#i had a teacher use it for fucking woody allen. when he literally makes movies where he plays the protagonist grooming a 16yo
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"Separate the art from the artist" is so insulting to the artists too actually (and totally irrelevant to the question of financial support of said art, in the age of pirating). Have you ever seen as artist say who they are is irrelevant to their work? Why are you implying that what we create is so unspecific to us that you can ignore us. You are trying to extend the capitalistic alienation from our labour to something inherently resistant to commodification, as much as the system forces its monetization for artists to live (and I wish all domains stopped alienating production from its producers, but it's particularly egregious for art imo). It’s something given or sold to the public for them to give the meaning they see fit, and you can decide to discard the initial/intended meaning for yourself, but it was still born from the artist and specific to them, created with their intentions motivating it, their biases colouring each and every choice, it is ludicrous to argue it can be totally dismissed. Trying to erase our role is downright offensive and akin to failing to credit properly. Copyright law has many flaws, in the sense that it is ill-equipped to handle the fact no art is ever 100% original and builds off existing elements, but it exists for a reason, so that artists get their due, you better believe corporations would not compensate us if they could. And minimizing our place in creation is the same mindset
I think it’s also tied to the myth we're born this way, given talent from birth and therefore not really the inventor but merely the executor of our art, negating the amount of training that goes into building skills, and the intellectual labor necessary for any creative work (see: ai bros acting like artists are hoarding drawing skills??), as well as the disregard shown for artistic industry workers anytime there's talks of unionizing (see : caring more about their marvel movies/video games releasing early than making sure crunch is avoided). Some people don’t like to think in depth about neither the context of what they consume nor the breathing bodies that make it come to life (and I understand, cause honestly it makes a lot of stuff depressing, be it food, clothes or art, but it'snecessary sometimes), and seem to think an artist’s relationship to a piece of work is over, all ties severed the moment they publish it, when it is a lifelong and everchanging relationship that takes labour to bear
On another topid so much of art is made of collaboration and merging intellectual properties and building off other people’s work i would like to beat up the myth of the lone genius artist or the mastermind director who deserves all the credit for his big brain, all projects would be nothing without the teams making them happen and an artist with no fellow creative friends literally will shrivel up so pls start putting all the people working in artistic fields on an equal footing, financially speaking too, i am begging society to stop disrespecting craftspeople too btw-
#sam speaks#sorry im mad when non artists go 'but it's not an autobiography so it's not about the artist themselves' shut up you know nothing#i can guarantee whoever the protagonist is the creatives found a path to relate to him and gave them to live their own experiences in a way#also people always use that shit to defend awful people or justify them being rewarded#did you know : you can consume art by terrible people without denying it it's called critical analysis#i had a teacher use it for fucking woody allen. when he literally makes movies where he plays the protagonist grooming a 16yo#never more obvious self insert/confession has existed#*relate to them#also like. the cliché of artists being self obsessed isn't exactly wrong let's be honest. there has to be a little bit of thinking highly o#yourself to believe (rightfully because that's the case for everyone) that your self is worth being expressed#so why would you think artists of the most arrogant self centered demographic in society would be humble enough not to insert themselves?#cishet white men write only about themselves and everybody else in their stories is an accesory; written with no empathy or understanding#something somthing refusal to acknowledge the inteligence of the people different to you#anyways. fuck jk and woody allen and polanski and so on and there are too many names#and support artists if you can so we can share art on our own terms#that said i often dislike art made about artists it's so. uninterestingly self centered
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February 24, 2021: Annie Hall (1977) (Part 1)
Well...Woody Allen.
I, uh...OK, look, I could get into the whole Woody Allen thing, but INSTEAD of me doing that, I’ll just say this: look into it. Because there is a LOT on this subject, and it’s controversial as HELL. At the end of the day, I’ll recommend this upcoming series on HBO, and just recommend that you look into it.
Because, uh...yeah, it’s not great. That’s all I’m gonna say, because I need to educate myself on it more as well. Instead, let’s talk for a few seconds about divorcing the art from the artist. But ONLY for a few seconds.
I understand why some of you might be surprised I’m doing this one. Because, again...Woody Allen. But, yeah, I always try to do my best to divorce the art from the artist. Because some people suck, but they still make nice things, or at the very least, things that should be open to interpretation and appreciation.
“Superfreak” is a classic song of 1981, and everybody’s heard at least some of it, but Rick James fuckin’ kidnapped two women and kept them in his basement, WHERE HE TORTURED THEM. Edgar Degas made beautiful paintings of ballet dancers, and was also A MASSIVE ANTI-SEMITE. And before he was (RIGHTFULLY AND JUSTIFIABLY) outed as a roofie-ing piece-o-shit...I grew up with - and genuinely enjoyed - this guy’s comedy.
And you can judge me for this, but...I still think his stand-up was and is genuinely funny, and I still appreciate the cultural impact that The Cosby Show had on society’s perception of African-American families, divorced from the stereotype of the ghetto. Fact of the matter is, works themselves deserve to be separated from the artist who made them. That’s my philosophy, and I’m sticking with it Entirely fine to disagree with me, by the way, I get it.
But in that spirit, I’m watching Annie Hall, despite its creators likely transgressions. After all, this is technically his magnum opus, and it’s a good look into the man himself. And so, with that in mind: Annie Hall!
SPOILERS AHEAD!!!
Recap (1/2)
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Alvy Singer (Woody Allen) is talking directly to us about his outlook on life, and his view on the potential future. He tells half of a joke, then an amusing anecdote, and a bit more until telling us that he’s broke up with Annie, and he’s still thinking about it, trying to figure out exactly where things went wrong. He goes back to the beginning, which is punctuated with flashbacks.
He grew up in Brooklyn in World War II, and a young Alvy (Jonathan Munk) is with his mother (Joan Newman) at the doctor’s. He’s depressed after learning that the universe will one day end after a period of expansion, and is having his first real existential crisis. I had mine around the same age, actually, went I learned that the Earth will one day get swallowed by the sun. And THEN came the realization that I’d be dead by that point. AND THEN came the realization that I’d die one day, and that was a WHOLE NEW crisis to...anyway.
He grew up under the Coney Island rollercoaster according to him (although his analyst says that he exaggerates), and that’s what he blames for his “nervous personality. He’s also got an active imagination, often blurring fantasy and reality. His Dad ran the bumper cars on Coney Island (a place that I’ve never been, but desperately want to go).
He continues on talking about his former schoolmates, and not really that well. While in class, young Alvy kisses a...little girl...ahem. And then, when reprimanded by the teacher, current Alvy notes that he was always...like that...and he also says this to the little girl, and they talk about Freud’s latency period, and Alvy said he never...had...one...that’s uh...that’s fuckin’ SOMETHING, now isn’t it?
OK, well, shoving that forcefully aside as hard as I can, Alvy wonders aloud on where his classmates now, and one of them says this:
This also involves a little girl saying she’s “into leather,” which is...awkward as FUCK, but WE’RE GONNA MOVE THE FUCK ON. Alvy recounts his paranoia, and was so even after he became a famous comedian (which we say after a VERY good joke about qualifying for the army as a hostage). He speaks to a friend, Rob (Tony Roberts) about potential anti-Semitism from a person in a passersby meeting, then heads to meet Annie.
Annie Hall (Diane Keaton) arrives at a movie theater, late and in a bad mood. The two are late to their intended film, argue briefly, then head to another film that they’ve already seen, The Sorrow and the Pity. In line, they’re in front of a man loudly soliloquizing on film, much to Alvy’s annoyance.
Annie and Alvy continue to argue a bit, while Alvy openly berates the casual film critic. In the middle, he talks to the audience about it, only to be followed by the crtiic himself, who also acknowledges the audience! Huh! Anyway, he’s a professor at Columbia, and starts continuing his line speech, this time on the work of Marshall McLuhan, one of the most important early media theorists ever. And then, Alvy brings out Marshall McLuhan (Marshall McLuhan) to debate him on it, only for Alvy to turn to the audience and wish aloud that life could really be like this!
I’m beginning to understand why people like this film. It’s metacontextual before metacontextuality was really a thing in film. It’s a fourth-wall breaking movie in some fantastic ways. But will it still hold its muster after breaking the fourth wall’s become so commonplace? we’ll see, I guess.
After a showing of the film, the two return home, and Alvy tries to initiate sex. But Annie’s not really into it at the moment, and Alvy complains that they used to have sex all the time, and it’s been a while since. So, I guess that retroactively awkward scene at the school was meant to foreshadow Alvy’s high libido, that will probably cause some conflict in the film. Anyway, Annie notes that Alvy once went through something similar with Allison, his first wife. Who’s Allison? Flashback!
Allison Portchnik (Carol Kane) is a graduate student in political science, working for a campaign that Alvy’s about to perform for. He’s nervous, as he’s going on after another comedian. She comforts him by saying that she thought he was cute, and he does well. But we flash-forward to a night after they’re married, shortly after the death of JFK, which Alvy’s obsessing over, entertaining various conspiracy theories.
However, Allison rightly points out that his obsession is simply a way for him to avoid having sex with her, which mirrors the present-day situation him him and Annie. Flash forward TO Alvy and Annie, and there are just lobsters...everywhere, on the floor in their kitchen. After that commotion, they talk about Annie’s past romances.
And by talk about, I mean they LITERALLY WALK THROUGH her memories. And I gotta say...I fuckin’ love this method of storytelling. One of her previous boyfriends is an actor (John Glover), and his over-dramatic prose sickens Alvy. We see a second marriage of Alvy’s to New Yorker writer Robin (Janet Margolin), who’s dragged him to a stuffy high society party of intellectuals that he has no interest in going to. Same her, Alvy. I bet the caviar’s canned.
He tries to initiate sex with her - in the middle of the party, mind you - and she turns him down. later, when they get to it in their apartment, she’s unable to, uh...reach satisfaction. From there, we flash-forward after that marriage ends to a tennis match with Rob, where he meets one of his mutual friends: Annie Hall.
And for the record, Annie’s pretty obviously got a crush on him, and she’s adorable as fuck. Also, that outfit, real talk...that outfit rules. She offers to give Alvy a list, during which he’s quite worried about her driving, but the two still get along well enough. Annie’s an amateur photographer, during a time period where photography is considered a relatively new art form. The two go to her apartment, and share familial anecdotes and personal stories about themselves. And as they talk, we also see a set of subtitles on top of each of them that betray their inner feelings and thoughts.
I do genuinely like the stylings of the movie, goddamn. This conversation leads to Alvy asking her out on a date, although they end up scheduling it after Annie auditions at a nightclub as a singer. And while it doesn’t go great, Alvy tells her she was fantastic, and they share a kiss before they head to dinner. They head to her place afterwards, and we cut to later that night, post-coitus.
And then, we get a flash-forward back to the next day, where the two are at a bookstore, and Alvy speaks on his personal philosophy of life.
I'm obsessed with uh, with death, I think. Big - big subject with me, yeah. I have a very pessimistic view of life. You should know this about me if we're gonna go out. You know, I - I feel that life is - is divided up into the horrible and the miserable. Those are the two categories, you know. The - the horrible would be like, um, I don't know, terminal cases, you know, and blind people, crippled. I don't know how they get through life. It's amazing to me. You know, and the miserable is everyone else. That's - that's - so - so - when you go through life - you should be thankful that you're miserable because you're very lucky to be miserable.
Iiiiinteresting.
Shortly into their relationship, they admit they’re in love (or “lurve”, as Alvy says). She moves in with Alvy, which he initially isn’t the biggest fan of, having been burned in two previous marriages And already, their relationship is showing a few bumps. Alvy’s also always trying to push her to take college classes, while she uses mariuana whenever they have sex, which Alvy doesn’t agree with.
But as they have sex one night, without the marijuana at Alvy’s urging, Annie’s mind wanders - LITERALLY.
This film...this film has a VERY unique style of visual storytelling, and I am HERE for it! Seriously, I genuinely love this method of storytelling and comedy, it’s extremely engaging to me.
Soon enough, Alvy gets an interview to write for a talk show host, which he ABSOLUTELY despises. But in doing so, he decides to go into stand-up for himself, and is actually quite successful at it! But before we get to that, we’re at the halfway point! See you in Part 2!
#annie hall#woody allen#diane keaton#tony roberts#carol kane#paul simon#shelley duvall#christopher walken#romance february#romance movie#romcom#romantic comedy#user365#365 movie challenge#365 movies 365 days#365 Days 365 Movies#365 movies a year
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February 3, 2021: Sleepless in Seattle (1993)
The year: 1986. A small new fictionation is founded as part of a disparate group of similar territories. Near to another civilization founded by Woody Allen (we’ll get to him later this month, whoof), a new settlement was founded by one Nora Ephron. It began with Heartburn, a rom-com starring Meryl Streep and Jack Nicholson. While it was somewhat successful, it wasn’t exactly a dynamo by any means. And that is when Nora met the future Empress of her fictonation.
Her name was Meg Ryan, and the film...was When Harry Met Sally.
Ephron only wrote this film, rather than direct it. But it didn’t matter, as this film was CRAZY successful (and I’ll be watching it later this month). Some years past, and both Ryan and Ephron rose in power. Ephron became a director, Ryan became a movie star, and the two pillars would reunite for greater things. And THAT is when the future Empress met her Emperor.
Enter Joe vs. the Volcano, where Meg Ryan...met Tom Hanks.
Now, was this movie amazing? No, not from what I’ve heard. But the two new co-stars apparently made an impression on Hollywood at this point, as their respective stars would only grow brighter. And so, when 1993 came along, the three pillars finally met, and ascended to their true roles as the rulers of a now united Holy Romance Empire. And that film...was Sleepless in Seattle.
Time to witness a nation RISE. SPOILERS AHEAD!!!
Recap
We start where all romantic comedies should start: at a Chicago graveyard!
Architect Sam Baldwin’s (Tom Hanks) wife, Maggie, has sadly passed away, leaving Sam and their son, Jonah (Ross Malinger). Sam’s clearly broken, understandably, and he decides to move from Chicago in order to leave behind the bittersweet memories of his wife. And where he’s headed? You know where.
Jimmy Durante’s rendition of “As Time Goes By”
Jimmy Durante sings us in (I love this song, for the record), and we head not to Seattle, but to Baltimore, 18 months afterwards. There, reporter Annie Reed (Meg Ryan) is going to a Christmas party with her new fiancée, Walter Jackson (Bill Pullman), which is announced to great aplomb at the party. Her brother Dennis is played by Niles from Frasier (David Hyde Pierce), and I nearly spit out my sandwich.
That night, Annie’s mother gives her her old wedding dress, and have a VERY frank conversation about their sexual relationships. It is...awkward. Anyway, the dress tears, which Annie sees as a sign. In any case, she still seems happy...I think. On the way to Walter’s parents’ place, she tunes into a radio talk show, where a child is making a Christmas wish to the station.
This child is, of course, Jonah, calling on behalf of his father from Seattle. He tells the host, Dr. Marcia Fieldstone (Caroline Aaron), that his father is lonely after his wife’s death, and that he wishes he had a new wife. She convinces Jonah to put him on the phone, and while he’s reluctant to do so (understandably), he accepts. All the while, Annie’s listening, and seems to sympathize deeply with him and his sarcastic responses.
However, Sam begins to open up, and Dr. Fieldstone christens him “Sleepless in Seattle,” after the fact that he doesn’t sleep much at all these days. His story resonates with a number of people, Annie included. A few people call in to respond to him, and at the end of the call, he describes how much and why he misses his wife. And I gotta be honest, I’m with Annie here. It is...very moving.
Damn you, Tom Hanks, it’s only 20 minutes in, why are you already making me FEEEEEEL?
The next day, it’s a splash, and over 2,000 women call in in response to this. This is discounted by her co-worker and friend, Becky (Rosie O’Donnell). At the New Year’s party soon after, she and Walter make a date to meet in New York City, and register for their eventual wedding. Meanwhile, Sam tucks Jonah in to sleep, as Nat King Cole serenades us (I ALSO love Nat King Cole, real talk) and Sam stares at the fireworks off of his houseboat.
And, mentally haunted by the ghost of his wife, he’s seemingly literally haunted by the ghost of his wife, Maggie (Carey Lowell). The next morning, he goes to help a client, Barbara (Dana Ivey), and his co-worker Jay Matthews (Rob Reiner) with a house, and finds out that everybody knows who he is at this point. Additionally, Jonah also give the radio station their address, and MANY women are now soliciting Sam, including...his third-grade teacher. Ew. EW.
Sam and Jonah next have a talk about whether or not a prospective new wife would have sex with Sam, and I wonder if sexual conversations with your parents are supposed to be this common, or if I’m just crazy. Because me and my Dad? Nuh-uh. And no worries if your relationship with your folks is like this, but mine DEFINITELY IS NOT, lemme tell you.
Annie and Walter prepare for bed, and Ray Charles sings them to sleep, followed by Carly Simon talking about the wee small hours of the morning. During those hours, Annie gets up, also unable to sleep, and turns on the Dr. Marcia Fieldstone show. During the highlight reel for the show, Disappointed in Denver notes that:
Everytime I come close to orgasm, he goes and makes himself a sandwich.
...Wow. Um. Asshole? And then Marcia tells her to make a sandwich for him beforehand, WHICH IS NOT SOLVING THE PROBLEM. Anyway, Sam is also featured in that highlight reel, and Annie cries again as he talks about his wife, and it’s a disproportionately long excerpt compared to the others, what the hell? Marooned in Miami is DISAPPOINTED now.
Annie goes to meet her brother Niles (he’s basically Niles from Frasier, seriously) the next day, and explains that she’s fantasizing about Sam, a man she’s never even MET. She’s also feeling doubt about her upcoming marriage, which is...interesting. I’ll get to that later. In Seattle, meanwhile, Sam asks Jay what it’s like as a single man in Seattle, and they have a conversation about how cute Sam’s butt is. Nice.
Upon the realization that his 9-year old son is hanging out with more girls than he is (yeah, there’s a kid named Jessica hanging out with him when Sam gets home, it’s awkward), Sam’s back in the saddle again (as the song indicates; that said, goddamn is the music choice on the nose sometimes, seriously). He calls a woman named Victoria (Barbara Garrick), and asks her out on a date.
Annie’s watching the movie An Affair to Remember (lateeeeeer) at Becky’s, as she’s lamenting her fixation on Sam, while also struggling to fully understand how she feels about Walter. Becky RIGHTFULLY accuses her of believing in Hollywood, movie love, which is demonstrated by Annie’s meaningless platitudes about her supposed love for Walter. This is while she’s writing a letter to Sam, then aborts it when she realizes what she’s doing. She sits on the couch with Becky, they mouth the words together in the movie, and they cry while I laugh, because that was funny.
Things aren’t as jovial for Sam and Jonah, as Jonah’s had a nightmare, and the two reminisce over missing their mother. Sam notes that Maggie could peel an apple in one long...curly...strip. You mean...like Annie was doing earlier? I see what you did there, movie. I see what you did there. As if to compound their invisible connection, both of them sit on a dock, staring into two separate oceans at night.
Sam proceeds to write a story for the paper on “Sleepless in Seattle,” and through some...mildly creepy personal invasion, she finds his address in Seattle, and a hell of a lot more personal information. Like I said, it’s a little creepy. Sam, meanwhile, is going on a date with Victoria, when Jonah opens a letter...from Annie.
Annie. What’re you doin’?
Jonah appears to IMMEDIATELY ship the two, but Sam quotes the coast-to-coast distance as being a bit too much, and goes on the date with Victoria. While on the date, Jonah tries to hook Sam up with Annie by getting him to agree to take them to New York City on Valentine’s Day. Damn, Jonah, you lookin’ to escape a whale, because you are BUILDING A GODDAMN SHIP
Victoria, a woman with an amazingly obnoxious laugh, does not rub off well on Jonah, or me, or my girlfriend. I’m really hoping that somehow, in SOME WAY, Victoria and Walter get together. He’s boring, she’s obnoxious, who knows? They might like each other. My ship...is being built.
Jonah, meanwhile, is TAKING THE FUCKING WHEEL of this ship. He calls the radio station once again, and Annie is alerted to this by Becky. She wakes up, punching Walter in the process (dude gets HURT), and goes downstairs to listen. Jonah’s telling the station that Victoria SUUUUUCKS, and straight up calls her “a ho.” He hangs up abruptly, and screams to stop his father from kissing Victoria. Annie, meanwhile, listens to this in the closet for some reason.
The next day, Jonah’s friend, Jessica, tells Jonah to send a letter to Annie on his father’s behalf. Meanwhile, Annie flies to Seattle in the guise of doing a story, when she’s actually going to try and meet Sam. Victoria, meanwhile, is leaving from the airport, where Sam and Jonah are seeing her off. Victoria basically implies that she’d like to ditch the kid and go fuck someplace sometime, which might FINALLY rub Sam the wrong way.
Sam talks to Jonah about the fact that he’s dating Victoria, not marrying her, and that she might not be the one for him. He also says that there’s no such thing as soul-
-mates.
Yeah, they actually did just do that. Sam loses Annie at the airport, after immediately chasing after her. They’re perfect for each other, as Annie goes RIGHT to Sam’s houseboat address. She hangs around the neighborhood, and sees them having fun on the beach together as Harry Connick Jr. plays in the background. That night, she confides in Becky about her guilt in lying to Walter.
And if I can just say this...yeah, THAT isn’t great. I get that there’s some cinematic paegentry to the whole thing, but, like...tell your FIANCEE about your FEELINGS. It’s hard, yeah, duh, but YOU GOTTA DO IT. You most certainly owe it to Walter. At least she appears to know it, though.
Annie at the hotel
The next day, Annie goes once again to weirdly spy on Jonah, and sees him hug a woman very happily, and of course believes that that’s Victoria. However, this is his friend, Suzy (Rita Wilson), who’s visiting with her husband, Greg (Victor Garber). In any case, this leads to Sam and Annie seeing each other for the first time. He says hello. She says hello. Then she almost gets hit by a taxi, and she IMMEDIATELY flies back home WHAT THE FUUUUUUUUUUH
We find this out later, but the taxi and the fact that all she could say was “Hello” is actually all a reference to the film seen earlier, An Affair to Remember (again, later this month). This is also part of the repeating motif that this film has: signs. Y’know, the kind of “IT’S A SIGN” thing. However, the real twist here is that the signs are the ones that they can’t see. Like the apple and the hello thing. Not yet, anyway.
Also, dear lord, An Affair to Remember is just making EVERY woman in the film cry, even when they’re TALKING about it. And every time, the men just look at each other like “WOMEN, with their EMOTIONS and their VAGOOOOOOS.” Jesus, ‘90s movies. Even JESSICA (Gaby Hoffman), Jonah’s friend, the LITTLE GIRL, is crying at this movie. JESUS, I’m really interested in seeing this movie now.
Jessica and Jonah start conspiring on how to get to New York to meet Annie, and do so by FAKING AIRLINE TICKETS OK THEN. Meanwhile, Annie’s given up on the whole “Sleepless in Seattle” thing, and goes to meet Walter for their Valentine’s date in NYC. Walter rightfully comments that Annie’s seemed distant, and here’s the thing: Walter deserves better than this. Yeah, he’s BORING AS SHIT, but the dude’s committed to her, and she’s amazingly flaky in comparison. I dunno, maybe it’s because it’s Bill Pullman, but I feel bad for him.
Anyway, in New York, the two begin to rekindle their relationship, and Walter gets a ring for her at FUCKING TIFFANY’S HOLY SHIT. Meanwhile, Sam’s THIRSTY AS FUUUUUUUCK, and is leaving to spend the weekend with Victoria, which Jonah is NOT a fan of. This ship is gonna SAIL if JONAH HAS TO FLY TO NEW YORK CITY HIMSELF
So, Jonah flies to New York City himself, in order to...meet his new mother. This movie has some VERY interesting issues, Jesus. Jonah does, indeed go to the top of the Empire State Building to look for Annie, and he asks all the girls on the Observation Deck if they’re Annie. Which, of course, none of them are. Why?
Annie’s at dinner, that’s why, and at the FUCKING RAINBOW ROOM DEAR LORD HOW MUCH MONEY DOES WALTER MAKE? Sam also makes his way to New York, probably to DESTROY HIS CHILD
And at dinner, Annie actually redeems herself by telling Walter the ENTIRE TRUTH about her feelings, and about “Sleepless in Seattle.” And Walter is a CLASSY-ASS GUY ABOUT THE ENTIRE THING, and the two break off their engagement amicably. Annie says that she doesn’t deserve Walter, and BY GOD SHE’S RIGHT. Walter’s a sweet dude. And as soon as they break up...a sign.
Sam finds Jonah on the Observation Deck, and the two tearfully reunite. And as they two unite, and everybody else leaves the Observation Deck as it closes for the night, Annie rushes on her way there. An Affair to Remember is invoked one last time, as Annie convinces the guard to let her up there. But, OF GODDAMN COURSE...she goes up in one elevator, and Sam and Jonah head down in another.
But wait. Isn’t that Jonah’s backpack on the ground of the Observation Deck?
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Yup. THERE’S the happy ending we’re lookin’ for. They finally formally introduce each other, and Sam says that they’d better leave...ALL of them, together. Love at first sight. PLAY US OUT JIMMY DURANTE!!!! And yeah, I know that Celine Dion sings the end credits song, but NOPE! TAKE ME AWAY, JIMMY! MAKE ME HAPPY!
And that was Sleepless in Seattle! And again, I liked it! I’ll get more into it during the Review!
#sleepless in seattle#nora ephron#tom hanks#meg ryan#rosie o'donnell#bill pullman#ross malinger#romance february#romance movie#365 movie challenge#365 movies 365 days#365 Days 365 Movies#365 movies a year#user365
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