Post: #26

(01-20-2016 11:50 PM)Suits Wrote:  Absolutely not. This film is feminist garbage at it's worst. This film set the standard for the romantic comedy genre and we've gotten nothing but filth from those types of movies ever since.

Basic characteristics.

Introductory scene shows attractive, but completely undesirable woman succeeding in a main dominated sphere. This convinces the audience, despite all evidence to the contrary, that she's a quality woman deserving of our respect, because she has a super important job.
Red-pill guy meets fucking stupid girl.
Guy finds fucking stupid girl annoying.
Fucking stupid girl thinks guy is a jerk. She want to get him out of her perfect life as quickly as possible.
Circumstances force them together.
Conversations take place and he learns to respect her views, bitchness, outspoken-ness and other unattractive traits.
She one-ups him on a number of occasions and general disrespects him as a human-being in front of others.
Red-pill guy realizes that NAWALT and that he's been wrong about women all along.
He uses a blowtorch and a pair of rusty scissors to cut of his balls and after sterilizing the wound, he places said balls in her purse.

Epilogue (not shown in film): The dude's daughters are whores and his sons are beta-bitches because he let an outspoken shrew with stupid ideas run the household.

@ Suits



@ OP

Post: #27

If you want a classic "romantic comedy" from the 80's that is not completely unrealistic, you can't go wrong with Broadcast News.



It's the story of a career woman, a dumb alpha, and an eager beta. Of course, the chick must choose between the two, and she goes for the alpha while spurning the beta who professes his 'love' the entire movie. But the twist is that eventually she turns down the alpha because of her career.

The movie flashes forward several years at the end. She's still single, but both the alpha and beta are married with kids.

Post: #28

^Would broadcast.

Post: #29

(01-21-2016 03:09 PM)Mercenary Wrote:  It may not be that relevant now, but what "When Harry Met Sally" did was start a serious and dangerous trend in a genre of movies which brainwashed a generation of women (and blue pill men) in the 1990s.

What you're seeing wasn't unique to this movie, but part of the suffocating trend of Political Correctness that swamped Hollywood in the mid 80's as the Baby Boomers took over, and Marxist Subversion became the order of the day.

Beginning of the 80's:

- America is great
- Anyone can be a hero
- Success is possible if you strive to achieve and sacrificed
- Traditional Masculine Heroes
- Working class vs The System
- Women protected or provided for by men

All of these ideas are gradually targeted and subverted throughout the decade.

The mistrust of government and unease with patriotism are obvious enough (see John Rambo et al). But the two most currently important ones would be these:

1) the abandonment of the Working Class as heroic figures 'socking it to the man', usually through some kind of Socialist Workplace Reform (See early 80's films like 9 to 5, Take This Job and Shove It, DC Cab) or by Slobs getting it over on the Snobs (Caddyshack, Up The Creek).

Since the Baby Boomers have completely sold out by the end of the decade becoming all about accumulation and conspicuous consumption, filmmakers abandoned the Working Class for never rising up in Glorious Revolution, and they'll become less common as heroes in films throughout the 90's. By now, they're rarely on television or in film, and if they are, they've been completely-inverted, so are now the subject of mockery our outright villainy.

So who became the downtrodden heroes? If you pay attention, by the end of the decade, it becomes about the Minority Experience where racial injustice needs to be experienced by a Concerned White Surrogate (Glory, Dances With Wolves). This is where the Marxists started laying the groundwork for their new Pet Useful Idiots, who damn well better revolt this time, or else.

2) The Masculinisation of Women and Feminist Dogma. This is the Leftist Boomers. George Romero (Knightriders, Day Of The Dead); Steven Spielberg (Raiders Of The Lost Ark, The Colour Purple); George Lucas (Willow, Leia in Star Wars, Raiders again); James Cameron (Terminator, Aliens, the Abyss); Rob Reiner (The Princess Bride, When Harry Met Sally); all of which sell non-feminine women as being a virtue.

There's a related subtext of mockery of normalcy (usually 1950's style or what I'd consider Exaggerated Americana), which would include directors like Joe Dante (Gremlins, The Burbs, Matinee); David Lynch (Blue Velvet created a whole subgenre of this); David Byrne (True Stories); Michael Lehmann (Heathers, Meet The Applegates); and I'd even throw John Hughes in there to a degree for making heroes out of Snarky Self-Superior Losers that prefigures modern television making, (most of them), when he's not being outright subversive in his writing (Vacation!, Mr. Mom).

What this means is, in the early 80's, a girlfriend might be functionally useless under pressure, but a mother will fiercely protect her children (Poltergeist). You'll start seeing self-saving heroines who instantly know how to function under pressure by '84 (Romancing The Stone). Whilst a mother might take down four vicious monsters in her kitchen (Gremlins) the girlfriend in the same movie shuts down, disassociates and makes the issue all about her (the whole 'now I have another reason to hate Christmas speech...) so it still has one foot in the past.

After "Aliens", things go rapidly south. Now a High School Cheerleader can take down a monster and even save her trapped biker lover interest (The Blob - note also mistrust of government and hatred of Christianity); or a Sorority Girl can instantly pick up a sawn-off and start blasting alien zombie heads (Night Of The Creeps).

By the start of the 90's, you get a movie like Silence Of The Lambs, a 'sequel' to 'Manhunter / Red Dragon' where there's little real progression in ideas beyond the male character being replaced by a female.

Even in the first years of the 80's, there's a trio of Feminist Subversion films (9 to 5, Mr. Mom, Tootsie). I find Mr. Mom interesting in they're trying to sell the notion that the life of a housewife is impossible work, to the degree a man who manages a car production line, can't do some simple grocery shopping.

This blows up in a ridiculous scene where:

- he overloads a washing machine and puts in too much detergent so it starts banging and overflowing;

- something is cooking on the stove that starts boiling over and burning;

- whilst the vacuum cleaner is running wild sucking down curtains and scaring a kid;

- whilst a bunch of tradesman all turn up on the doorstep at the same time;

- none of whom turn off the washing machine, take the pot off the stove or simply turn off the vacuum to instantly resolve the problem.

The filmmakers can only make the work of a housewife seem hard by exaggerating it catastrophically whilst having the male character act retarded.

This is every modern commercial aimed at women.

Interestingly, this same combination of events (burning pot, multiple tradesmen, crazy washing machine, looking after a kid), plays out in the 1977 version of 'Freaky Friday' to teach the teenager daughter that her mother's life is so hard.

That's really all they had to complain about? Enjoy the working arena, ladies.



'When Harry Met Sally' isn't the beginning of anything. The rot is entrenched by then.

Post: #30

^^^^

Bossschhhullussssssssssss!!!!!!!!!!!

Post: #31

The mid to back half of the 80's is also noteworthy for the deliberate uglification of the heroine. There's a hell of a lot of beautiful love interests suddenly sporting teenage boy cuts.

So George Lucas takes Joanne Whaley, who is so GODDAMN feminine I could barely stand it:



and then turns 'Willow' into what resembles a gay romance between two soliders:



Richard Donner does this to Michelle Pfeiffer:



Meg Ryan in 'Top Gun':



John Hughes does this to Mary Stuart Masterston:



Amanda Bearse in 'Fright Night':



Joyce Hyser in 'Just One Of The Guys', who might as well be a dude:



Anyone who remembers Phoebe Cates in 'Fast Times At Ridgemont High' will wince at her appearance in 'Bright Lights Big City':



Dammit, this one still hurts:



cont...

Post: #32

This continues through the 90's, where it really begins to seem like male / female romance has been replaced by guys trying to bum off their brothers in arms.

Janine Turner in 'Cliffhanger':



Lori Petty in 'Point Break':



Can you smell the sexual tension between these two men this man and woman?



----------

Don't look up Joanne Whaley now.
Don't look up Joanne Whaley now.
Don't...



Goddammit.

Post: #33

(01-21-2016 09:43 PM)AnonymousBosch Wrote:  Joyce Hyser in 'Just One Of The Guys', who might as well be a dude:

She looks almost exactly like Prince!

Post: #34

(01-22-2016 03:26 AM)puckerman Wrote:  She looks almost exactly like Prince!

How could I forget Ingrid Chavez in 1990's 'Graffiti Bridge', (though I'm probably the only person on earth who enjoys the movie for what it is: a genius over-reaching).

Post: #35

Thinking about it - I think the biggest problem was that Harry didn't succeed without Sally. The first 20 minutes Harry as this alpha-male who knows Sally more than she knows herself, and it's not until he gets married where things shit the bed and everything goes bad. I think if his life got dramatically better, while her's got worse the movie would be better as a whole.

Post: #36

Why would you watch anything directed by Rob Reiner? The second question is why you would watch anything directed by Rob Reiner that stars Billy Crystal? "Meathead" has been a subversive for over 45 years. Give him a miss.

Post: #37

Woman faking an organism.

Post: #38

This thread is not going in the direction that the OP was hoping for.