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Romantischer film

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romantischer film

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Romantischer Film Video

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The conclusion of a romantic drama typically does not indicate whether a final romantic union between the two main characters will occur.

Chick flick is a term often associated with romance films as many are targeted to a female audience. As such, the terms cannot be used interchangeably.

Romantic comedies are films with light-hearted, humorous plotlines, centered on romantic ideals such as that true love is able to surmount most obstacles.

Humour in such films tends to be of a verbal, low-key variety or situational, as opposed to slapstick. Romantic action is a film that blend romance and action.

Examples include Killers , Knight and Day , Mr. Romantic thriller is a genre of film which has a storyline combining elements of the romance film and the thriller genre.

This common characteristic is based on a variation of the Bluebeard folktale of a wealthy man who forbids his new wife from entering his castle's underground chamber, to which she finds the corpses of his many former wives.

Romantic fantasies describe fantasy stories using many of the elements and conventions of the romance genre.

Paranormal romance is a popular genre of film which features romantic relationships between humans and supernatural creatures. From Wikipedia, the free encyclopedia.

Film genre. For the UK-based video service, see LoveFilm. For films entitled "Romance", see Romance disambiguation.

Main article: Historical romance. Main article: Chick flick. Main article: Bromantic comedy. Main article: Romantic comedy. Main article: Romantic thriller.

Main article: Gothic romance film. Main article: Romantic fantasy. Retrieved 10 November Oxford: Oxford University Press.

New York: Oxford University Press. Choice Reviews Online. Retrieved The Telegraph. In spite of all its pitfalls, Kaufman still makes love seem like the most precious thing in the world.

Killian Fox. The film shuffles interconnecting storylines concerning three Manhattan sisters: the warm, well-meaning Hannah Mia Farrow is married to the bumbling Elliot Michael Caine , who is in turn attracted to her sister, Lee Barbara Hershey.

As an affair begins between the two, Lee's own relationship with the tormented artist Frederick Max von Sydow comes under strain, and light is brought to an otherwise dark canvas by Hannah's ex-husband, fussbudget TV producer Mickey Allen , who becomes involved with Hannah's other sister, the jittery Holly Dianne Wiest.

So what was it about Hannah that made it so successful? The balance of comedy and drama is deftly maintained, and there's a palatable, soapy aspect to Elliot and Lee's affair.

The film, with its chapter headings, aspires to a novelistic structure, each part favouring a different character or storyline.

And the performances are uniformly subtle, especially from Caine who won the Oscar for best supporting actor and the underrated Farrow, who was then an Allen regular as well as his off-screen partner.

Indeed, Farrow brings genuine mystery to a nurturing figure who may not be as saintly as she seems. Typically, the perfectionist director was far from pleased with the movie.

It was the relatively happy ending that was to blame: "That was the part that killed me. Ryan Gilbey. Two perfect comedies in a row: how's that for a double whammy?

The germ of the idea for The Apartment had actually sat in Wilder's notebook for many years, ever since he watched Brief Encounter and scribbled down the words "Movie about the guy who climbs into the warm bed left by two lovers.

CC "Bud" Baxter Lemmon is the poor sap in question. He's rising fast at work, one promotion after another, but the secret of his success is that he loans out his apartment to the company executives for their trysts, one minute slot at a time.

It's a sleazy little set-up, and Wilder keeps the movie galloping along so briskly that we can overlook the unpleasantness at first.

But then reality starts to creep in as Baxter realises that the woman he longs to bring home in his arms — chirpy elevator assistant Fran Kubelik Shirley MacLaine — has already been to his apartment, in the company of his boss Fred MacMurray.

The question of how Baxter finds out allows Wilder and Diamond to demonstrate their knack for succinct storytelling: one broken compact mirror is all it takes to make his heart break.

They're unbeatable at turning out these "moments" — witness also Baxter's classic straining-spaghetti-through-a-tennis-racket scene, born out of Diamond's realisation that "Women love seeing a man trying to cook in the kitchen.

Such stand-out scenes never impede the film's precise, fluid rhythm. Wilder shot the picture in 50 days flat, and edited it in under a week.

This is funny, fat-free film-making, expertly paced and played, ending in a romantic flourish to swoon over. It won five Academy Awards, including best picture, best director and best screenplay.

Wilder said it was "the picture [of mine] that has the fewest faults. Wong Kar-wai takes his time shooting a film, setting out without a conventional script and waiting to see where the mood takes him; his actors rarely have possession of the bigger picture.

As it turned out, this is a sizzling romance about two cuckolded next-door neighbours Tony Leung and Maggie Cheung who fall in love with one another.

As rendered by Wong's regular cinematographer, Christopher Doyle and his replacement, Mark Lee Ping-bin, who took over when the shooting schedule overran , the lush colours on screen are mellowed with nostalgia and ripened by sensuality.

As much as this is the story of love blossoming out of rejection, it is also a testament to its director's ongoing infatuation with cinema.

What he can do with a passage of music, a close-up or an adjustment in film speed makes most other directors look unfit to shoot a nativity play.

Doyle observes the tentative encounters from behind lamps and cabinets, or from under a bed. If you didn't already know this cinematographer's work, you might assume Wong had hired a private detective for the job, so skilful are the furtive compositions.

It is an unorthodox romance, widely regarded as the director's finest work. And it is as impeccably turned out as you would expect from a Wong film.

Audiences might well emerge craving props and costumes featured in the movie — the silk and gossamer dresses worn with perfect Audrey Hepburn poise by the regal Cheung, or the brilliantine that gives Leung his authentic Clark Gable sheen, or the snazzy noodle-flasks with which these almost-lovers collect their supper from a basement cafe.

Unlike its semi-sequel, , there is more here than just style. A heartbreaking final scene more than substantiates the idea that it is a Brief Encounter for the 21st century.

Maybe the Hollywood dream never had a purer, crazier manifestation. But here we are, 15 years later: Bogart is dead and, worse, his Hollywood has entered its funeral years.

And then arrives Jean-Luc Godard , half in love with that old mythology, half contemptuous of it. So Jean-Paul Belmondo, a magnificent jerk, will model himself on Bogey and take off.

Breathless was Godard's first feature, and his first demonstration of how to turn the raiment of the Hollywood dream inside out.

In addition to putting Godard's love-hate relationship with Hollywood up on the wall like graffiti, it was a signal that movies could be made nearly as quickly and cheaply as we might write emails.

So it's important to remember that while Breathless still feels desperately modern, it was made before the machinery of our modern culture.

She's Patricia, an American who sells the New York Herald Tribune on the streets, and Belmondo is Michel, an existentialist idiot on the run after he shoots a cop.

His days are numbered and the film moves like a Charlie Parker solo — so hectic you wonder if the alto sax will live out the next 16 bars.

There's no way it should work, being made up as they went along, but Godard knew it was time to treat the audience like dirt and his characters like shit.

This casual malice turned into a monument nonetheless. An American man and a French woman in their early 20s meet on a train heading through Europe.

They alight in Vienna, amble around for 14 hours and shoot the breeze. As the soon-to-be lovers chat, show off, lark around and kiss, with director Linklater's camera a tender and unobtrusive companion, a sense of yearning bubbles up in the movie: we sense time slipping away, and the dawn approaching.

When the morning arrives, and the time comes to part, Celine and Jesse promise to meet again in Vienna in six months' time; in that pre-Facebook era, the arrangement had a heartbreaking fragility.

For the sequel, Before Sunset, we find Jesse, now a writer enjoying success with a novel about a one-night stand, bumping into Celine in Paris.

The couple steal away on a stroll around the city, but things have changed. No longer hopeful young things with life spread out before them, Jesse and Celine must now confess to disappointments and resentments.

Even the span of their conversation is cramped; they only have or-so minutes played out in the film in real time before Jesse must return to his wife and child in the US.

Out of this melancholy scenario comes an honest but affectionate portrait of an amorphous romance — not to mention one of the most tantalising and ingenious endings in all cinema.

And then, just shy of a decade later, came the third, Before Midnight. To those looking for a happy ending: in the interim, they became a proper couple, living in Paris, but together on a writer's retreat in Greece.

Their cares and preoccupations are those of the early middle-aged — children, exes, disappointment — but miraculously, marvellously, they never become careworn.

The unspoken tremor in most wartime movie romances is that the picture needs to address the feelings of couples separated by war.

It's not just whether they will both survive, but whether love and desire can overcome the temptations that come with separate lives.

There's another element at work vital to romance and the age of censorship in the movies which is that desire may mean the most when it cannot be consummated: the wish for intimacy is so intense because the act is forbidden or impossible.

In Casablanca, we assume that Rick Humphrey Bogart and Ilsa Ingrid Bergman had a good deal of sex in Paris, but in their awkward reunion in north Africa, sex is not renewed.

Rather, the triangle of Rick-Ilsa-Victor Paul Henreid must contemplate the ultimate selection of just two of them to go forward.

And we know now what Rick's decision is, even if in our enlightened time we may ask whether Ilsa shouldn't have been doing some of the deciding.

But the romantic or erotic energy is sublimated in the most impeccable cause of all — the war effort. Rick forsakes Ilsa as part of his new commitment to the fight against fascism.

Casablanca stands for movie romance in great part because it is hardly true to life. It won the best picture Oscar and seemed to be history coming to life — it opened just after the allies had occupied the real Casablanca.

In fact, divorce and infidelity rates increased rapidly during the war. But Casablanca reassured us all; it promised that honour was intact.

How many other countries would pick Brief Encounter as the best movie romance of all time? But for a generation that remembers when the trains ran on time and station buffets were as tidy and inviting as the one in this movie, Brief Encounter is etched in nostalgia for an era when trapped middle-class lives contemplated adultery but set the disturbing thought aside.

We are accustomed to attributing films to directors, but it's only proper to regard Coward as an equal author of this movie. He wrote the script, taking it from his own one-act play, Still Life.

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Romantischer Film Video

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Kagabei says:

Ja... Wahrscheinlich... Je einfacher, desto besser... Ganz genial ist es einfach.

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