December 22, 2011 § 2 Comments
I have an ex-boyfriend who hates this movie. It’s unrealistic, he claims, and cheesy. We get so little time with each character that we have no reason to invest in any of them, which doesn’t matter because everyone is a thinly drawn cutout anyway. Other complaints I’ve heard, from other people, include but aren’t limited to the following: Karl (the dude Laura Linney is interested in) is a first-class asshole for bailing on her after their failed hook-up, Keira Knightley is a first-class asshole for kissing her husband’s best friend when she’s supposed to be a blissful newlywed, the 9/11-referencing opening is manipulative, nobody can learn to play the drums or speak Portuguese in a month.
Well, duh. A romantic comedy that’s overly sentimental, manipulative, and cheesy, with occasionally unlikeable characters and unrealistic plotlines? What is the world coming to?
I put this film on every holiday season, largely because it’s one of the few that accurately captures the anticipatory buzz of the holiday season for me. Jacqueline recently wrote that one of the reasons classic movies get Christmas so much more right than modern ones is that they put Christmas in the background rather than the foreground, wallpaper decoration for the movie rather than the point of the movie itself. Love Actually is one of the few modern movies I can think of that follows the classic holiday film formula instead of the modern one–the only plot that actually centers around Christmas itself is Bill Nighy’s Billy Mack storyline, where he’s aiming for the Christmas number one single slot. Everything else in the movie could have happened at Easter, on Veteran’s Day, on a random Thursday in July. And that’s why, despite its seemingly modern conceits (porn star stand-ins! interracial marriages! going to America to get laid!), this is the only holiday movie created in the last fifty years that’s perennially on my playlist.
And despite my ex-boyfriend’s claims, the movie also gets love right–or at least righter than most romantic comedies. (Let’s be fair: that’s not setting a terribly high bar.) While certain scenes are straight fairy tale, no chaser (Colin Firth’s proposal, Hugh Grant and Martine McCutcheon’s backstage kiss), generally the movie presents a much more realistic and complex portrait of love, in its infinite variations, than many of its rom-com brethren. In this movie, love doesn’t end at the wedding. The Alan Rickman/Emma Thompson and Keira Knightley/Chiwetel Ejiofor relationships both depict love within marriage (as does, tangentially, Liam Neeson’s storyline). Romantic love isn’t elevated well beyond every other type–various plot lines running throughout the film give just much weight to love between family members, friends, and even between employer and employee (note: I’m talking about Bill Nighy here, not Alan Rickman). Love is presented as infinitely more complex than in most romantic comedies: Keira Knightley can kiss her husband’s best friend for reasons other than wanting to have an affair with him, Alan Rickman can cheat on his wife for reasons other than not loving her, and Laura Linney can love her brother while also wanting to kill him sometimes. And while every plot line gets some sort of conclusion, not every one is a happy one. We get just enough fairy tale endings to keep the film upbeat, but just enough that aren’t to confirm that love is not an effervescent glittery rush all the time. Let’s go and get the shit kicked out of us by love, indeed.
There’s one thing I can’t forgive the film for, though–and no, it’s not that nobody can learn to speak Portuguese in four weeks. It’s the fact that Valentine’s Day and New Year’s Eve never would have existed without Love Actually, which inevitably would have been titled Christmas Eve had it not been created before the days where plot descriptions sufficed for titles. Still, that’s a small price to pay in exchange for the only modern Christmas movie on my list. Or is it? Is it?