Similar Products- A Short History of the Romance Genre

Romantic films have been in production since the very beginning of moving picture.[1] The Romantic Genre has been around since medieval times, with drawings, tales and literature all contributing to it through portrayals of love, courtship, desire and marriage.[2]

1890-1927 The Silent Era

Romance was a natural theme for the first narrative films owing to the long history of romance films. The May Irwin Kiss, 1896, was the first on screen kiss by Thomas Edison. Other early examples include: - Camille, 1915; Intolerance, 1916; Four Horsemen of the Apocalypse, 1921 and The Big Parade, 1925 (wartime, young love); The Hunchback of Notre Dame, 1923; For Heaven’s Sake, 1926 (family ties, young love)[3][4]

1927- 1950s

The age of Film Noir saw a shift from happily-ever-after perfect love, to destructive, dangerous love. The Postman Always Rings Twice, 1946 and Double Indemnity, 1944 both revolved around dangerous, obsessive love between a femmes fatales and an entrapped male character.[5]

Casablanca, 1942

Generally considered one of the best and most famous Romance films, Casablanca is, like most romantic films of its time, set against a back drop of war and destruction that inevitably affects and disturbs what would otherwise be a fairy tale romance. In Casablanca, Rick (Bogart) and Ilsa (Bergman) meet again after Ilsa ran out on Rick in Paris and attempt to escape Casablanca. However, the Nazi influence in otherwise unoccupied Casablanca proves difficult to circumvent. The graveness of the situation creates tension and makes it great.[6]

1950s

The 50s saw Romantic Comedies bloom with films such as Pillow Talk, 1959; Lover Come Back, 1961; Send Me No Flowers, 1964 grossing at the box office. These contrasted to the gritty Noirs of the Hollywood Golden Age, with a squeaky clean feel and formulaic, feel good plots. 

1960s and 70s

Saw a movement to more avant garde cinema and bizarre on screen coupling. West Side Story, 1961- a modern day adaptation of Romeo and Juliet, with Natalie Wood playing a Puerto Rican woman and white American, Tony stuck in the middle of their rival family gangs’ feud in New York.[7] Lolita 1962- Kubrick’s adaptation of Nabokov’s controversial novel is an example of dynamic and experimental cinema with its portrayal of paedophilic, obsessive love.

1980s

The 80s saw an increase in film adaptations from famous novels or plays such as Room with a View, 1986 and The Unbearable Lightness of Being.

The 90s and 00s

From the 90s through to current day, Rom-coms have flooded the market. Films such as Love Actually, 2003; The Holiday, 2006 and Notting Hill, 1999 are all famous for their focus on comedy and romance equally. Richard Curtis is a major writer, director and producer in the British Rom-com genre. There is a greater diversity of Romance movies than ever currently- whether it be in an unusual narrative structure, such as (500) Days of Summer, 2009 or an unusual coupling such as Brokeback Mountain, 2005, with its portrayal of pure homosexual love.

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[1] http://web.li.gatech.edu/~rdrury/700/write/sum_07/romance_07/History_romantic_movies.htm

[2] http://en.wikipedia.org/wiki/Romance_(genre)

[3] http://www.filmsite.org/romancefilms.html

[4] www.­cinemaweb.­com/­silentfilm/­bookshelf/­7_v_32_4.­htm

[5] http://www.filmsite.org/romancefilms.html

http://web.li.gatech.edu/~rdrury/700/write/sum_07/romance_07/History_romantic_movies.htm

[6] http://www.imdb.com/title/tt0034583/

[7] http://www.filmsite.org/wests.html

Similar Products- Why (500) Days of Summer is a successful Romance movie

Described as a ‘sleeper hit’, the low budget Fox Searchlight production (500) Days of Summer surprised audiences and gained huge critical acclaim on its release in 2009. It picked up awards for screenwriting, acting and editing in various festivals. It would probably fall under the rom-com sub-genre of romance films, but still sports some heartbreakingly emotional and serious scenes.


The first and most obvious point to make about (500) Days of Summer is its non-linear narrative structure- jumping around between the various days of their relationship, told loosely from the memories of Tom. This is actualised with a day counter, which is an effective and easy way of revealing the time structure to the audience. It begins on day 488, with Summer and Tom- two so far unidentified characters, sitting on a park bench, her hand on top of his, a wedding ring on her finger. We then jump back to just after her splitting up with him- a day in the 300s- a good use of the Enigma code, because we as the audience assume the two have got married- but how can they if they’ve split up?


The following scenes set up characters with help of music, ‘home videos’, a vignette styled insight into Summer’s life, with a narrator. Comedy and ‘feel-good’ factor is employed in these sequences. The focus remains distinctly ‘guy-centric’, however- we learn very little about Summer’s personal life. The relationships between characters are set up very quickly- with Tom’s younger sister as the comic confidant; his two goofy, unhelpful, inexperienced male best friends and, of course, Tom’s unwavering (until the final scene) love for Summer and belief in true love.


The day counter set up is fully utilised throughout, skipping backwards and forwards in time to create contrasts and comedy. An example of when it is used to comic effect is when we jump forwards to him telling Geoffrey that it is ‘over’ with Summer. When he asks why, he jumps back, explaining that it was because of Summer’s emphasis on the word ‘good’ when he asked how her weekend was- deciding this meant she spent it having sex. The daring and muddled narrative structure, influenced by Tom’s memories allow short, snappy scenes with fast narrative progression to keep the audience interested, whilst still being easy to follow.


However, in order to draw in a mainstream audience, (500) Days of Summer uses romance conventions and clichés from rom-coms, such as the ‘falling-in-love-scene’, in the bar; the use of the ‘cringe factor’ when he first speaks to Summer; the comic, young couple in love scene as they run through Ikea, defying the rules in a ‘it’s-us-against-the-world’ kind of way.


More unconventional scenes are the ‘morning after musical scene’ and the ‘expectations vs reality scene’, which show off the artistic merit of both Neustadter and Webb, and were also both nominated for ‘favourite scene’ at the St. Louis Gateway Film Critics Association. These scenes provide an art-house style, innovative take on the usual rom-come scenes, in the first one, celebrating the first time he has sex with Summer in his head through a song and dance and in the second, he learns of Summer’s engagement to an unknown man at her party, with a split screen between what he expected to happen at the party, and what really happened.


All-in-all it is the use of classic rom-com conventions, with a spruced up, non-linear narrative structure, allowing fast narrative progression, overlapping scenes with different audience perspective and comedy that makes (500) Days of Summer a successful rom-com. The characters are likeable- albeit a little unconventional in Summer’s outright opposition to love and romance, the music is good, meaningful and relevant, and there is a feel-good indie movie tone to the entire picture







The now famous expectations vs. reality split screen scene from (500) Days of Summer is truly unique piece of cinema in depicting the psyche of a man desperately in love and the reality of this love being unrequited. In terms of story, what happens is Tom goes to Summer’s party, with the split screen showing two scenarios- what Tom imagines will happen when he goes to the party, and what actually happens. In his head Summer kisses him at the door, and spends the entire night focused on him, the idea of them getting back together simply being a given. What actually happens is that Tom goes to the party, at which Summer greets him warmly, but not as a lover, and then proceeds to talk to him as any other guest, before he notices the engagement ring on her finger and runs from the party, the split screen turning into one- his expectations shattering.

The music is, as with the rest of (500) Days of Summer both critically acclaimed and fitting to the scene, with Spektor’s lyrics mirroring the on-screen action: “He never ever saw it coming at all” and “I’m the hero of the story, I don’t need to be saved”, as well as holding a mournful tone and using predominantly minor notes in the piano.

The genius of the scene really lies in the insight into the main character’s head, and the realism of this depiction of thought and expectation. It is a surrealist piece of filmmaking, but a very real portrayal of human nature. At some point in a person’s life, their expectations have been so far out of line with reality, it has left them heartbroken and shattered.
This is a subversion of convention in that this sort of split screen expectations/reality is a very original idea, especially in a romance film. The scene sets not only Tom, but the entire audience up for a fall, making the realisation of her engagement and Tom’s heartbreak even more emotional.

I apologise for the subtitling, this was the only full scene I could find on YouTube

Note: Change in Direction

Looking at my synopsis, my teacher and I have decided to change my genre to Romance, as it seems more like a romance film than a thriller and as I'm quite attached to this idea, I'd rather change my genre than idea. There is also a creater harmony between the preliminary task and the main task.

Pre-Production- Synopsis

Ernest and his wife, Rose, have been happily married for a year before he decides he should go and fight in the war. He is signing on to a pal’s battalion- every man from their village is going. Before he goes, he promises his wife two things: that he won’t be shot by a German and that he’ll come back to her at Christmas. She tells him she is pregnant. When on active service, he receives a letter which changes the way he sees the war: Rose has died in childbirth, the child also having died. Destroyed, he deserts, knowing that the only way to fulfil the two promises he has made her is through desertion and allowing himself to be sentenced to death at the courts martial, hence pleading not guilty, but giving no evidence or defence.
Apart from the timings of Beeby's desertion, this fits in well with his story.

Pre-Production- The Case of Ernest Beeby

I was doing some research into particular execution cases and I fell upon this one, of Pioneer Ernest Beeby. This one sounds particularly interesting because of his general and absolute indifference to the possibility of his death at the courts-martial and his eventual definite impending doom. I think I could use the story of Ernest Beeby, creating a back story as to why he wanted to die.

Ernest Beeby

Pioneer Beeby was tried at Huppy by Field General courts-martial, in France, on 15 November 1916 with the charge of desertion.

The following is an extract of the courts-martial proceedings.

No. 11516 S.Major A. O’Connell, 212^nd Field Coy., RE states:

At Guillemont on 24 October 1916, at 2pm the accused was not on parade. I reported him absent to the C.O and did not see the accused again until he was brought back under escort on or about the 29^th October 1916.

No cross-examination.

No. 85814 A/Sjt. S. Boalch, 212^nd Field Coy., RE states:

On October 29^th 1916, on the 2pm parade the accused was absent. I reported this to the Sergeant Major.

No cross-examination.

No. 441 L/Cpl. E. Thomas, M.F. Police states:

At Harve docks on the 26 October 1916, about 11.15pm I was on duty at No. 1 gate, Gare Maritime, when I saw the accused loitering in the vicinity. I questioned him. He told me he was absent from his unit. I arrested him and conducted him to the patrol guard detention room. The accused seemed to have lost his memory. He was sober. He did not appear to know what he was talking about.

No cross-examination.

No. P1328 Colour Serjt. W. Rashbrook, M.F. Police states:

At Harve on 27 October 1916, at about 8am I was on duty on Harve Docks where I saw the accused now before the court, in custody. I asked him to give me particulars of his name, number, unit. He gave me the following: No. 140320 Sapper Beary of the 90^th Coy., RE. I asked him where he came from and he said "I came to France in September about the 9^th and landed at Harve. I broke away from the draft just out from England while at No. 5 Rest Camp. I mixed myself with a party to go to "Blighty"". The accused was very strange in his manner.

No cross-examination.

The accused states on oath:

At Harve Docks in October I fell off a Motor Ambulance and was taken to the guard room by a Corporal. That is all I remember. I fell on my head.

The Prosecutor:

Was it the same corporal that has given evidence?

The Accused:

I can’t say.

The Prosecutor:

What were you doing on a Motor Ambulance in Harve Docks?

The Accused:

I can’t remember.

No further cross-examination.

Evidence as to character:

Captain H.T. Morshead, 212^nd Field Coy., RE produces the accused’s A.F. B.122 (Company Conduct Sheet).

1. Character.

From a fighting point of view this man is worthless - nor has he any trade aptitude or qualification fitting him for service in an R.E Coy. His regimental and company conduct sheets shows his behaviour to have been habitually bad. Pioneer Beeby joined 212^nd Field Company on 31 August 1916 at the commencement of a spell of Divisional rest, and has hardly been in action. He was sick during a considerable portion of the time the company was in the Third Army area, and he disappeared on the day his section was due to go into the line on arrival in Fourth Army front.

2. State of Discipline of unit concerned.

The company is practically entirely free from crime and discipline is good

I am of the opinion that the crime was deliberately committed with the sole object of avoiding the particular service involved - viz. a tour of duty in the line.

17/11/16 Sd/ H.T. Morshead, Capt. RE. O/C 212 Field Company.

Extracts from Conduct Sheet:

Attested at Kidderminster 31 March 1915. Age 23 years and 5 months.

Place of birth: Birmingham.

Verdict and Sentence.

Pioneer Beeby pleaded not guilty to the charge of desertion. He was examined by a Medical Commission headed by the DADMS of 33^rd Division (Major G.W.G. Hughes DSO assisted by Captain J.W. Wilson RAMC and Captain J.H. Morris RAMC). This commission found that he understood that the act he was tried for was wrong and he understood the consequences of his action. Therefore, the Medical Commission found that Pioneer Beeby was sane and fit to stand trial.

The court found Beeby guilty of desertion and sentence him to death by shooting.

The sentence was confirmed, and carried out at Albert on 9 December 1916 at 06:27 hours. The death was witnessed as instantaneous.

Ernest Beeby is buried in Albert Communal Cemetery Extension in Plot 1, Row R, Grave 43.

Source: http://www.stephen-stratford.co.uk/beeby.htm

Similar Products- Definition of Romance Genre

The Romance Genre encompasses films in which the story focuses on love, passion, emotion and affection between the main characters, following them through courtship and/or marriage. Lovers often face obstacles such as money troubles, physical and mental illness, discrimination, psychological restrains, death, tensions of day-to-day life, temptation, infidelity, family restraints and differences in themselves. Many types of love can be explored, the main ones being: love at first sight, unrequited love, obsessive love, sacrificial love, spiritual love, forbidden love, destructive love and tragic love. Romantic films can be used as escapism for viewers, especially with cathartic or ‘happily ever after’ endings. The primary or target audience is usually women from early teens. [1]

Example films include:

The Notebook, 2004

Love Actually, 2003

Casablanca, 1942

Love and Other Drugs, 2010

One Day, 2011

Titanic, 1997

Shakespeare in Love, 1998

The Holiday, 2006

Blue Valentine, 2010

(500) Days of Summer, 2009[2]

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[1] http://www.filmsite.org/romancefilms.html

[2] http://en.wikipedia.org/wiki/Romance_films

Pre-Production- Some Findings from 'Blindfold and Alone'

Pages 100 and 101

The underlined section details what actually happened when a man was shot for desertion. The firing squad is quoted twice as being twelve men strong, which means I’ll need to use 12 shots. The firing squad is 15 paces away, which means I don’t have to show them if I stay close to the character as he is lead to the post. A ‘white disk’ is pinned to his chest, like a target. “He was the calmest man” This gives an insight into how to play the character, as they have obviously have usually come to terms with their death.

Pages 102 and 103

This page gives details on another case. This shows how the soldiers were allowed to talk before they were shot. It also gives a firsthand insight into the amount of hits likely on a target- in this case, 5 were good shots, into the heart. Also, interestingly, towards the bottom of the page, there are broken down figures for how men were shot. There were in total 266 for desertion which makes desertion the most realistic offence for the character to have committed.

Pages 140 and 141

The underlined section on 141 gives a template to base the sentencing on. Despite what is written on page 101 about there being silence other than the word ‘Fire’ I’ve found other evidence for sentences being read on the spot, and I think this will work better on screen.

Page 215

This just gives an official definition of desertion and states which law sentences men to death under it.