When Sam finds out that Jonah called in to a radio station and aired his situation to millions of people, his reaction says a lot about him as a man and father. The caller on the line is Jonah, who says he’s worried about his father’s sleepless nights and constant grief. It is in the car ride to Walter’s family home that Annie happens to tune in to Dr Marcia Fieldstone’s radio show. They even make this road trip in separate cars, with Annie asserting that it makes sense for her to drive herself, but it also makes us wonder why she isn’t jumping to spend more time with him. This is enough for us to know where she stands with Walter, a relationship where she perceives compatibility but not romantic destiny. Just as the story concludes, the wedding dress rips at the sleeve, and Annie, who doesn’t believe in destiny, calls it a “sign”. We see Annie absorbing all this information, but never volunteering anything similar about her and Walter. She tells Annie that the moment she saw their fingers interlaced, she knew that he was the one for her. As Annie slips into her grandmother’s wedding dress, the dress her mom has kept all this time, her mom launches into the story of how she met Annie’s father. Only Annie doesn’t think about it that way. Later on, when she’s having a private conversation with her mother about how she met Walter, a meet-cute that only happened because of his allergies, her mother is quick to label it fate. She doesn’t seem as bothered about it as her father is, especially when he paints an idyllic image of a garden wedding with cold salmon, cucumber salad and strawberries, only to find out that this can’t happen because Walter’s allergic to strawberries. She seems happy enough, and her family congratulate her wholeheartedly, though there’s a bit of a damper in the air when the conversation swings to all the allergies Walter has to contend with. When we first meet to Annie, she’s introducing her fiancé Walter to her family. Vincent Millay poem, where the persona speaks of the pain she feels and “a hundred places where fear to go”, because they “brim” with the memory of her lover.Įphron establishes all this backstory for Sam first, before we meet Annie. He reflects that maybe moving might help him get over Maggie’s death, since he’s reminded of her everywhere he goes in Chicago. Even in the next scene, where we see him back at work, it’s made clear that he hasn’t moved on. We’re taken to the moments after her funeral, with Sam’s grief so palpable and present. The first image is of Sam and his son Jonah at Maggie’s gravestone, with Sam comforting his son and trying to reconcile himself with his wife’s death. The movie begins on a tragic note: Sam’s wife Maggie has passed away. And yet, director Nora Ephron is able to craft a credible romance, building a solid connection between Sam (Tom Hanks) and Annie (Meg Ryan) when they aren’t even in the same space. This isn’t the case for Sleepless in Seattle, where the romantic leads don’t properly meet until the end of the movie. Because that’s what we need, isn’t it? We need to see them together so we understand why they end up together by the end of the movie. They have a meet-cute, maybe it starts off with immediate interest, other times things are more of a slow burn, but what we unfailingly get is the interaction between these two individuals. When we think of the rom-com as a genre, one of the things many people love about it is the chemistry and lively banter between the romantic leads.
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