Romantic Comedy Film
Romantic comedy films, also known as "rom-coms" or "romedies", are films with light-hearted, humorous plotlines, centered on romantic ideals such as that true love is able to surmount most obstacles. One dictionary definition is "a funny movie, play, or television program about a love story that ends happily". Another definition states that its "primary distinguishing feature is a love plot in which two sympathetic and well-matched lovers are united or reconciled".
Romantic comedy films are a sub-genre of comedy films as well as of romance films, and may also have elements of screwball comedies and stoner comedies. Some television series can also be classified as romantic comedies.
| “ | In a typical romantic comedy the two lovers tend to be young, likeable, and apparently meant for each other, yet they are kept apart by some complicating circumstance (e.g., class differences, parental interference; a previous girlfriend or boyfriend) until, surmounting all obstacles, they are finally wed. A wedding-bells, fairy-tale-style happy ending is practically mandatory. | ” |
Pretty Woman is considered by many critics to be the most successful movie in the genre.
Read more about Romantic Comedy Film: Description, Contrived Romantic Encounters: The "meet Cute", History, Television, Film
Famous quotes containing the words romantic, comedy and/or film:
“Stiller ... took part in the Spanish Civil War ... It is not clear what impelled him to this military gesture. Probably many factors were combined—a rather romantic Communism, such as was common among bourgeois intellectuals at that time.”
—Max Frisch (1911–1991)
“The actors today really need the whip hand. They’re so lazy. They haven’t got the sense of pride in their profession that the less socially elevated musical comedy and music hall people or acrobats have. The theater has never been any good since the actors became gentlemen.”
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“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)