Researchers like Claire Mortimer, who writes about comedy and women, assert that the dismissal of romcoms is not solely due to the film’s position in the category of “women’s films” but also because they are genre films. These films are usually viewed as boring, relying on a variety of motifs that are thrown repeatedly, and we are conditioned to accept certain types of stories, styles, and characters. Certain films are considered to be the most important examples of a genre, a sort of “best of,” and create a standard that other films can either emulate or diverge from.
It’s not the case that all romcoms are identical. However, there is a predominant form that we see as the most definitive, referred to as” the “neo-traditional romcom.” Tamar McDonald, a film professor, argues that it’s the most popular style of the genre today and one that “has no use for realism.”
It is evident in the characters who travel across airports. It is also apparent in the bizarre inability to communicate between lovers and the common incidents. If these things weren’t present, the conclusion would not be as satisfying.
The perfect romantic comedy
What are the essential elements to make a great romantic comedy? When we look at the list of most popular romcoms of all time that the internet isn’t devoid of – we can see the same characters popping up over and over again. A popular film, When Harry Met Sally (1989), has an interesting “friends to lovers” storyline. The same storyline is featured in more recent films such as “All Be My Maybe” (2019).
In a romcom, there is usually some miscommunication, and there is lots of it. While relationships can develop slowly, and often without the knowledge of the characters, there are generally crucial moments when the character in question isn’t understood by the one they would like to be.
Conflicts also fuel this lack of communication. Leger Grindon, a specialist in romantic comedy, breaks down these kinds of disputes into three main zones: between parents and children, two characters who are in a relationship, and having to decide between personal growth and sacrifice.
There have been many instances of them over time. Children who defy the wishes of their parents to spend time with the person they cherish is a frequent concept in queer love stories like the film Happiest Season (2020). However, it is also featured in other films, such as The Big Fat Greek Wedding (2002). Big Fat Greek Wedding (2002).
The story of My Big Fat Greek Wedding hinges on the conflict between family and love.
The conflict between the desires of love interest is evident on screen in What Women Are Looking For (2000). The conflict between personal growth and sacrifice is the common theme of recent Netflix romances, such as The Holiday Calendar, Hello Goodbye, Everything In Between (2022), and The Holiday Calendar (2019). In Hallmark Christmas movies (their sub-genre within the romance genre) such as “Just In Time For Christmas” (2015) and The Christmas Calendar (2015), women are often forced to choose between their careers and relationships, which is a frequent theme in the Christmas sub-genre, particularly.
Romcoms offer a sense of escapism; however, the underlying theme is the search for connection through laughter and love. However, the reality of this might be changing with recent examples of television and film offering more of a cultural critique (see the hilarious comedy by Rose Matafeo’s Starstruck series that is available via BBC Three, for instance).
