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Directed by Richard Linklater, the trilogy dispenses with the usual climb toward happy endings, a story tied up with a bow, and instead finds romance in immediacy-the blue dart in the eternal flame.Ĭelia Johnson and Trevor Howard play “ordinary people” Laura Jesson and Dr. Action consists of dialogue interwoven with desire: Vienna is reminiscent of late-night dorm discussions about life Paris is more psychologically revealing and tinged with confusion in Greece resentments flare and shadows lengthen. The following two movies, at nine-year intervals, catch up with the pair in Paris and then in Greece.
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As Celine, Julie Delpy, of the honey-colored hair and full mouth, could be a pre-Raphaelite nymph, and Ethan Hawke’s Jesse, with his glittering eyes and cool-dude goatee, is Mallarmé’s Faun (“Did I love a dream?”).
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The first movie in this trilogy is about two students who meet on a train, get off in Vienna, and pass the hours before a flight walking, talking, and falling in love. Andrews and Garner have both said it’s their favorite of their films.īEFORE SUNRISE / BEFORE SUNSET / BEFORE MIDNIGHT 1995, 2004, 2013Įros on location. Somehow he ends up as the “first man on Omaha Beach.” The movie is beguilingly intelligent, funny, and, in the last reel, romantic. Garner thinks similarly but opportunistically, without the moral dimension. She believes a living coward is better than a wounded (or dead) warrior with a medal. II, is sick of the cultural complicity that pushes men to be heroes. Emily, having lost her father, brother, and husband to W.W. Directed by Arthur Hiller from a script by Paddy Chayefsky, The Americanization of Emily stars Julie Andrews, in her most crystalline period, and James Garner, everyone’s favorite good guy.
It questions all the romantic clichés: self-sacrifice, heroism on the battlefield, loyalty in the bedroom. This movie works hard not to be on this list.
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But by whom or what? New York society closing ranks? Newland’s own pride of place? Or a moral code that wills out? It’s unbearably poignant, this life suspended between ideals. But in May’s unconventional, unhappily married cousin, the Countess Olenska (Michelle Pfeiffer), he awakens to another ideal-the romance of deep affinity. His marriage to the angelic debutante May Welland (Winona Ryder) will fulfill every conventional wish. But were the fabled 400 of New York’s Gilded Age any less controlling than the Cosa Nostra? Newland Archer, played by Daniel Day-Lewis, hasn’t sold his soul to the devil but to a gilded ideal. This period drama was a departure for Scorsese, until then known primarily for street, gang, and Mafia movies.
Rodgers and Hart, in their song “Isn’t It Romantic?,” describe the feeling as “music in the night, a dream that can be heard … moving shadows write the oldest magic word.” Those moving shadows are movies.īeautiful and grave from the first strains of Gounod’s Faust to the last ray of sun bouncing off a window, Martin Scorsese’s film version of Edith Wharton’s greatest novel gets richer with every viewing. One thinks of William Blake’s iconic line, which sounds the bass note of Romantic poetry, “O Rose thou art sick.” That said, it is lyricism in all its textures-dark, light, aural, visual-that lifts these films to higher ground. Alfred Hitchcock’s Notorious keys into a dark vein of lyricism, a place where self-sacrifice becomes voluptuous and ill. The English Patient sees the reverse.Īt the same time, high-flying ideals can become straitjackets or self-sabotage. Casablanca, for example, sees patriotism prevailing over the love of one person.
The mortal dislocations of World War II-our “Good War”-are formidably represented in the realm of the romantic. These tales frequently take place on a journey where desire is set against duty, and where love alters destiny. Others are modeled on the literary “romance,” a centuries-old genre of narrative fiction that combines adventure, idealism, and courtly love, as exemplified by King Arthur and his Round Table. Some invoke the archetypes of myth and fairy tale, diving into the deeper imaginative realms of high Romanticism, a movement enamored of mystery and nature untamed. Movies that reach the romantic pantheon often have more at stake than a trip to the altar and don’t always end up happily. Quite a few unforgettable love stories are in movies that don’t comfortably fit the category ( Gone with the Wind, for instance), and the contemporary rom-com, while classifiably romantic, can seem as slight as the dandelion-a sunny flowering, a puffball dispersed on a breeze. Any list of the most romantic movies-this one narrowed to movies in the English language-is going to draw sighs and harrumphs over beloved films left off.