heartbreak ( 1931 film )
heartbreak is a 1931 american pre - code war drama film directed by alfred l. werker and starring charles farrell, madge evans and paul cavanagh .
the following is an overview of 1931 in film, including significant events, a list of films released and notable births and deaths .
heartbreak (original post - production script for the 1931 film) by werker, alfred l. (director); william m. conselman, leon gordon (screenwriters); llewellyn hughes (story writer); charles farrell, paul cavanagh, madge evans (starring): fox film corporation - urltoken
heartbreak (make me a dancer )
, a 2009 song by freemasons feat. sophie ellis - bextor
has anyone seen either body and soul which starred charles farrell and elissa landi or heartbreak which starred charles farrell and madge evans (on loan from mgm)? both were made by fox films in 1931 and take place during world war i. i suspect both may include footage that was shot for the sky hawk (1929). the former also has early appearances of myrna loy, humphrey bogart, and douglas walton. i' ve read online the original short story by llewellyn hughes that was published in liberty magazine (april 25, 1931) which was the basis of heartbreak; the films adds the character played by john arledge and changes the names of the twins played by madge evans and hardie albright. judging by stills, the costumes by guy s. duty are more 1930s than 1910s. i also bought off ebay an article from fortune magazine (august 1931) that described the cost of making sets, costumes, etc for body and soul. interesting read! stills for this film are usually scooped up rather quickly on ebay. i know the ucla film archive has a print of heartbreak, but didn' t find body and soul there .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
living room the cinema of mikio naruse is one of heartbreak but also one of indomitable poise. melodrama is the director’s stock - in - trade. his stories are inhabited by people, generally women, imprisoned in their domestic and professional circum…
note: prior to 1933, awards were not based on calendar years. and there were two awards given in 1932 for' best actor'. that' s how there are 3' best actor', 2' best actress' awards for 1931 films .
aubrey solomon. the fox film corporation, 1915 - 1935: a history and filmography. mcfarland, 2011 .
original post - production script for the 1931 film. based on the short story by llewellyn hughes, published in
liberty
on april 25, 1931. an american pilot, engaged to an austrian countess, finds his personal life uncomfortably overlapping his military service when he is forced to fight against (and kill) her twin brother on the italian front of world war i. green titled wrappers, rubber - stamped copy no. 697. 5a and production no. 48, dated 8 - 5 - 31, with credits for llewellyn hughes and william conselman. title page integral with the cast and filmmakers page. 75 leaves, mimeograph. pages near fine, wrapper near fine with foxing, internally bound with three gold brads .
haigh’s film is marked by an immediacy and a sense of tentative exploration that’s rare in depictions of couplings, and by a keen awareness that we project one image on the world and hold another back for ourselves. not a great deal happens in terms of big events, but the film’s honesty and realism mean that it’s a little film with a lot to say. dc
with charles grodin, cybill shepherd, jeannie berlin, and eddie albert. “were there film - historical justice in the world, the heartbreak kid would be remembered as something more than a finger - jabbed - a - little - too - sharply - in - the - ribs footnote to the graduate. an excruciatingly hilarious masterpiece of modern misanthropy, may’s second directorial outing stars charles grodin as a newlywed who, not five days into his honeymoon, mercilessly dumps his bride (played, with an oscar - nominated mixture of hapless pathos and a double order of egg salad, by may’s daughter, jeannie berlin) in order to pursue cybill shepherd’s teenage minnesota wasp princess. an anatomy of internalized rage, curdled misogyny, and bottomless self - deception, may’s second film – as indeed do each of the four films she directed – deserves better. ” –chuck stephens, film comment
( entuziasm: simfoniya donbassa) enthusiasm is vertov’s vision of the transformation of social energies in a progressive society. the film is remarkable for its experimental use of sound and montage. vertov himself invented special lightweight recording equipment to register the sounds of workers in the mines and factories of the don basin in this film. it is the best example of his theory of cinema which brings together “the film - eye and the radio - ear. ” at one point he described the film as a “symphony of noises. ” “i would never have believed it possible to assemble mechanical noises to create such beauty. one of the most superb symphonies i have known. dziga vertov is a musician. ” –charles chaplin
dalen’s rarely - seen directorial debut is lean and mean in the best possible way, an uncompromising character study about a driven and coolly effective debt collector (david petersen, brilliant in his first film role) for a vancouver loan agency. a perennial “man of the year” at his office, the film finds petersen at something of a crossroads, as the pressures of his profession begin to wear him down. after some high - profile festival exposure, including the new york film festival in 1978, the film all but disappeared, resurfacing briefly in the 1980s for a vhs release under a different title. owing to this slipshod release pattern, it’s come to be regarded as one of the lost masterpieces of the canadian tax shelter era. “a downbeat film set in a seedy ‘70s version of vancouver where ubiquitous construction sites signal the oncoming wave of gentrification, the film falls between a noir and a western in tone – the latter especially fitting given that dalen had abandoned an unproduced oater script to focus on skip tracer. ” –kier - la janisse, off screen
( warnung vor einer heiligen nutte) in rainer werner fassbinder’s brazen depiction of the alternating currents of lethargy and mayhem inherent in moviemaking, a film crew – played by, and not so loosely based on, his own frequent collaborators – deals with an aloof star (eddie constantine), an abusive director (lou castel), and a financially troubled production. playing out predominantly within the lobby of the spanish hotel where the film’s cast and crew are staying, the film features a nearly nonstop succession of songs issuing from the hotel’s jukebox, with memorable airtime for cohen’s “suzanne, ” “so long, marianne, ” “master song, ” “sisters of mercy, ” “teachers, ” and “winter lady. ”
the film proved an inspiration for two later inquiring romances, fassbinder’s ‘ fear eats the soul ’ and todd haynes’s ‘far from heaven’, both of which took sirk’s interest in sexual repression and love - across - the - divide in very different directions. dc
review: a film set in vienna in 1916 promises lots of waltzing, and this one delivers. farrell is berated by his commanding officers when he travels over enemy lines to visit his girl. he brings her the unfortunate news that he has killed her brother in an aerial… (more )
mikio naruse’s earliest available film, flunky, work hard is the rare work by the director not to center around female characters. it is a charming, breezy short concerning an impoverished insurance salesman and his scrappy son, whose fisticuffs with the other boys of their village put his father’s livelihood in jeopardy .
let them all talk the swooning technicolor palette, the pristine costumes and the fairly standard odd - couple romance between a rich widow, cary (wyman), and a thoreau - reading gardener, ron (hudson), only serve to make the social commentary in sirk’s film all the more powerful .
a film set in vienna in 1916 promises lots of waltzing, and this one delivers. farrell is berated by his commanding officers when he travels over enemy lines to visit his girl. he brings her the unfortunate news that he has killed her brother in an aerial battle, and tells her how sorry he
desert song thanks to ‘seinfeld’, anthony minghella’s oscar - guzzling, two - planed love story became the butt of many a joke with harder - hearted viewers. but the film’s lingering impression in the public imagination as a kind of saturated desert swoon does a disservice to its subdued yet shimmering sense of melancholy .
so begins a thrilling, devastating journey through the hinterland, as the forces of propriety and tradition band together to frustrate the lovers’ happiness. unabashedly sentimental but rich with meaning and subtle purpose, mizoguchi’s film teaches us that one moment of reckless love is worth more than a lifetime of socially approved loneliness. th
( nous ne vieillirons pas ensemble) with jean yanne & marlene joubert. “far from viewer - friendly, [ this film ] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. it’s a sort of love story told in inverted terms, depicting the protracted end of a five - year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘you’ve never succeeded at anything and you never will’, says jean, a 40 - year - old married filmmaker, to his younger, working - class lover catherine. ‘and do you know why? because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary. ’ these are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from love story: ‘love means never having to say you’re sorry. ’” –dave kehr, film comment
romantically speaking, the heartbreaker comes in the film’s final seconds, in which the tramp’s identity is finally revealed to his love interest, who can now see. on chaplin’s face, we see shame intermingling with fear and, ultimately, euphoria. cribbed by federico fellini and woody allen for similar endings, it’s the greatest close - up in movie history. jr
to celebrate the 66th birthday of jim jennings, a beloved yet under - sung stalwart of the new york city experimental film community whose lyrical, sharp - eyed films speak to the glorious tradition of urban street photography, we have invited six of jennings’s fellow filmmakers – abigail child, nathaniel dorsky, ernie gehr, vincent grenier, henry hills, and ken jacobs – to select their favorite films from throughout his long, productive career. with the exception of nathaniel dorsky and henry hills (who will be here in spirit), they will all be present to introduce their chosen films, alongside jim himself who will screen his very first film, made 50 years ago! special thanks to all the filmmakers, and to karen treanor .
‘all that heaven allows’ is a blistering exposé of how society’s attitudes serve to throw cold water on passion and keep our purer romantic instincts in check. scenes of folk gossiping behind the couple’s backs or predatory men leaping on cary are shocking and only make us root even more for cary and ron’s relationship (even if the film lacks a genuine spark between the pair) .
one night, as the two men spout nonsense about a strindberg play, catherine hurls herself into the seine. she’s unpredictable like that. later, when she switches allegiances to jim, jules can’t bear to be apart from her. let jim have her, but let her stay in his life. the years can’t dim the warmth or humanity of truffaut’s third (and best) film. cc
there’s another version, 1994’s ‘love affair’ – a tepid showcase for warren beatty and annette bening. but as any fan of ‘sleepless in seattle’ will tell you, the 1957 film is the most enduring, allowing grant to play simmering passion beneath a debonair exterior, while kerr suggests fervent yearning behind that reserved front. hokey? yes. manipulative? certainly. but we defy you not to blub like meg ryan. tj
the rest of us get to enjoy one of the most perfect films ever made about the indefinable bonds that can form between people who happen to find each other at just the right moment, with coppola’s hazy direction focusing on the infinite meanings that live between words. we may never know what bob whispers to charlotte in the film’s final scene, but it’s a safe bet that neither one of them will ever forget. de
a film set in vienna in 1916 promises lots of waltzing, and this one delivers. farrell is berated by his commanding officers when he travels over enemy lines to visit his girl. he brings her the unfortunate news that he has killed her brother in an aerial battle, and tells her how sorry he is. she tosses him out, but changes her mind and calls him back - - after... read more
a wild surmise sometimes the line between disaster and perfection is alarmingly fine. by all rights, ‘bright star’ should’ve been awful: a simpering love story between a fey poet and a bolshy society girl, all bulging bodices and whispered nothings. but then jane campion grabbed the reins as director, and produced perhaps the most intense and mesmerising romantic film of the century so far, a gorgeous, gossamer - light look at love as living poetry .
were the real - life depression era outlaws (whose robbing spree left at least nine policemen and several civilians dead) really as glamorous as beatty and dunaway in gangster chic? no, of course not. but as veteran critic david thomson once wrote, ‘bonnie and clyde’ was a film as much about the 1960s as it was about the 1930s: ‘the picture caught the mood of the late 1960s, with kids angry at society. ’ cc
soda _ jerk, mónica savirón, luis parés, and sandra ruesga in person. these works critically interrogate image production and the reproduction of images as materials of thought; they question historical continuities and ideological certainties of representation. the artists tackle the “muscle sense” of fascist history embodied in the life of spanish filmmakers; a cinematic study on the color film stock made in nazi germany; speculative fiction and the personal experience of time, immigration, and the poetics of film deterioration. sandra ruesga haciendo memoria 2005, 10 min, digital mareike bernien & kerstin schroedinger rainbow’s gravity 2014, 33 min, digital soda _ jerk the time that remains 2012, 12 min, digital mónica savirón answer print 2016, 5 min, 16mm soda _ jerk & the avalanches the was 2016, 14 min, digital luis parés the cadaver of time 2016, 13 min, digital total running time: ca. 95 min .
with isabelle adjani, sam neill, and margit carstensen. written by andrzej zulawski & frederic tuten. if you think the pialat and albert brooks films depict romantic relationships in a less - than - flattering light, behold zulawski’s possession, in which the psychic violence of the other two films in the series erupts into literal violence of the most outrageous and over - the - top variety. a nihilistic, no - holds - barred portrait of a disintegrating marriage, featuring highly stylized, career - best performances by isabelle adjani and sam neill, possession starts as psychodrama, develops into queasy supernatural horror, and ends up exploding all known genres. a film of rampant and astonishingly sustained hysteria, its craziness equaled only by its fecund imagination and deep conviction, possession is the definition of a film that’s not for the faint of heart. it may just have the power to annihilate valentine’s day once and for all .
with albert brooks, kathryn harrold, bruno kirby, george kennedy, and james l. brooks. mint condition print courtesy of sony pictures. modern romance may be albert brooks’s least - known film, but arguably it’s his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self - criticism. brooks is robert cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, modern romance lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. only brooks could make a deadpan comedy about a man who’s very nearly psychotic. painfully funny, with the emphasis on ‘funny. ’
a film, also called a movie, motion picture or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. this optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession. a film is created by photographing actual scenes with a motion picture camera; by photographing drawings or miniature models using traditional animation techniques; by means of cgi and computer animation; or by a combination of some or all of these techniques and other visual effects. the word
cinema
, short for cinematography, is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself. the contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations .
boy meets boy this british film, shot on a shoestring, captures in a lively and fresh style the first throes of attraction, passion and maybe even love between two men, glen (new) and russell (cullen), who meet one night in a bar and spend a couple of days and nights together. they talk, they have sex, they size each other up. glen is open and chatty, while russell is more guarded and defensive .
yet there’s a rare authenticity and sincerity to this intimate miniature that never so much as grazes the gag reflex, from the gentle chemistry of the non - professional, refreshingly non - pretty leads (collaborators and lovers in real life) to the naked emotional candour of their songs (one of which won a deserved oscar) to the heartbreaking matter - of - factness with which the film resolves their ambiguous relationship. a wisp of a love story, but a perfect one. gl
looks like we made it to the end ‘what will survive of us is love, ’ wrote philip larkin, a poet equally known for being a cuddly old romantic as michael haneke, the writer and director of ‘amour’. in his paris - set film, haneke examines what love means when we’re reaching the end of our lives. haneke gives us georges (trintignant) and anne (riva), a couple in their eighties who struggle to cope when anne falls ill from a stroke .
this informal black - and - white portrait of leonard cohen shows him at age 30 on a visit to his hometown of montreal, where the poet, novelist, and songwriter comes “to renew his neurotic affiliations. ” he reads his poetry to an enthusiastic crowd, strolls the streets of the city, relaxes in this three - dollar - a - night hotel room and even takes a bath. with: derek may angel (1966, 6 min, 16mm, b & w) in this short film, a young man, a girl and a dog attempt to fly with wings more symbolic than practical. music by cohen, performed by the stormy clovers. josef reeve poen (1967, 4 min, 16mm, b & w) this short film features four readings of a prose poem from leonard cohen’s novel beautiful losers. read by cohen himself, the poem produces a distinct emotional effect every time it is read, following the poet’s rendition and accompanying visuals. total running time: ca. 60 min .
set in turn - of - the - century vienna but shot in 1948 hollywood by max ophüls with a gorgeous, swooning camera, joan fontaine stars as lisa. over decades lisa has had three brief meetings with womanising concert pianist stefan (louis jourdan) – who fails to recognise her every time. her aching letter gives the film its voiceover as she tells the story of her unrequited, borderline masochistic love: ‘my life can be measured in the moments i have had with you. ’ a heartbreaking masterpiece. cc
on the face of it, it’s hard to say why the aggressively sentimental ‘the notebook’ is any different. but there’s something so earnest about the way this star - crossed teen romance – he’s a common country boy, she’s a beautiful heiress, you do the math – hits its clichéd marks that the film itself takes on the unassailable, idealistic purity of first love. magic casting, too: here’s where the world’s love affair with ryan gosling started, before he got way too cool for this sort of thing. gl
‘west side story’ is like no other musical: sure, it’s sappy (‘mariaaaaaaaaaa’) and slightly ridiculous, but it’s also brazenly political (‘if you’re all white in a - me - ri - ca! ’), sneakily self - mocking (‘hey, i got a social disease! ’) and ferociously, aggressively emotional: the operatic finale is a masterclass in three - hanky audience manipulation. also, the film contains perhaps the single best song ever written for the musical theatre: ‘somewhere’, the ultimate romantic ballad for trapped and dreaming lovers. th
my heart will go on… and on… and on… few films inspire as much passion as james cameron’s epic would - be folly. following a troubled production, when the film finally splashed into cinemas, it became the biggest money - spinner of all time, provoking an ocean of housewives’ tears and one of the biggest oscar hauls in history. then the backlash hit, like an iceberg in arctic waters: wait a second, people pointed out, the dialogue’s godawful, the depiction of social class is farcical, and the romance is just join - the - dots mills and boon nonsense .
it’s a golden age – a long - lost arcadia – that can never be recovered by this unlikely romantic pair as the years go by and jack and ennis live separate lives (though they occasionally meet up for secretive fishing trips to rekindle their passion). as they age, jack is more successful at holding down an everyday life with a job and family, but ennis seriously struggles, and his story is all the more tragic for it. it’s a brilliantly acted film, and lee finds time to celebrate and explore the love at the core of his story as well as creating space to mourn its fallout. dc
( chelovek s kino - apparatom) “if vertov had never made anything other than man with a movie camera he would still be among the cinema’s greatest masters. a kaleidoscopic city symphony – conjoining moscow, kiev, and odessa in one dizzying metropolis – this is vertov’s most complex film, matching the rhythms of a day to the cycle of life (birth, death, marriage, divorce) and the mechanisms of movie - making to the logic of production. made without titles, the movie is at once a documentary portrait of the soviet people, a reflexive essay on cinematic representation (as dazzling as it is didactic), and an ode to work itself as a process of transformation. ” –j. hoberman, village voice
with taylor mead. “beyond cassavetes” returns with this edgy, long - lost treasure from the early days of new york feature production. a gritty thriller set in manhattan’s sex and narcotics netherworld, it was director raymond phelan’s first, no - budget feature. but what makes it truly historic is that it features the first screen appearance of as - yet - undiscovered warhol superstar, underground luminary, and national treasure taylor mead. principally shot in 1959 but not released until 1962, the film ran for four months at times square’s notorious rialto theatre and helped signal the imminent rise of the sexploitation genre. better known as cinematographer on doris wishman’s campy nudist dramas, phelan would manage to conjure only one additional pinchpenny production (assignment female, 1966) before disappearing into the hills of vermont. never available on video and not exhibited theatrically in over fifty years, these screenings are made possible with help from the estate of raymond phelan .
( les liens de sang) chabrol’s rarely - seen canadian / french police procedural transplants ed mcbain’s detective steve carella from the 87th precinct to the streets of old montreal, with donald sutherland as carella, on the hunt for the killer of a teenage girl (lisa langlois). crossing paths with the detective as he investigates are donald pleasence as a pedophile and david hemmings as the murdered girl’s boss. the supporting cast includes chabrol’s then - spouse stephane audran as the girl’s alcoholic mother, and langlois, in her film debut, who would become a familiar face in canuxploitation fare over the next several years. “chabrol’s masterful touch is apparent from the brooding, sinewy photography and the mood shifts from harrowing to lyrical abetted by regular collaborators cinematographer jean rabier and composer pierre jansen. donald sutherland gives a compelling, subdued yet sensitive performance as a detective numbed by the grisly nature of his job yet clinging onto his humanity. ” –andrew pragasam, the spinning image
in the same year she stunned as iris in taxi driver, wunderkind child actress jodie foster decamped to knowlton, quebec, to film this slow - burn thriller about a preternaturally wise young girl living with her writer father in a secluded old mansion. among the locals who come calling on her are a crippled teenage magician (scott jacoby of bad ronald), a friendly cop (mort shuman, who wrote “viva las vegas” for elvis), a nasty landlady (alexis smith), and her pedophile son (martin sheen). one of the darker and more disturbing of pg films, the material offers a fine showcase for foster, who more than holds her own against her older co - stars. “ [ t ] his eerie canadian production left a massive impression on countless 70s youngsters and continues to captivate anyone who stumbles across it. the macabre story flirts with gothic horror and classic suspense without quite settling into either, casting a unique, atmospheric spell of its own that has yet to be duplicated. ” –nathaniel thompson, mondo digital
with warren beatty & julie christie. “‘this is bob altman, ’ the voice on the other line said. ‘i’d like to use your songs in a movie i’m making. ’ leonard cohen was flattered but had no idea who this guy was: ‘is there any movie you’ve done i might have seen? ’ altman mentioned his smash success m * a * s * h, which cohen had missed. the filmmaker then said, ‘i also did a small movie that nobody saw – brewster mccloud. ’ as cohen later recalled to altman biographer mitchell zuckoff, ‘i told him, “i just saw it this afternoon – i loved it. you can have anything you want. ”’ thus began one of the great pairings of film and soundtrack of the modern era. the movie altman was making was mccabe & mrs. miller…one of the most visionary [ of all westerns ]. [ … ] altman’s and cohen’s legacies would forever be linked by mccabe. the movie is inextricably connected to cohen’s songs. it’s impossible to imagine altman’s masterpiece without them. ” –tim grierson, rolling stone
please note: filmmaker jonathan culp was planning to travel from canada to present these screenings in person, but he has chosen to cancel his trip in protest against donald trump' s proposed travel ban. instead he has sent the following statement :
whatever each of us choose to actually do, there can be no business as usual right now. as thrilled as i have been for many months to attend these screenings, the travel ban crisis has tainted the enterprise, and i feel that the most useful action i can take is to boycott the canada - us border until these matters are settled decisively .
the canadian films of the 1970s and 80s live in the shadow of american culture, as canadians do generally. taking shelter portrays the cinema of this era - the good, the bad and the confusing - as a literal alien invasion, in which a generation of canadian character actors suddenly find themselves attacked and colonized by the weaponized tools of cinema. i trust the film' s paranoid themes, frantically accelerating pace, and general cognitive dissonance will strike familiar chords to anyone who can still bear to read the news .
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hotel transylvania 3: summer vacation stars plan their dream summer getaways to some memorable movie settings .
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leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
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how an american airman brings down a plane piloted by brother of australian girl with whom he is in love .
werker, alfred l. (director); william m. conselman, leon gordon ...
werker, alfred l. (director); william m. conselman, leon gordon (screenwriters); llewellyn hughes (story writer); charles farrell, paul cavanagh, madge evans (starring )
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open, general discussion of classic sound - era films, personalities and history .
body and soul was preserved on 35mm by the museum of modern art. coincidentally, it will be screening at the museum in nyc later in the year .
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broken heart, a metaphorical emotional pain or suffering experienced alongside great longing or loss .
know what this is about? be the first one to add a plot .
is. she tosses him out, but changes her mind and calls him back - - after all, he did risk his life to see her .
now we know which are the 100 best romantic movies of all time. but which are funny and which are heartbreaking? which depict a dignified romance and which are saucy tales of lust? which are strictly arthouse and which are simply cheesy? we’ve applied 19 handy labels to the 100 films in our list. here you’ll find all the stories we think deserve the label ‘heartbreaking’ .
got something to add? tell us what you think in the comments below .
best quote:' this misery can’t last… not even life lasts very long.'
defining moment: that most restrained of farewells, alec squeezing laura’s shoulder goodbye .
make tea not love you’d think that lean’s tale of stiff - upper - lip emotion would be frightfully and unwatchably old - fashioned today. a married woman falls in love with a married man and they do the decent thing. so why do we continue to find this much - loved classic so unbearably moving? because it’s still thrilling to watch the continents of emotion beneath laura and alec’s icy properness .
they meet in a railway café. laura (johnson) has grit in her eye. alec (howard) gallantly removes it. later, they run into each other in a restaurant. the couple know in their heart of hearts that leaving their families and running off together will not make a happy ending. and so they must part. he accepts a job in south africa. our hearts stop with the lovers’ when a busybody crashes their last few precious minutes together. unforgettable. cc
best quote:' oh, harold, that' s wonderful. go and love some more.'
defining moment: in a field of daisies overlooking a vast military cemetery, maude explains her philosophy of life .
age shall not wither them the hippy era was full of movies that attempted to confront square society, to shock viewers into some undefined form of action. how many of them are still effective today? but ‘harold and maude’, the gentle flipside of the revolutionary dream, is every bit as charming, affecting and surprising as it must have been on its first release .
partly this is because none of its themes have gone out of date: we still live in a world of empty privilege and rigid hierarchy, petty authority and relentless conformism. so the idea of a teenage boy (cort) shacking up with a batty old woman (gordon) is still a challenge to social norms. best of all, ‘harold and maude’ is also still devastatingly romantic: a story of soulmates, in the most literal sense. th
a camp romance lee’s adaptation of e annie proulx' s short story is a desperately sad account of gay love beaten into submission by society’s attitudes and conventions. jack (gyllenhaal) and ennis (ledger) are two ranch hands in early 1960s wyoming who spend one glorious summer out in the wilderness falling in love and sleeping with each other .
best quote:' if only you could have shared those moments, if only you could have recognised what was always yours, could have found what was never lost. if only...'
defining moment: the greatest first - date setting of all time – an old fairground ride where scenes from around the globe roll past the windows of a wooden train .
lonely are the brave ‘by the time you read this letter i may be dead. ’ with these words a woman who has spent her life hopelessly devoted to a man who doesn’t know she exists begins her letter to him. quite simply, ‘letter from an unknown woman’ will leave your heart in pieces on the floor .
defining moment: alex and michele dance along the bridge and waterski down the seine to a backdrop of fireworks, strauss and iggy pop during a bastille day celebration .
paris when it sizzles' les amants du pont - neuf' (' the lovers on the bridge') is leos carax' s valentine to amour fou, paris and his then - partner juliette binoche. and it' s as rapturous and irrational as true love itself. even the story of its production is something of a romantic tragedy: three years in the making and spiralling wildly over budget as carax reconstructed paris’s iconic pont - neuf bridge in the south of france, it' s the kind of grand artistic expression that must fail in order to succeed .
the simple love story – between two bohemian bums, one a derelict fire - eater and one a painter losing her eyesight – could be the stuff of silent melodrama, but carax crams it with sound and colour to the point of delirious sensory ecstasy. gl
best quote:' you don' t talk much. i like you!'
defining moment: it’s all about the opening ten minutes, as we follow carl and ellie from childhood, through years of happy marriage ‘til death does them part .
the story of us it’s remarkable that ‘up’ has managed to sneak into the all - time top 25 romantic movies on the strength of a single 10 - minute sequence, but it’s also testament to the extraordinary power this pixar classic possesses .
it could’ve been so cutesy, so saccharine: a geeky kid with coke - bottle glasses dreams of being an explorer. the girl down the street wants the same thing. they grow up, fall in love, years pass, and we see the highs and lows of their life together: marriage, family, work, sickness, eventually death – a tapestry of honest emotion and meaning (and this, lest we forget, is a kids’ movie). the rest of ‘up’ is ‘only’ hilarious and smart – but that opening is romance itself. th
defining moment: a sad, bittersweet meeting in the snow, two lovers seeing each other for the first time in years .
all things bright and beautiful you' d need to have a sliver of ice lodged in your heart not to be moved by ‘the umbrellas of cherbourg’ – a musical that has even hardened musical - haters melting into puddles. not that it’s a musical in the belt - ‘em - out tradition. instead, every word is sung rather than spoken as 17 - year - old geneviève (deneuve) falls sweetly and madly in love with car mechanic guy (castelnuovo) .
‘umbrellas’ is one of the most ravishing films ever made, wrapped in candyfloss colours to match the blush of first love. when guy is drafted to fight in algeria, geneviève is certain she will die of grief. but time passes and geneviève doesn’t die. love fades. and that’s the bittersweet message inside this exquisitely sugar coated pill. cc
best quote:' a plague on both your houses! they have made worms’ meat of me.'
defining moment: dicaprio and danes making loved - up eyes at each other through the glass and water of a fish tank .
from the globe to the ghetto baz luhrmann had some cast - iron source material to work with in the form of shakespeare’s story – but the australian writer - director took the playwright’s romantic tragedy to another place entirely with this ultra - modern reworking. at the same, he never lost sight of the essence of shakespeare’s tale of two young lovers doomed from the first time they lay eyes on each other .
the moment that romeo (dicaprio, so young !) and juliet (danes, so young too !) meet at a wild fancy - dress party is pure bliss to watch, just as luhrmann’s staging of the final death scene is almost impossible to bear. there are guns, hip - hop, open - topped cars and characters so larger - than - life that the whole thing now, in retrospect, feels like tarantino directing a season - finale episode of ‘dynasty’. it’s mad, musical and immensely moving. dc
best quote:' please never take me back to the hospital… promise… promise me.'
‘amour’ isn’t romantic in any traditional sense of the word, but it’s steeped in ideas about living life as a couple. it’s deeply thoughtful – and thought - provoking – in relation to what it really, properly means to be with someone all your life, to the end of your life. it’s heartbreaking and totally free of false sentiment. dc
defining moment: the last kiss in the firelit saharan cave, just after the count tells the doomed katherine he’ll never leave her – a promise they both know he can’t keep .
for all its sweeping sequences of radiantly lit passion, this adaptation of michael ondaatje’s booker prize - winning novel is more a story of love’s withered aftermath, as the disfigured count de almasy, dying in an italian monastery at the end of wwii, is ironically sustained by memories of a lethal liaison with patrician married beauty katherine. for a supposed romantic throwback, it’s impressively bleak, yet tinged with rapture – not least in the matchless beauty of its three leads. gl
defining moment: the newly - entangled cary and ron turn up at a cocktail party full of nosy neighbourhood types .
best quote:' stay alive. no matter how long it takes, no matter how far, i will find you.'
hip to be squaw it’s partly about the hair – wild, untamed, immaculately salon - shiny despite many months in the wilderness. it’s partly about the running – manly men springing through the forest like deer, hatchets raised as they swoop down on their unsuspecting prey. and it’s partly about the guns – muskets, rifles, bayonets, all longer than a man’s arm, billowing smoke and sending another indian brave to his untimely death .
but in michael mann’s full - throated adaptation of james fenimore cooper’s timeless adventure story, it’s mainly about the romance. love comes in many forms here: shy, gushing, bloody, brotherly, doomed and feisty. and as daniel day - lewis stands beneath that waterfall, bellowing his heart out and promising to track his beloved wherever the fates may take her, you’d need to have a hard heart not to be swept away completely. th
defining moment: oh, go on then: the prow scene, where leo claims to be the king of the world, and just for a moment we all believe him .
so which is true? well, both, to be fair. ‘titanic’ is an incredibly involving experience, especially once the ship hits the berg and all hell breaks loose. sure, it’s about as intellectually valid as a jilly cooper novel, but if you’re looking for a high - concept crowd - pleaser with its heart firmly on its sleeve, they don’t come much bigger, sillier or more enjoyable. th
best quote:' i couldn' t be more proud of you than if you were the first man on the moon.'
defining moment: when glen interviews russell on tape for an art project the morning after the night before .
best quote:' can you keep a secret? i’m trying to organise a prison break. i’m looking for, like, an accomplice.'
platonic bomb strangely polarising for such a wistful and modest little movie, some people struggle to see past the privilege that backgrounds sofia coppola’s story about the unique connection that develops between fading movie star bob (bill murray, in his best and reportedly favourite role) and charlotte, the married twentysomething he meets in the bar of a fancy tokyo hotel .
best quote:' i love you. i really love you.'' ditto.'
care for a little necrophilia? screenwriter bruce joel rubin was initially dismayed to hear that producers planned to hand his heartbreaking supernatural romance over to ‘airplane! ’ director jerry zucker (‘i thought with this director that they were going to turn “ghost” into some kind of comedy and it’d be horrible’), but in fact the move led to a skilfully put - together mixture of tearjerker and madcap farce, enabling whoopi goldberg to turn in an oscar - winning best supporting actress performance for her role as con artist / medium oda mae brown .
counting sexy pottery as a given, ‘ghost’ is also romantically notable for the queer frisson of the scene where sam' s spirit possesses oda mae to share one final dance with demi moore' s grieving molly. cb
defining moment: it’s as camp as christmas, but maria (wood) singing ‘i feel pretty’ while anticipating her next date with tony (beymer) is a magical moment of romantic exuberance .
the song of the streets baz luhrmann’s ‘romeo + juliet’ may have made all the tweeners’ hearts melt (and scored a higher place on this list), but the real hep chicks and finger - poppin’ daddies know which version of shakespeare’s play is the real leader of the pack .
best quote:' there must be something between us, even if it' s only an ocean.'
defining moment: the unbearable tension in the final reel. we know something cary grant is about to find out .
ship to shore a playboy (cary grant) and a chanteuse (deborah kerr) fall in love on a transatlantic liner. both are already attached but when they dock at new york, they agree to meet at the empire state building in six months’ time. such is the set - up for one of hollywood’s most imperishable romances, which leo mccarey first directed in 1939 as ‘love affair’ (starring charles boyer and irene dunne) and remade in 1957 as ‘an affair to remember’ .
best quote: kim:' hold me.' edward:' i can’t.'
defining moment: kim dances in the ‘snow’ edward makes from an ice sculpture in sunny california .
cuts you up the scariest thing about burton’s gothic fairy tale is reading the list of actors who were considered for the part of edward, the man with scissors for hands created by a scientist. the studio insisted burton meet tom cruise (who believed the story needed a ‘happier ending’). michael jackson badly wanted the part. tom hanks turned it down .
finally, burton got his way and cast johnny depp, who, like a camden goth charlie chaplin, plays edward with a dash of slapstick and sad - eyed loneliness (watch edward’s scissor fingers twitch when he’s nervous). it was the beginning of a beautiful friendship between depp and burton, who’ve made seven films together since. not such a happy ending for depp and his co - star and then - girlfriend, ryder. they split in 1993. cc
best quote:' the heavens won’t punish me if, in the final moment of my life, i am unable to hold back these last words: i have always loved you with all of my being.'
heartbreak is a 1931 american pre-code war drama film directed by alfred l. werker and starring charles farrell , madge evans and paul cavanagh . featured brief , noteworthy flying sequences by frank tomick and garland lincoln in a nieuport 28 and a travel air 4000 . 
heartbreak is a 1931 american pre-code war drama film directed by alfred l. werker and starring charles farrell, madge evans and paul cavanagh. featured brief, noteworthy flying sequences by frank tomick and garland lincoln in a nieuport 28 and a travel air 4000.
heartbreak is a 1931 american pre-code war drama film directed by alfred l. werker and starring charles farrell, madge evans and paul cavanagh. featured brief, noteworthy flying sequences by frank tomick and garland lincoln in a nieuport 28 and a travel air 4000.