies of all time. Sure, they may incorporate elements of comedy, action or drama, and some of them may even star teens. But the biggest criteria is that the relationship has to be the most front-and-center focus of the film. These are the films that give you all those yearning feelings, the ones that yank on the heartstrings with all their might. And while they may be fewer and far between these days, there are plenty of them around if you know where to look. Grab a sweetheart and get ready to swoon.

Hit Man (2024)

It's romance and true crime all rolled into one. Glen Powell — romance actor du jour — plays an unassuming teacher who somehow winds up helping local police by pretending to be a hit man for hire in sting operations. When a potential client wants to be romantically involved, he gets pulled in over his head. The story is inspired by a real guy (though the romance is fabricated) that director Richard Linklater read about in a Texas Monthly article .

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The Idea of You (2024)

It's a May/December romance when a 40-year-old single mom gets involved with a 24-year-old heartthrob. The twist? He's also the singer of a red-hot boy band. (The whole thing is said to be inspired by Harry Styles.) Can the romance survive the celebrity scrutiny?

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Anyone But You (2023)

Bea and Ben don't really like each other. But when Ben wants to make his ex jealous, and Bea wants to keep her family from getting on her case about settling down, they agree to pretend to be in a relationship for the duration of a destination wedding. But you know what they say about best-laid plans, and things start to change when they catch feelings.

Past Lives (2023)

Everyone has the one that got away, the one that inspires daydreams about what could have been. In Past Lives , a girl named Nora is separated from her childhood sweetheart, Hae Sung, when her family immigrates to North America. Years later, Nora and Hae Sung reconnect for a week in New York City, though Nora already has a fiancé. Is he worth pursing and giving up her established life for, or does he just represent the idea of possibility?

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Cyrano (2022)

The love story of Cyrano de Bergerac is nothing new, but feels fresh in this adaptation through original songs, written by members of The National. Peter Dinklage gives a career-best performance as the title character, co-starring alongside Kelvin Harrison Jr. and Haley Bennett.

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RELATED: The Best Movie Musicals

Decision to Leave (2022)

This is a movie for people who like their romances to be rolled up in danger and mystery. The noir-ish film from director Park Chan-wook, who won the Best Director award at the Cannes Film Festival for it, follows a detective investigating a murder — only to fall for the prime suspect. He has to figure out if she's as innocent as she claims, or if it's all part of her ploy.

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Lady Chatterly's Lover (2022)

This movie is based on the super-steamy, often-banned novel by D.H. Lawrence, and it lives up to its source material in intensity. It follows the life of Constance Reid, an aristocratic wife whose eye turns toward her estate's gamekeeper when her husband returns from the war paralyzed from the waist down. Their affair would upend social norms in a variety of ways, but can she resist his allure?

The Worst Person in the World (2021)

This Norwegian film, which was nominated in the Best International Feature Film at the Academy Awards, is a coming-of-age story and romance melded together, focusing on the loves that come in and out of your life when you don't have yourself 100% together. (Who can't relate?) It mostly focuses on Julie (Renate Reinsve) and her journey to young adulthood, but Anders Danielsen Lie co-stars as the man she crosses paths with over and over.

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Sylvie's Love (2020)

Sylvie and Robert meet when Robert gets a job at Sylvie's father's Harlem record shop in 1957. The movie then follows the couple through the years, as they navigate their ambitions, their unexpected setbacks and their feelings for each other.

Portrait of a Lady on Fire (2019)

This film-festival favorite, which was nominated for a slew of awards at the end of 2019, follows a woman who is commissioned to travel to a remote island to paint a portrait of a woman as part of an arranged marriage; of course, she falls in love with her subject, and a forbidden romance ensues.

A Star Is Born (2018)

If you're looking for a story about people brought together by talent and torn apart by fame, you can watch a number of takes on A Star Is Born : There's the 1937 original with Janet Gaynor and Fredric March, the 1954 version with Judy Garland and James Mason or the 1976 remake with Barbra Streisand and Kris Kristofferson. But only the most recent one, with Lady Gaga and Bradley Cooper, has a performance of the heart-rending song " Shallow ."

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RELATED: Lady Gaga Spills the Hidden Meaning Behind “Shallow” Song Lyrics

If Beale Street Could Talk (2018)

From Barry Jenkins — director of Moonlight , which is its own sort of romance — comes this James Baldwin adaptation. It's about a couple, madly in love and expecting a child, whose relationship is upended when one of them is accused of a crime he didn't commit.

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Call Me By Your Name (2017)

First love is often the most intense, for better or for worse, and Call Me By Your Name captures all of those roiling emotions. Based on the book by André Aciman , it follows the young son of academics who, while on summer break in Italy, falls hard for one of his dad's grad students.

Carol (2015)

Based on the novel The Price of Salt by Patricia Highsmith, Carol tells the story of an affair between two women in the 1950s, so you get the pleasure of watching all the sumptuous period dresses and interiors in addition to being swept away by the romance. This film also features an Oscar-nominated performances from Cate Blanchett and Rooney Mara.

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RELATED: The Best LGBTQ+ Movies Ever Made

Only Lovers Left Alive (2013)

There have been many movies that have attempted to master the romance-and-vampires genre (to varying success), but this Jim Jarmusch movie is the only one that gets at how wearying it would be to keep a marriage intact across centuries . Tilda Swinton and Tom Hiddleston play estranged but married vampires named Eve and Adam. (Get it?) When Adam is sunk by a depressive episode, Eve finds him again and tries to cheer him up.

Anna Karenina (2012)

Playwright Tom Stoppard adapts Leo Tolstoy's celebrated novel , with director Joe Wright giving the story new visual twists and turns that make it almost seem like a theatrical production more than a movie. The story follows the upper-echelons of Russian society, and how affairs of the heart can change a person's social standing.

Miss Pettigrew Lives for a Day (2008)

Miss Pettigrew, a movie set in London in the run-up to World War II, lives somewhere between romantic drama and screwball comedy. Amy Adams takes over the screwball part, playing Delysia Lafosse, a socialite juggling relationships with three different men (all of whom can somehow help her career or social standing). When Guinevere Pettigrew (played by Frances McDormand) is enlisted to be her social secretary, she's swept into Delysia's high-status world, and embarks on a more serious relationship of her own.

Brokeback Mountain (2005)

Both Heath Ledger and Jake Gyllenhaal earned Academy Award nominations for their depiction of two cowboys who conduct an affair in secret in the wilds of Wyoming. (They lost, but director Ang Lee brought home the award.)

The Notebook (2004)

Based on a novel by Nicholas Sparks , this romance spans decades, flipping between a couple's first blush of love in the '40s and the present-day reality of how that relationship has transformed in old age. And while that may be moving, we sometimes forget everything that happens after Ryan Gosling and Rachel McAdams' rain-soaked kissing scene.

Eternal Sunshine of the Spotless Mind (2004)

Eternal Sunshine of the Spotless Mind breaks all the rules for romances, starting after the central couple has already broken up. Joel (Jim Carrey), still reeling from heartbreak, seeks out a procedure that'll erase Clementine (Kate Winslet) from his memory. The resulting trip through his mind, and memories of his past with Clementine, result in something more poignant than a straightforward rom-com could provide.

Marisa (she/her) has covered all things parenting, from the postpartum period through the empty nest, for Good Housekeeping since 2018; she previously wrote about parents and families at Parents and Working Mother . She lives with her husband and daughter in Brooklyn, where she can be found dominating the audio round at her local bar trivia night or tweeting about movies.

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Why We Need Romantic Comedies More Than Ever at This Moment

One woman explains their value in the face of a crisis

Naomi Shah is the founder and CEO of Meet Cute , a new entertainment company that makes short, audio romantic comedies. An ideal night for her is a rom com movie marathon with her friends and a big bowl of popcorn (which translates well to social distancing!). Before starting Meet Cute, she was a member of the investment team at Union Square Ventures, a technology venture capital firm in New York, where she spent most of her time talking to companies in the well-being space. She shares an essay about why the romantic comedy is more important than ever during a bleak time in our history – namely, the coronavirus pandemic .

In the last couple of weeks, a lot of articles and tweets have talked about the influence of the Black Death on the Renaissance. During that time, people explored and patronized art and other creative endeavors that made them feel good as a means of coping with the misery of mass death and bad news. This historical tie-in points to a similar future that might be full of modern-day Midsummer’s Night Dream s.

In the 1930s, during The Great Depression, entertainment and specifically romantic comedies (rom-coms) burgeoned. The decade before, movies had just transitioned from silent films to “talkies”, setting up Hollywood well to make stories about human connection. Movies like Sylvia Scarlett (1935), Bringing Up Baby (1938), Holiday (1938), Ninotchka (1939), The Philadelphia Story (1940), and Woman of the Year (1942) were entertaining people during the crises of a severe worldwide economic depression and the Second World War.

This same time period saw a rise in slapstick comedy that functioned similarly to rom-coms as escapism: Charlie Chaplin helped pull people out of difficult times by making them laugh and Disney also released their first feature-length film Snow White and The Seven Dwarfs . About 30 years later, Woody Allen entertained the masses in the Vietnam era of the 1970s with movies including Annie Hall (1977) and Manhattan (1977).

In fact, the modern “renaissance” of the rom-com — the ’90s — is an outlier in the genre, since movies like Pretty Woman and Runaway Bride thrived during a relatively peaceful era. This could be why the romantic comedy developed a reputation as being somewhat frivolous. Sure, these usually aren’t the movies that are shortlisted for awards, but this is a category that deserves a few moments of attention for helping us get through the tougher times and giving people a much-needed escape.

First, rom coms are hopeful and happy . They always end with a happily ever after. Many times, I feel like I’m watching a rom com for that one scene that I love (for example, this final scene on the bridge , from How To Lose A Guy in 10 Days ). We sit through the 90 minutes of the movie to get the feeling that this scene brings out. It leaves us feeling like anything is possible and believing in serendipity.

Second, rom-coms are incredibly consistent . Each story has the same narrative arc; there’s some sort of “meet cute” moment between two characters where two people meet in a way that the audience knows they are destined to be together, even if they start out hating each other like Kat and Patrick in 10 Things I Hate About You (1999). Then there’s some sort of conflict that arises, a journey in which their connection grows stronger, the resolution, and the happily ever after. Because the narrative arc is not particularly innovative, it allows the audience to relax into the story because they know that the characters will end up together by the end of the story. The audience knows not to expect shocking deaths or tragic twists, and therefore it is okay to emotionally invest in the characters.

Third, rom-coms are about human connection . An interesting coincidence is that the pandemic kicked off around the same time as the Netflix series Love is Blind , a show about whether or not you could achieve human connection without being able to physically make contact. It’s not such a coincidence that the show took off — in an almost poetic way, mirroring the experience we were on the cusp of living. Right now, people want to feel as though they can connect to others, even if they are not able to physically.

Will we be feeling the need to live vicariously through others’ connections during this time period? Rom-coms remind us that there are so many ways for people to form connections and that there is an incredible amount of diversity in the characters and settings that keep the stories fresh. In highlighting some of the mundane, yet very important, moments – like an awkward pause or a regretful glance – that define human connection, these stories about love remain super-relatable in the most trying times.

Finally, rom-coms are bingeable . They are like macaroni and cheese for your brain; and therefore it’s not surprising that during times of economic or emotional hardship humans have turned to rom-coms as a way to escape from uncertainty in the world, and in the headlines. So, while you are socially distancing yourself from other people over the next few months, turn off the news for a bit, grab some actual mac and cheese, sink into the couch, and put on your favorite rom-com. It might “just what the doctor ordered.”

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Life Isn’t Like the Movies (Even if You Write the Movies)

A director of romantic comedies finds herself attending weddings with her ex-husband. Who wrote this script?

By Nancy Meyers

Once I turned 69, if anyone asked me my age — not that anyone ever did, but if I offered it up in conversation — I always said, “I’m almost 70.” I went straight from 68 to “almost 70,” as if 69 didn’t amount to anything other than the year before being a decade away from 80 (as I’ve since come to see it).

It was in this year of being “almost 70” that I emailed my ex-husband, Charles, and asked him if he could give me a ride to our younger daughter’s best friend’s wedding in Solvang, just north of Santa Barbara. He and I live in Los Angeles, and I didn’t want to drive to the wedding alone. It was maybe the first time in the 20 years since we broke up that I said out loud that I didn’t want to do something alone.

I have spent the last two decades not only being single but writing a couple of movies about divorced women my age — purposely defying the clichés that being older and single meant you were destined to be undesirable, lonely and isolated. I wrote about women in my films who blossomed post-divorce, much as I had done in some ways.

I was driven by a desire not to be put in a box by my age or divorce, and I wanted to project a positive spin for women like me. And in my movies, I wanted to try to be funny about it all. Why not laugh at some of what life throws at us?

[ Sign up for Love Letter, our weekly email about Modern Love, weddings and relationships. ]

So it was a big thing for me, at almost 70, to ask my ex-husband, of all people, to give me a ride to an out-of-town wedding.

Not only had I not been in a car with him in over 20 years, I hadn’t been alone with him in all that time. But something about being almost 70 made me not care as much about the past or what led to our breakup.

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The Best British Romance Movies

Jane Austen is a British national treasure, giving Brits special claim to the romantic movie genre she very nearly invented. This list ranks the best British romance movies, and includes two films connected to Austen in very different ways.  First, there is the stellar adaptation of Austen’s masterpiece Pride and Prejudice starring Kiera Knightley. Then you have Bridget Jones’ Diary starring Renee Zellweger and very loosely based on Austen’s Pride and Prejudice . Both films have Mr. Darcy’s.   

Also on this list of British romance movies are the delightful Four Weddings and a Funeral , Notting Hill and Love Actually (all starring Hugh Grant!).

What is your favorite British love movie?  Join our other romance junkies and give the most romantic British films on this list a thumbs up, or send a love note in the comment section below.

Pride and Prejudice

Pride & Prejudice , a timeless classic by Jane Austen, artfully showcases the essence of British cinema and romance. The captivating tale of the headstrong Elizabeth Bennet and her complex relationship with the brooding Mr. Darcy is brilliantly portrayed through wit, societal expectations, and the intricacies of human nature. The stunning countryside settings and lavish costumes evoke a sense of nostalgia, while the innate charm of the characters evokes the quintessential British humour, making this film an unforgettable journey of love, pride, and prejudice. Its enduring legacy lies in its ability to resonate with audiences across generations while retaining its quintessentially British essence.

• Released : 2005
• Directed by : Joe Wright

Sense and Sensibility

As one of the best British romance movies, Sense and Sensibility masterfully weaves the vulnerable and passionate emotions of love within the constraints of refined English society. Delicately balancing the rational and emotional aspects of human relationships, the film presents the complexity of love and longing through the experiences of the Dashwood sisters. The stunning portrayal of period fashion, landscape, and dialogue in this adaptation of yet another beloved Austen novel effectively combines British elegance with the tenderness and vulnerability of romance. The film's exploration of love in various forms and its subtle nuances within the framework of social propriety make it a truly exceptional British romance classic.

• Released : 1995
• Directed by : Ang Lee

About Time is a heartwarming and enchanting example of British cinema and romance as it explores the complexities of love, family, and the power of time travel. This uniquely charming narrative effortlessly captures the quintessentially British quirkiness and wit, while simultaneously delving deep into the universal themes of love, loss, and the significance of cherishing each moment. The vibrant and eccentric characters invite the audience into a world of warmth, whimsy, and the irresistible allure of true love. About Time 's distinctive blend of romance, comedy, and a touch of science fiction makes it a delightful and poignant addition to the pantheon of great British romance films.

• Released : 2013
• Directed by : Richard Curtis

Love Actually

Love Actually is a quintessentially British romance film that skillfully weaves together a myriad of love stories, showcasing the various forms of love and its complexities within contemporary London society. The ensemble cast, featuring some of Britain's finest actors, brings life to this delightful tapestry of interconnected tales, each delivering their own passionate and heartfelt performances. Embodying the spirit of the holiday season, the film not only highlights the warmth and humor of British sensibilities but also illuminates the tender and often messy aspects of love and relationships. Love Actually remains an enduring and beloved classic in the realm of British romance cinema, as it showcases the beauty, vulnerability, and universality of love against the backdrop of London's enchanting charm.

• Released : 2003

Notting Hill

Notting Hill is a heartwarming exploration of love blossoming in unexpected places, showcasing the charm of British cinema and romantic relationships. Set within the picturesque streets of one of London's most iconic neighborhoods, the film captures the essence of British wit and sensibilities, while weaving an enchanting tale of two people from vastly different worlds coming together. The chemistry between Julia Roberts and Hugh Grant, the leads, embodies the tender vulnerability and enchanting optimism typical of romantic stories, highlighting the beauty of overcoming barriers for love. Notting Hill 's combination of humor, heartache, and idyllic settings makes it a beloved classic in the genre of British romance films.

• Released : 1999
• Directed by : Roger Michell

Bridget Jones’s Diary

Bridget Jones's Diary is a delightful British romantic comedy that combines the quirkiness of British humor with the heartwarming charm of falling in love. Through the relatable and endearing character of Bridget, played masterfully by Renée Zellweger, the film explores themes such as self-discovery, unrequited love, and the transformative power of finding the right person. The film's witty dialogue, quirky situations, and realistic portrayal of modern love resonate universally, making it a heartening tribute to British cinema. Bridget Jones's Diary stands out as a memorable romantic comedy that resonates with audiences worldwide, showcasing the elegant and honest nature of British romance.

• Released : 2001
• Directed by : Sharon Maguire

The 10 Best Historical Romance Movies, Ranked

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It is easy to misinterpret period romance for historical romance, but there are some significant traits that set these two genres apart. As the name implies, a historical romance movie isn't just set in a given year and has actors wearing clothing that matches the time frame, but it also usually features a real-life figure or a significant moment in history as the backdrop for the love story playing out onscreen.

There is something epic about a title within this genre because it allows you to look at someone or a certain event in a different light. From Titanic to Moulin Rouge , the following movies perfectly encapsulate the essence of historical romance. Intense, richly detailed, and maybe even heartbreaking, these historical romances make viewers root for the main pair, revisit historical events , and travel through different decades by just hitting the play button.

10 'Shakespeare in Love' (1998)

Directed by john madden.

Joseph Fiennes stars as William Shakespeare before the theater aficionado came up with the romantic tragedy Romeo and Juliet . Broke and facing writer's block, he finally gets inspired when crossing paths with Viola De Lesseps ( Gwyneth Paltrow ), an aspiring actress who longs for the opportunity to be in a play (something that only men could do at the time). Although Viola disguises herself as a man to audition for Shakespeare's next production, he is able to see past her act and falls for her.

As their love affair unfolds, viewers can't help but root for them despite the gender-related obstacles in their way. Although their relationship isn't factual, the plot allows for there to be parallels between the romance onscreen and the playwright's work , making for a compelling watch. Although many may argue that Shakespeare in Love 's multiple Oscar wins weren't deserved compared to other nominees , it doesn't mean the film itself doesn't deserve its flowers, especially as a product of historical fiction.

Shakespeare in Love

Not available

9 'Moulin Rouge' (2001)

Directed by baz luhrmann.

Baz Luhrmann is known for his over-the-top productions, with quick edits and vibrant sing-alongs. Moulin Rouge! has the director's signature style and an epic duo playing the leading couple. Set in 1899 in the epicenter of the Bohemian world, Nicole Kidman stars as Satine , a courtesan who captivates Christian's ( Ewan McGregor ) attention. The latter moves to Paris to become a writer, and his endeavors are put to the test when he and Satine ignite a passionate relationship that is constantly threatened by her boss.

A musical peppered with hits, Moulin Rouge! is a cinematic spectacle that perfectly captures the main Bohemian ideals (truth, beauty, freedom, and love). Kidman and McGregor's chemistry is notable, and their music numbers together only further their connection onscreen. Seeing them sing "Come What May" onstage instantly brings audiences to tears, not only because of their forbidden love story but also because of the tragedy that happens next.

Moulin Rouge!

8 'the theory of everything' (2014), directed by james marsh.

Different from other historical romances, The Theory of Everything is equal parts biopic and equal parts love story. It focuses on Stephen Hawking 's ( Eddie Redmayne ) life, and particularly his relationship with his first wife, Jane Wilde ( Felicity Jones ). After meeting at university in the '60s, the young couple fall in love before he is diagnosed with a fatal illness that will soon prevent him from having control over his body.

Despite the odds, the biopic shows their partnership and how Jane helped him become the bright physicist that he is known to be to this day. Even when his condition worsens, she doesn't shy away from putting his needs above hers and supporting his career. The gorgeous cinematography and costumes allow viewers to travel back in time and truly get pulled into this sincere depiction of what it means to be with someone through sickness and in health. Redmayne's performance is exceptional and deserving of the multiple accolades that he received for his work in the film, including an Academy Award for Best Actor .

The Theory of Everything

7 'if beale street could talk' (2018), directed by barry jenkins.

If Beale Street Could Talk might not be based on a real-life pairing (it is actually inspired by James Baldwin 's novel), but it mirrors the experience of many people in Harlem's Black community in the '70s. Set in a period of predominant institutionalized racism, the film is centered on childhood sweethearts Tish ( KiKi Layne ) and Fony ( Stephan James ), who are thrilled to build a future together as a married couple. However, their wedding plans get derailed when Fony is imprisoned for a crime that he did not commit.

A tale of hope and unwavering love , this tale from Oscar-winner Barry Jenkins shows that even in the face of adversity, soulmates can make it through to the other side. Despite the possibility that he'll spend the rest of his life behind bars, Tish's commitment to Fony is touching. As she finds out that she is carrying their baby in her womb, the character becomes even more determined to wait for her one true love to be set free from a sentence he didn't even deserve to serve.

If Beale Street Could Talk

6 'out of africa' (1985), directed by sydney pollack.

A rewatchable classic starring Meryl Streep , Out of Africa follows Karen Blixen, a woman who marries out of convenience and starts a coffee plantation in Africa. As her husband constantly goes away on business trips and begins to be unfaithful, she is often left alone at home. Blixen's loneliness draws her to Denys Finch Hatton ( Robert Redford ), a hunter she met while working in the fields, and their friendship eventually leads to a bittersweet romance.

Although the lead pairing isn't as over-the-top in love as other cinematic couples, their grounded connection is part of the film's charm . Out of Africa also tackles a lot of pertinent themes about colonialism and classism in the 1920s through the protagonist's journey to a foreign land without prior knowledge of her surroundings or the culture. Streep and Redfor's subtle chemistry contrasts beautifully with the wild and striking African landscapes, resulting in a film that is a true delight for the senses.

Out of Africa (1985)

5 'walk the line' (2005), directed by james mangold.

When thinking back at some iconic pairings in the music scene, Johnny Cash and June Carter would definitely come to mind. Walk the Line follows Johnny Cash's rise to fame and meets the beautiful and successful June on tour. Despite him having a family at home, Johnny and June slowly develop a bond, and she becomes a support system for him as he battles addiction on the road.

The '50s music duo played by Joaquin Phoenix and Reese Witherspoon , who won an Oscar for her performance, bring out the best in each other artistically. The film also shows how they became the best of friends before their relationship developed into something more . Although they go through some rough patches, their partnership and deep emotional connection truly allow viewers to understand why they eventually end up together.

Walk The Line (2005)

4 'the imitation game' (2014), directed by morten tyldum.

Although The Imitation Game is more of a historical biopic than a historical romance, it does feature a heartfelt relationship between Alan Turing ( Benedict Cumberbatch ) and two major figures in his life. Set during World War II, the protagonist is in charge of an operation that could decode messages sent by the Germans in an attempt to stop the conflict. As a group of mathematicians joins forces to build a machine that could be the key to cracking a code that seems impossible to decipher, Alan struggles with his sexuality in secret.

Alan's romantic love for his classmate, Christopher ( Jack Bannon ), changes the course of his life to the point where he names his machine after him. Meanwhile, his platonic bond with fellow scientist Joan Clarke ( Keira Knightley ) shows a new kind of love that even has some romantic undertones despite not conforming to traditional notions. Their partnership is touching to see, especially as they work together in the operation and uplift each other during an oppressive social setting .

The Imitation Game

3 'loving' (2016), directed by jeff nichols.

It's sad to think that interracial relationships were forbidden at a given moment until a film like Loving reminds us of it. This adaptation, inspired by a real-life couple, centers on Richard ( Joel Edgerton ) and Mildred Loving ( Ruth Negga ), who were arrested for tying the knot given that mixed-race marriages were illegal in Virginia back in 1958. After being sentenced to one year in prison, the couple is allowed to get out of jail as long as they leave the state and do not come back for 25 years.

Unfair and unfortunately true, the Lovings had to take their case all the way to the Supreme Court to combat this injustice. Seeing this pairing sticking together despite the backlash and threats from the authorities is an example of resilience and a testament to the power of love . Edgerton and Negga conveyed this story's historical significance brilliantly through their performances, and the film's slow pace allows the audience to get to know them and root for them to finally experience the happiness and peace they so rightfully deserve.

Loving (2016)

Rent on Apple

2 'Titanic' (1997)

Directed by james cameron.

There is a reason why Titanic was an award-winning hit when it came out and why its legacy lives on. Although Jack's ( Leonardo DiCaprio ) and Rose's ( Kate Winslet ) romance is doomed from the start because audiences know that the ship will wreck, James Cameron compels them to forget history for the first two hours. His camera allows the unlikely pair to actually enjoy each other's company before the inevitable tragedy strikes.

From the iconic scene in which Rose utters the line "Jack, I'm flying" to their memorable meet-up at the ship's main staircase, every moment shared by the couple is compelling and rewarding , largely thanks to DiCaprio and Winslet's unmatched chemistry. By the time the sinking takes place, the audience is so invested in the romance between the charming vagabond and the reserved socialite that tears can't help but fall by the time the credits start rolling. Titanic is a pretty perfect romance movie , with two of cinema's all-time great star-crossed lovers.

1 'Casablanca' (1943)

Directed by michael curtiz.

None of the historical romances that came later would've been as purposeful if this classic hadn't paved the way. Casablanca might've come out in 1943, but it still resonates with viewers who are drawn to love stories in historical settings. The film takes place in Morocco during the early stage of World War II in a nightclub where two lovers reunite years after they last saw each other. Despite Rick ( Humphrey Bogart ) still being in love with Ilsa ( Ingrid Bergman ), she is married to another man, leading the protagonist in a dilemma of whether to protect her husband or reignite their relationship.

Casablanca is a timeless love story that easily ranks among the most beautiful romances in film history . Even though its ending is not what viewers would traditionally hope for from an old-school romance, it shows that one of the greatest traits of true love is sacrificing one's needs for the good of the other. Casablanca also makes the most out of its historical setting, using tension and high stakes to deepen the protagonists' bond.

NEXT: The 10 Best Historical Fiction Movies, Ranked

Essays About Movies: 7 Examples and 5 Writing Prompts

Check out our guide with essays about movies for budding videographers and artistic students. Learn from our helpful list of examples and prompts.

Watching movies is a part of almost everyone’s life. They entertain us, teach us lessons, and even help us socialize by giving us topics to talk about with others. As long as movies have been produced, everyone has patronized them.  Essays about movies  are a great way to learn all about the meaning behind the picture.

Cinema is an art form in itself. The lighting, camera work, and acting in the most widely acclaimed movies are worthy of praise. Furthermore, a movie can be used to send a message, often discussing issues in contemporary society. Movies are entertaining, but more importantly, they are works of art. If you’re interested in this topic, check out our round-up of screenwriters on Instagram .

5 Helpful Essay Examples 

1. the positive effects of movies on human behaviour by ajay rathod, 2. horror movies by emanuel briggs, 3. casablanca – the greatest hollywood movie ever (author unknown).

• 4.  Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

5. Blockbuster movies create booms for tourism — and headaches for locals by Shubhangi Goel

• 6. Moonage Daydream: “Who Is He? What Is He?” by Jonathan Romney
• 7. La Bamba: American Dreaming, Chicano Style by Yolanda Machado

1. My Favorite Movie

2. movies genres, 3. special effects in movies, 4. what do you look for in a movie, 5. the evolution of movies.

“​​Films encourage us to take action. Our favourite characters, superheroes, teach us life lessons. They give us ideas and inspiration to do everything for the better instead of just sitting around, waiting for things to go their way. Films about famous personalities are the perfect way to affect social behaviour positively. Films are a source of knowledge. They can help learn what’s in the trend, find out more about ancient times, or fill out some knowledge gaps.”

In this movie essay, Rathod gives readers three ways watching movies can positively affect us. Movie writers, producers, and directors use their platform to teach viewers life skills, the importance of education, and the contrast between good and evil. Watching movies can also help us improve critical thinking, according to Briggs. Not only do movies entertain us, but they also have many educational benefits. You might also be interested in these  essays about consumerism .

“Many people involving children and adults can effect with their sleeping disturbance and anxiety. Myths, non-realistic, fairy tales could respond differently with being in the real world. Horror movies bring a lot of excitement and entertainment among you and your family. Horror movies can cause physical behavior changes in a person by watching the films. The results of watching horror movies shows that is has really effect people whether you’re an adult, teens, and most likely happens during your childhood.”

In his essay, Briggs acknowledges why people enjoy horror movies so much but warns of their adverse effects on viewers. Most commonly, they cause viewers nightmares, which may cause anxiety and sleep disorders. He focuses on the films’ effects on children, whose more sensitive, less developed brains may respond with worse symptoms, including major trauma. The films can affect all people negatively, but children are the most affected.

“This was the message of Casablanca in late 1942. It was the ideal opportunity for America to utilize its muscles and enter the battle. America was to end up the hesitant gatekeeper of the entire world. The characters of Casablanca, similar to the youthful Americans of the 1960s who stick headed the challenge development, are ‘genuine Americans’ lost in a hostile region, battling to open up another reality.”

In this essay, the author discusses the 1942 film  Casablanca , which is said to be the greatest movie ever made, and explains why it has gotten this reputation. To an extent, the film’s storyline, acting, and even relatability (it was set during World War II) allowed it to shine from its release until the present. It invokes feelings of bravery, passion, and nostalgia, which is why many love the movie. You can also check out these  books about adaption . 

4.   Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

“Lady Jessica is a powerful woman in the original book, yet her interactions with Paul diminish her as he thinks of her as slow of thought. Something we don’t like to see in 2021 — and for a good reason. Every book is a product of its time, and every great storyteller knows how to adapt an old story to a new audience. I believe Villeneuve received a lot of hate from diehard Dune fans for making these changes, but I fully support him.”

Like the previous essay, Cohen reviews a film, in this case, Denis Villeneuve’s  Dune , released in 2021. He praises the film, writing about its accurate portrayal of the epic’s vast, dramatic scale, music, and, interestingly, its ability to portray the characters in a way more palatable to contemporary audiences while staying somewhat faithful to the author’s original vision. Cohen enjoyed the movie thoroughly, saying that the movie did the book justice. 

“Those travelers added around 630 million New Zealand dollars ($437 million) to the country’s economy in 2019 alone, the tourism authority told CNBC. A survey by the tourism board, however, showed that almost one in five Kiwis are worried that the country attracts too many tourists. Overcrowding at tourist spots, lack of infrastructure, road congestion and environmental damage are creating tension between locals and visitors, according to a 2019 report by Tourism New Zealand.”

The locations where successful movies are filmed often become tourist destinations for fans of those movies. Goel writes about how “film tourism” affects the residents of popular filming locations. The environment is sometimes damaged, and the locals are caught off guard. Though this is not always the case, film tourism is detrimental to the residents and ecosystem of these locations. You can also check out these  essays about The Great Gatsby .

6. Moonage Daydream:  “Who Is He? What Is He?” by Jonathan Romney

“Right from the start, Brett Morgen’s  Moonage Daydream  (2022) catches us off guard. It begins with an epigraph musing on Friedrich Nietzsche’s proclamation that “God is dead,” then takes us into deep space and onto the surface of the moon. It then unleashes an image storm of rockets, robots, and star-gazers, and rapid-fire fragments of early silent cinema, 1920s science fiction, fifties cartoons, and sixties and seventies newsreel footage, before lingering on a close-up of glittery varnish on fingernails.” 

Moonage Daydream  is a feature film containing never-before-seen footage of David Bowie. In this essay, Romney delves into the process behind creating the movie and how the footage was captured. It also looks at the director’s approach to creating a structured and cohesive film, which took over two years to plan. This essay looks at how Bowie’s essence was captured and preserved in this movie while displaying the intricacies of his mind.

7. La Bamba:  American Dreaming, Chicano Style by Yolanda Machado

“A traumatic memory, awash in hazy neutral tones, arising as a nightmare. Santo & Johnny’s mournful “Sleep Walk” playing. A sudden death, foreshadowing the passing of a star far too young. The opening sequence of Luis Valdez’s  La Bamba  (1987) feels like it could be from another film—what follows is largely a celebration of life and music.”

La Bamba  is a well-known movie about a teenage Mexican migrant who became a rock ‘n’ roll star. His rise to fame is filled with difficult social dynamics, and the star tragically dies in a plane crash at a young age. In this essay, Machado looks at how the tragic death of the star is presented to the viewer, foreshadowing the passing of the young star before flashing back to the beginning of the star’s career. Machado analyses the storyline and directing style, commenting on the detailed depiction of the young star’s life. It’s an in-depth essay that covers everything from plot to writing style to direction.

5 Prompts for Essays About Movies

Simple and straightforward, write about your favorite movie. Explain its premise, characters, and plot, and elaborate on some of the driving messages and themes behind the film. You should also explain why you enjoy the movie so much: what impact does it have on you? Finally, answer this question in your own words for an engaging piece of writing.

From horror to romance, movies can fall into many categories. Choose one of the main genres in cinema and discuss the characteristics of movies under that category. Explain prevalent themes, symbols, and motifs, and give examples of movies belonging to your chosen genre. For example, horror movies often have underlying themes such as mental health issues, trauma, and relationships falling apart. 

Without a doubt, special effects in movies have improved drastically. Both practical and computer-generated effects produce outstanding, detailed effects to depict situations most would consider unfathomable, such as the vast space battles of the  Star Wars  movies. Write about the development of special effects over the years, citing evidence to support your writing. Be sure to detail key highlights in the history of special effects. 

Movies are always made to be appreciated by viewers, but whether or not they enjoy them varies, depending on their preferences. In your essay, write about what you look for in a “good” movie in terms of plot, characters, dialogue, or anything else. You need not go too in-depth but explain your answers adequately. In your opinion, you can use your favorite movie as an example by writing about the key characteristics that make it a great movie.

From the silent black-and-white movies of the early 1900s to the vivid, high-definition movies of today, times have changed concerning movies. Write about how the film industry has improved over time. If this topic seems too broad, feel free to focus on one aspect, such as cinematography, themes, or acting.

For help with your essays, check out our round-up of the  best essay checkers .

If you’re looking for more ideas, check out our  essays about music topic guide !

Write a Successful Romance in 5 Simple Steps

by Johnny Papan

Ahh, Valentine’s Day. A time dedicated to all the lovers out there, making things special for “just us.” Moments are filled with candle-lit dinners, flowers, chocolate gifts, and, for the last few years, watching the newest installment of the Fifty Shades series, leading to a sales boost in adult shops across the country.

Watching a romantic film is one of the most popular choices among young couples for a Valentine’s Day date. They fulfill the fantasies we often can only dream of experiencing, which is why romance has become an integral part of cinema. Main focus or subplot, the element of love has found a place in almost every movie of any genre.

So what makes a romantic film? Is it merely a tale of two beings looking into each others eyes and falling into an embrace? If it’s not that easy in reality, it certainly can’t be that easy in film.

Most lovey-dovies follow similar structures that help us as an audience connect and fall into the journey of our heartfelt characters. In order for a romance film to work, we need a simple ingredient: characters that we want to be together in the end.

Here’s how you can write a romance that pulls on the heartstrings!

Click here to learn more about InFocus Film School’s Writing for Film and Television Program!

STEP 1: CHEMISTRY & CHARACTER DYNAMIC

Chemistry is everything when it comes to relationships. The way your characters’ similarities and differences blend is the be-all-end-all to whether or not they’re meant to be together.

Carol (2015)

Healthy relationships can be between people who are exactly the same, or in other cases, opposites attract. On the flip-side, people who are too similar can drive each other mad, while people who are too different may lack any chemistry at all.

Are your characters different or similar? They’ll need a dynamic that asks the question of whether or not they are meant to be.

In film, you’ll often see situations where our two lovers are different enough yet share a common trait that magnetizes them towards one another. A strange sense of humour, a shared goal or outlook on life. Perhaps they’re social outcasts with the desire of running off to a distant land.

The Fault in Our Stars (2014)

In order for the audience to buy into the dynamic between our two characters, we need to know who these characters are away from each other as well as how they are with each other.

Generally, part of what causes attraction is when two characters can express a side to themselves that they don’t share with anyone else. They can trust and be vulnerable with each other, common preferred traits in the real world.

When you write a romance, your characters and their dynamic must be relatable to your audience.

Regardless of what you decide their relationship to be, chemistry needs to be established as soon as they are aware of each other in the film. They can lightly glance at one another throughout the party, hoping to exchange words. Or perhaps someone will take charge and immediately jump into conversation to the other. Although the energy of romantic potential is in the air, you can’t write a romance that lets love come too easy.

Becoming Jane (2007)

STEP 2: TENSION (WHAT COMES BETWEEN THEM)

As romance blossoms, there will always be something that tries to dry it out. Whether it’s social pressures, outside influences, or even interpersonal battles, there’s usually something that adds an unwanted tension, trying keeping our lovers at a distance.

Romeo and Juliet were forbidden from seeing each other because of the rivalry between the Capulets and Montagues. Brokeback Mountain’s complications rise from the guilt of having an affair behind your family’s back.

Maybe our two main characters don’t like each other upon first meet, forced to hold close relations until they eventually discover their charming traits and develop butterflies. At the same time, they can still drive each-other kind of crazy. This idea was well explored in 2009’s The Ugly Truth.

Selfie (2014)

Thorns could also be simple obstacles like Drew Barrymore’s short-term memory loss making her forget about Adam Sandler’s existence every morning in 50 First Dates.

Whatever this issue may be, it must be strong, almost overbearing. At points, the audience should feel that the “thorn” will have its way in keeping the lovers apart.

The “thorn” is an antagonist, even if it’s not a human character (such as a jealous ex or burdening family member). If it’s their career keeping them apart, the career is the antagonist. If it’s their initial irritability to be around each other, or some kind of guilt, that is the antagonist.

During the most crucial moments in the film, however, this thorn, whatever it is, won’t matter to our lovers anymore.

Brokeback Mountain (2005)

STEP 3: THE *SPARK*

Every romantic movie has a spark between the two characters. The point in the film where they finally give in to their feelings for each other.

Romantic films will often be sprinkled with little sparks that brighten the flame between our characters. The watchful gaze from afar, the knowledge of a shared interest or experience, the thought of one another in their absence. You can almost imagine their love like a lighter that’s nearly out of fluid. Each quick flicker is like one of those moments previously mentioned.

Eventually though, with time and effort, you get a flare. A passionate kiss, a lustful loss of the senses, a giving in to their primal desires. From this moment, and perhaps a little while after, the flame between our two characters burns brighter than ever.

The Spark usually occurs around the midpoint of the film as sadly, for the sake of cinematic drama, things must take a turn for the worse.

Grease (1978)

STEP 4: THE SPLIT

Like in Titanic, the smooth sailing boat must crash into an iceberg. Our lovers have explored their emotions and given in to each other, even if only for what feels like a brief moment in time.

In some cases, things will destruct immediately. One of the characters might think this was a mistake, or come to a realization that they shouldn’t be together. A common variation of this is when a superhero must choose between their lover or the people of the city. Superhero films like Spiderman, for example, make it very clear that the villain’s knowledge of your lover can put you in compromising situations.

Sometimes lovers may enjoy each other’s company before tragedy strikes. However, the “thorn” will catch up to their seemingly forbidden love and try to end it. The ex-lover, the protective family member, social pressures. The couple must, by choice or by force, be removed from each other, opening a void in their hearts.

Apart, they can try to move on. They can try to explore the idea of what life would be like without their love around. But then again, it isn’t always this easy, and no matter what, the other person won’t be able to escape their thoughts.

Whatever their situation is for leaving, they’ll find a way to reconnect.

10 Things I Hate About You (1999)

STEP 5: LOVE CONQUERS ALL

“Through thick and thin, love conquers all.”

The epicentre to all romantic films is the idea of two lovers being together by any means necessary. They must fight through any obstacle that stands between them and, in the end, share the kiss they’ve been longing for.

The Princess Bride (1987)

CONCLUSION: WRITE A ROMANCE THAT TRIUMPHS (Or Not)

True love is a passion explored between individuals that connect on the surface as well as subconsciously. We, as an audience, need to understand and relate to the way your characters interact and relate to each other. We need to know each character and feel for what they’re going for.

No matter what your setting is—a small town, a major city, up in space—the story will always revolve around your main characters. Some internal battle or external force will add unwanted tension to their relationship. Regardless, they can’t help but feel the way they feel about each other and will continue to be in each other’s lives.

The Big Sick (2017)

After they discover their burning desire for one another, the relationship must come to a somewhat tragic temporary end. The characters should feel like their circumstances may cause them to never see each other again, either by choice or by force. No matter what the situation, they can’t resist thoughts of one another. Inevitably, one or both will fight to bring back their flame.

Whether they end up together is up to you.

Romeo + Juliet (1996)

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Romantic movies set unrealistic standards

Jack Casey , Staff Writer February 15, 2017

Ah, romance. We are surrounded by it on a day-to-day basis. Whether it is found in our homes or in some other setting such as social media, everyone has their own idea of what a realistic relationship consists of. I, however, cannot imagine anyone envisioning what is displayed of romance in television and film. As media plays a massive role in our lives today, these films can create a fabricated expectation of love for both males and females that can have a lasting effect.

Efforts by scientists and psychologists to investigate the movies have produced shocking results. Dr. Bjarne Holmes, who led research on the topic at Heriot Watt University, believes Hollywood films create a false image of what love is like.

Holmes’ study conducted research on 40 romantic movies that were released between 1995 and 2005. They found, to no one’s surprise, that the films depicted unattainable displays of love. These movies implied that love is something that is automatically known, rather than established through time. Films studied showed love was conveyed through little to no communication between the two people who are supposedly “in love”, which is just not a reality.

Contrary to the common belief of the romantic movies that are released every year, love is not formed at first sight, it is something that needs time to develop. There are hardships in any relationship. Any movie that depicts otherwise is incorrect. When these movies suggest that romance is established without any struggle or controversy, they are giving impressionable children or young adults false expectations.

Hollywood’s attempts to sell false portrayals of love to us are no surprise. Everyone wants a perfect love. A significant other that they know will be there for them no matter what. So, in turn, Hollywood provides movies that depict the perfect love scenario in order to have people pay to see their movies. Hollywood provides what the viewer wants, so the profit in this production is, no doubt, huge.

Media consumption is an unavoidable matter in this day and age. It is imperative that viewers or people in relationships understand what is realistic in love and what is not. Romances depicted in these movies are enjoyable to fantasize about, but impossible to attain. Romantic movies fail to display the intangible parts of love that make it the roller coaster journey that it is.

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Zoe Bachelder • Jul 27, 2020 at 7:52 pm

Honestly, I agree with most of this article but to be quite fair romantic movies don’t really set such high standards. Now, I know they all have their ups and downs, but I think they show us that you really have to fight to be with the one you love; The Notebook for example. Noah and Allie lost touch and she was even engaged to another man, but they found each other and fell in love again. They fought a lot throughout the movie and should have broken up multiple times but didn’t. They fought for one another and honestly, it was inspiring. No love is going to be perfect, but if you really love each other you’ll do whatever it takes; that’s true love.