Romantic Comedy

The film consists of more than two hours of a couple of writers, somehow in love with each other but unable or unwilling to marry, fussing, fighting, and shouting. And in the end, even though their sexual escapade proved less than thrilling, they end in a clinch on a couch. Happing ending. The film is not very romantic and certainly isn't funny. The moral dimensions of the script are wholly secular and consistently depressing. Marriage and children are nothing when compared to sexual urges, booze, and fame.

But there are some good lines in places. And the acting is superb. Dudley Moore and Mary Steenburgen are something to behold. The music is above average, and Arthur Hiller displays his usual excellence as a director. But even the stars of the film were unable to put life into a lame script that is at least 30 minutes too long.

Overall rating: 7 out of 10.

Romantic Comedy held all the earmarks of being a moving, heart-wrenching romantic drama. There was one scene in particular that was so well done, I felt certain that I'd be reaching for the Kleenex box. However, the way it ended (no spoilers here, don't worry) and the increasingly unlikable character of Dudley Moore made for a pretty unpleasant viewing experience. The acting of Dudley and Mary Steenburgen was very good, especially in the dramatic scenes. She wore some very sweet and tender expressions, and he radiated self-loathing and sabotage. If you felt When Harry Met Sally was too cutesy and needed more dramatic realism, this precursor will be a good fit for you.

In my favorite scene, Dudley's wife, Janet Eilber, tells him she needs to have a discussion about their future. He naturally thinks they're going to split up, and he all but confesses his feelings for Mary (who has all but confessed hers). Instead, Janet announces she's pregnant. Dudley's facial expressions are perfect. He knows he has about five seconds in which to decide whether to leave Janet or stay. He knows his life is completely over, for if he leaves her, he'll be tied to her forever and carry the guilt of abandoning his child. Instead, he's stuck in a loveless marriage with massive incompatibility. Whatever budding feelings he had for Mary need to be squelched, and he needs to make this moment a happy one for his wife. All that is communicated to the camera in five seconds, and it truly breaks your heart when he embraces her.

This movie really was a precursor to When Harry Met Sally. Two people have a great relationship but are destined to just be friends, even though there's obvious love beneath the surface. Years and years pass, and they remain in each other's lives through thick and thin. The difference is the comedic tone of Nora Ephron's script. This version has no pair of friends who are funnier and more likable, and there isn't the overall lightness of the leads' exchanges. This one is heavy, and Mary carries a lot of pain throughout the years she spends with Dudley. If you like her, you won't want to miss this one - even if you don't end up liking it.

The story involves Jason (Moore) and Phoebe (Steenburgen) as a couple of Broadway playwrights who collaborate on some hits and a few misses, while trying to overlook the fact that they have fallen in love at first sight. The following dialog i really liked and I really had my hopes up for this being an interesting film. He interviews her for potential partnership. Jason: "I have some questions Ms. Craddock do plan on getting married?

Phoebe: Eventually

Jason: That's not good enough.

Phoebe: I'm sorry I didn't know this was an exam.

Jason: The point is I don't wan't to invest in a partnership and then suddenly have you get the urge to become a nursing mother.

Phoebe: I see.

Jason: No you don't! You don't know a damn thing about the Theatre! The working conditions are intolerable the people you have to deal with are ego-centric maniacs and its filled with rejections on every level. When you're writing comedy the opposite of success isn't failure it's embarrassment and it's very public Ms.Craddock, they write HEADLINES".

Rooted firmly in the early-1980's comedy mindset of "divorce plus adultery plus Dudley Moore equals entertainment," The two leads spark little chemistry together, Romantic Comedy is neither romantic nor comedic, but I give it 5 out of 10 only because Dudly Moore and Mary Steenburgen ARE good actors and fun to watch despite the weak plot.

I saw this the same week that I saw Dudley Moore's other 1983 romantic comedy, "Love Sick". While I have to give the edge to Marshall Brickman's "Love Sick," this is also a sophisticated and easy-going comedy that delivers lots of smiles and a few good chuckles. Dudley Moore was only a leading man for 13 years (1979-1992) and starred in only 13 films. While I didn't care for his boozy millionaire in "Arthur" and "Arthur 2," I think his work in Blake Edwards "10" and "Micky and Maude" was excellent. He plays an average guy with a little bit of charm and intelligence very well. Here, he plays a playwright without a great deal of talent. He has to get by on the talent of his collaborators. Mary Steenburgen is the real standout in the movie. It may be her best performance. She works very well with Moore. Steenburgen is really more of a character actress and that is where she does her best work, see "Marilyn Hotchkiss' Ballroom Dancing and Charm School." She really can't carry a movie as a lead, but here she plays straight man to Moore and the chemistry works. The story is about a man and a woman who should fall in love and get married, but their careers and lives force them out-of-sync, so they become friends instead. The movie isn't a laugh riot and it won't knock your socks off, but it is a sad/sweet two hours of mature and sophisticated banter.

Famous New York playwright Jason (Dudley Moore) is getting married to Allison (Janet Eilber). His longtime writing partner left him for L. A. His agent Blanche Dailey (Frances Sternhagen) recruits school teacher Phoebe Craddock (Mary Steenburgen) to be his new writing partner. The first meeting starts off with an embarrassing naked misunderstanding.

This open with a fun sitcom awkward meet-cute premise. It's a good start. I love both Moore and Steenburgen. I am eager to see their chemistry together. Suddenly, the story skips months and goes right to opening night. It skips over the important initial months of the connection. It's missing the set up to their lifelong relationship. It's also indicative of a constant skipping over sections of their relationship. It yadayadas some life transitions. This kind of jumping leaves the relationship a bit disjointed. It needs to flow better. I still like the two of them and this has some good sections. This could have been better.