Abaixo o Amor

If only because Ewan McGregor and Renee Zellweger were in this movie, it would be worth seeing. What you can't expect, however, is the sheer fun that ensues, complete with fake New York City backdrops, glamorous period sets, and even more glamorous costumes, makeup and hairstyles. After the first few minutes, I began to tire of this homage mentality, but the story quickly sucked me in, thanks in great part to the blissfully neurotic performance of David Hyde Pierce as the friend/boss of Catcher Block (McGregor). Sarah Paulson is also fun and perky as Barbara Novak's (Zellweger) best friend/editor, and keeps things moving along quite well. His Theatrical Eminence, Tony Randall, even makes an appearance as "The Big Boss" of the publishing company. He, coincidentally enough, was the friend/boss to Rock Hudson in "Pillow Talk" from 1959.

The chemistry between McGregor and Zellweger heated up the screen in a sweet, old-fashioned way. Remember the kind of romance that reminds you of when just smooching and holding hands was just ever so dreamy? That level is cranked up a few notches higher (in that same sweet fashion) than Doris Day or Rock Hudson would have ever dared; a particular example is the priceless "split-screen" telephone conversation between the leads, taken to a level above, below, and to the side-like of any ever seen on screen before.

Also of great note is Zellweger's scene that includes the longest bit of unedited exposition I've had the opportunity to see on film (one-shot, no cuts at all). It reminds me greatly of Steve Martin's coffee-pouring bit ("Dead Men Don't Wear Plaid") except that it's all dialogue! I was torn between listening to all of the story twists, and wanting to pull out a stopwatch to clock her monologue! The next shot of Catch must have mirrored the expression of the entire audience at that particular moment!

Anyone planning to see this film might find it amusing to first watch movies like "Pillow Talk" to get a feel for the kind of film that is being emulated here. In fact, there are a number of particular story elements that obviously could be attributed to that particular film.

It should be no surprise to learn that the team who wrote this fun sex farce is also responsible for the upcoming "Legally Blonde 2: Red, White & Blonde" set to be released July 2, 2003.

Have fun, and enjoy this tasty treat of nostalgia. Chocolate, as you will see, becomes a key player. Make sure to stick around for the final credits as well.....if you loved McGregor in "Moulin Rouge" and Zellweger in "Chicago", you will adore the vocal stylings of both at the end of this oh-so-cute movie!

I'm surprised to read so many user comments which indicate that Down With Love received some critical acclaim - I recall a very different response, where critics seemed hugely and almost unanimously underwhelmed (maybe this was a UK response?) and consequently, I wasn't expecting too much. This only enhanced my enjoyment - what an underrated gem this movie is!!

I rarely like Zellwegger, but here she was pertly perfect, and McGregor was simply fabulous - dashing, charismatic, loathsome, even vulnerable, especially when he occasionally slips from his duplicitous fake self (when he notices a lash on her cheek, for example), and always delivers his lines with exquisite (and surprising) comic timing. The support cast were also excellent, especially Hyde Pierce, although he was not a 100 miles from his decade-long stint as Niles Crane.

The set, costumes, production design and cinematography were also outstanding in this movie, evoking the brashly-coloured, kitsch, fluffy-light ambiance which pervades the early 1960s New York screwball romance movie genre, but the snippy script and slick direction removed this pastiche away from its potential as mere enchanting, screwball fable to a witty, post-feminist send-up of this Hudson/Day romcom genre - and indeed, the battle of the sexes. To its credit, Down With Love doesn't collapse completely into mawkish sentimentality with Novak (Zellwegger) suddenly capitulating into the cult of domesticity, tamed by her man, which is often the fate of modern post-feminist heroines - instead, the couple compromise, and we can be sure that she won't be confined to the suburban purgatory she comes to dread.

In all, a fun, fab and brilliantly executed movie, which has been clearly (re)created with due love for the genre it so skillfully parodies, yet in the light of postmodern sensibilities by adding a much-needed post-feminist twist.

This is an homage to the light romantic comedies of the early 60's and a strong influence by "Pillow Talk". Renee Zellweger is Barbara Novack and she writes a book about women and how they look at relationships and an editor at a publishing firm named Vicki Hiller (Sarah Paulson) convinces the board of directors to publish her book. One way to get attention to her book is for a well known writer to write an expose of it so they try to get Catcher Block (Ewan McGregor) to do the job but he's so busy womanizing that he keeps canceling their appointments so they try other methods to get attention to her book and they succeed as it becomes a best seller. Catcher is amazed by her success and bets his friend and coworker Peter MacMannus (David Hyde Pierce) that he can make her fall in love with him which would make her a hypocrite and he would have a big story to publish. Catcher pretends to be a shy astronaut from Florida and they start to date. This film is directed by Peyton Reed who has worked almost exclusively in television and is directing the "Fantastic Four" next. Film does an admirable job of recreating those type of films that were prevalent in those times. The sets are terrific with the decor for the offices and apartments. Even the scenes like when Zellweger is riding in a car its obvious that its a sound stage with a movie screen behind them showing stock footage of 1960's traffic. The script also does a good job of adding some flavor of 1960's culture like when one of the board of directors describes her as "The Farmers Daughter" from Maine. This is of course in reference to Debbie Reynolds and when MacGregor says he's an astronaut from Cocoa Beach Florida its from "I Dream Of Jeannie". All pop icons from the sixties. And having Tony Randall in the film gives it the ultimate cavalier compliment. Its not a perfect homage like the scene where Paulson accuses Pierce of being homosexual which would not have been allowed during those times but the lighthearted charm of the film remains intact. Zellweger is fine as usual as Barbara but its MacGregor that caught my eye. His performances in the last two years have never ceased to be interesting. He was almost unrecognizable in "Black Hawk Down" and then shows he can sing in "Moulin Rouge!" But also shows he can handle playing American dialects. He's an amazing actor to watch and here he adds to his mystique. Film is utterly charming and it does compliment the films from the early sixties.

Well, 'Down With Love' turned out to be a unexpectedly pleasant surprise. Love many of the late 50s and 60s sex romantic comedies, 'Pillow Talk' being a primary example, and can't get enough of those with Doris Day and Rock Hudson which this film clearly was paying homage to. There was the worry though as to whether 'Down With Love' would be just another heavily predictable film with forced comedy moments, no romantic chemistry and no charm with talented casts wasted.

Luckily, 'Down With Love' on the most part was not one of those films. It is a satire and celebration of the sex romantic comedies from the late 50s and in particular the 60s, being set in 1962, and mostly does a really good job, capturing the fun, kitsch, charm, froth and affectionate nostalgia of the period and the films with incredibly impressive results. Is it as good as the films it's satirising and celebrating? No. Are the two leads and their chemistry on the same level as Day and Hudson or even Day and James Garner? Not in a million years, but this is a tall order with not many actors and actresses today having the same amount of appeal and that special one of a kind chemistry that those stars had.

'Down With Love' is not perfect. It is easy to dismiss the story as being slight and predictable, and it is. One does have to bear in mind though that the story was not exactly the strong suit in the sex romantic comedies of the late 50s and 60s, it was the production values, the stars, the supporting cast, the writing (on the most part) and the chemistry between the stars that elevated those films to a greater level.

Mostly the script is fine, but it is not without its clunkers. Especially that homosexual accusation, that was cringe-worthy, completely out of place and if it was made in either of the decades that are being satirised and celebrated it would have been anachronistic and would have been anachronistic in its 1962 setting. A few of the more twisty moments were too obvious and didn't serve much point and it occasionally affected the pacing. It was nice to see Tony Randall again, but he really deserved much better than a pointless cameo that gave him nothing to do, he might as well have not been in the film at all.

However, 'Down With Love' looks great and replicates the look of the late 50s and 60s perfectly, the glorious Technicolor, the super stylish photography, the colourful sets, the kitschy décor, sumptuous costuming, the CinemaScope logo. The split screen was clever in one scene. There are artificial painted backdrops and cheap back projection, but this was perfect and appropriate considering what the film is doing. The soundtrack is infectious and affectionate and the direction is controlled and super slick.

Apart from the odd clunker, the script is clever and witty while also being endearingly frothy. The characters lack depth but are not too shallow or annoying thanks to the charm of the cast. The story isn't perfect, but is mainly fun, charming and captures the spirit of the period and films it's satirising and celebrating perfectly and with clear affection.

Renee Zellwegger gives a sprightly and likable lead performance and is well matched by a charming, understated and carefree Ewan McGregor in the other lead role. Their chemistry is nicely done, to me it was there but subtle. It may not have been Day and Hudson but that is incredibly daunting for anybody since to replicate. David Hyde Pierce steals the film, looking like he is having the most fun, he certainly has the most energy. Sarah Poulson is amusingly wise-cracking and charming, if occasionally a little too tongue-in-cheek.

Overall, an unexpected pleasant surprise if not perfect. 7/10 Bethany Cox

This parody of the 60s movies has zero subtlety, but is amusing and full of references. It is somewhat analytic, has some nice jokes and a lot of in-jokes, but is concerned more with commenting and it is not terribly sophisticated. Still, worth a watch, especially if you know the work Rock Hudson and his magnum opus of trivial love. Extra credit for being prescient about the absurdities of the upcoming age of over the top woke hys teria.