Great romance films

In observance of Valentine's Day, here are some thought-provoking films that treat romantic love with depth:

High Noon--The famous 1952 western is about male honor, and how it must be fulfilled before romantic love can be properly taken on. In this case, the frightened and impatient woman (Grace Kelly) grabs a gun and helps Gary Cooper get on with it.

My Man Godfrey (the original, with the great Carole Lombard, not the horrible remake)--Also one of the greatest screwball comedies ever made, My Man Godfrey, though not directed by Preston Sturges, could have been. Lombard picks up a hobo as part of a scavenger hunt, brings him home to her loony family, turns him into a butler, and falls in love with him. The joke is on her, though, because the hobo isn't who he seems to be. A very funny look at class politics in 1930's America.

The Philadelphia Story--Adapted from the play, the film version has an edgy sophistication that makes it a joy to watch. Katherine Hepburn, in all her glory, is about to marry a boring society man. A cheeky journalist shows up to spoil things, and falls for Hepburn, thus spurning his photographer/lover Ruth Hussey (always splendid, and always under-rated). But it is Hepburn's ex-husband, played by Cary Grant, who is her real love, and in a Shakespearean ending, all of the improper spells are broken and the right two couples wind up together. (Unfortunately, this film contains some pretty rough father-daughter sexism.)

The African Queen--Charlie (Humphrey Bogart) gets more than he bargained for when he takes prim Rosie (Katherine Hepburn) on the wildest steamer trip imaginable. The female lead was originally intended for Bette Davis, who would also have been a great Rosie.

A Star Is Born--The Judy Garland version, of course--and the restored version, of course-- which is one of the greatest films ever made, and which stars James Mason (no one else wanted the part) in the role of his career. The music is divine, but the story is also compelling. Unlike most stories in which a woman's career eclipses her husband's and the husband feels emasculated, this one is colored by many shades, not sexist black and white. Mason's downfall is his own fault (he is a drunk), he believes deeply in his wife's talent, and she adores him.

The Apartment--A film I could see over and over. I have seen it over and over. Jack Lemmon is a lonely, regular guy who is taken advantage of by the womanizers in his company, who promise him great things if they can just use his key. He is smitten with the elevator operator (Shirley MacLaine, at her charming best), who is suicidal over one of the married executives. But Lemmon takes his chances, and the film has a delightful ending.

Casablanca--Another film that pits love against honor, and that does so with a great deal of class and wit. In the original casting, the part of Rick was to have been played by Ronald Reagan.

Ninotchka--The film whose promotional line was "Garbo Laughs" is one of the most delightful romantic comedies ever made (1939 was an incredible year for American film). Garbo, in a wonderful comic turn, plays a severe, stone-faced Russian bureaucrat who travels to Paris on official business, and is corrupted by capitalism, most notably in the form of Melvyn Douglas.

Holiday--Another great pairing of Cary Grant and Katherine Hepburn (the best known, and the greatest of the screwball comedies, was Bringing Up Baby). Grant, a free spirit, is all set to marry Hepburn's wealthy sister, whom he does not know is wealthy until he goes to her home. There he meets Hepburn, also a free spirit, and the two of them have a conversation that is one of my favorites in film. Wonderful things transpire, including some impressive displays of tumbling. Of course, Grant and Hepburn wind up together.

Bringing Up Baby--Better known as a screwball comedy than a love story, but a good love story nonetheless. Madcap society girl Hepburn sees handsome, geeky Grant and does anything she can think of to make him stay with her. Anything. Their relationship is a series of accidents, adventures, and moments of irritable affection. I think it is the funniest movie ever made (I have a list of those, too).

The Way We Were--Was there ever such great on-screen chemistry as that between Redford and Streisand? Was there ever a sadder love story? This bittersweet political romance holds up after decades.

Moonstruck--In my opinion, the greatest romantic comedy of all time. Cher is a cynical but sweet Italian-American widow, all set to marry the "big baby" she doesn't love, and then she meets his one-handed, wild-eyed brother (Nicolas Cage) and falls madly in love with him. In the meantime, she discovers her death-obsessed father (Vincent Gardenia) is having an affair. While all this is going on, her mother (Olympia Dukakis) is trying to figure it all out, and her aunt and uncle are waxing nostalgic over their youth, when they were overtaken by moonglow. There is also a glorious cameo appearance by John Mahoney. If ever a film could be called "magical," it is Moonstruck, which is also hilarious at every turn.