last 10 minutes Sleepless in Seattle not smart. They are not innovative, creative, imaginative, or any other synonyms you can find in a thesaurus to describe “smart.”Actually screenwriter nora ephron She herself is smarter than that. But that’s the point.
nora ephronThe film’s writer-director, who is as famous for her writing and wit as she is for “the razor in her back pocket,” according to reporters, Ken Auletta. But when it comes to love, Ephron sees things from a whole different angle. She threw herself into this idea of hers, which she calls “movie love,” which is very different from real-life love, achieved with grand gestures, and everything will work out in the end.Unrealistic as it may be, Efron’s film gave audiences confidence, and the ending Sleepless in Seattle It is a microcosm of it.
‘Sleepless in Seattle’ Final Scene Is Nora Ephron in Miniature
Sleepless in Seattle Much of its aura comes from — especially the final scene of the Empire State Building — something to rememberwhich itself is referenced several times in the film between Annie Reed (meg ryan) and her friend Becky (Rosie O’Donnell), they would watch it repeatedly, viewing it as some kind of digital shrine. Sleepless in Seattle Very meta in that, like Annie, she cried something to remember A million times, eventually finding myself in the same position as Nickie Ferrante (Cary Grant) back in 1957, he was waiting atop the Empire State Building for Terry McKay (Deborah Kerr), believing that he was set free.
last 10 minutes Sleepless in Seattle Kind of like this: During a Valentine’s Day dinner with her fiancé, Walter (bill pullman), with a view of the Empire State Building from her desk, Anne was surprised to realize that her real Fate might actually be on top of that building. Sam Baldwin (Tom Hanks), a man she contacts by letter, invites her to meet him at the Empire State Building on Valentine’s Day—though the letter actually goes through his son Jonah (Jonah).Ross Mullinger), without Sam’s knowledge.
It was shot entirely in the dark, especially after Annie left dinner abruptly a little behind schedule and, as expected, when she got to the top of the building, Sam wasn’t there. Instead, the only thing left on the observation deck was a child’s backpack. Tormented by what might have happened, she turns to go back to the elevator, but is met by Sam and Jonah, who are returning to get their backpacks. With Jimmy Durante’s “Make Someone Happy” playing in the background, Annie and Sam introduce themselves to each other, and the three bow their heads in the elevator, having the time of their lives together.
The entire scene—from Annie getting up from her desk to fading out in front of the Empire State Building—only technically lasted seven minutes. That’s it. But in that short amount of time, Ephron said everything she needed to say about love.It turns out that the line between love and “love in the movies” is actually a bit blurrier than we first thought, and that may have something to do with Efron being married Nicholas Pellegi 1987, just a few years ago Sleepless in Seattle.
Ephron said in her son’s documentary: “I think people go back and forth all their lives — they start out believing in this very pure, simple, stupid idea of fate, believing that there’s one person in the world and you’ll meet That person.” About her life, everything is a replica. “Then it happened, and finally, after many mistakes of what you thought was fate, you found a used to be Your fate, you say, ‘Oh, I see. I have to go through all the false fates to reach the real one. “
love after movie
Jacob Bernsteinthe documentary, everything is a replica, offers useful insight into Ephron’s way of thinking, especially as to how many of her films revolve around the idea of love and that fate. It’s an interesting dichotomy, since Ephron is known for being cynical. She has spent most of her life writing articles and books that are sometimes cheeky but sometimes stark—making fun of particular people and ideas, as well as herself. Still, there’s another side of her silently bubbling just below the surface, one that’s filled with all the blind hope that the love of love can bring.
“I think, in a way, for many of the critics, they know her from her columns and her books, when these romantic movies come out, boy meets girl, boy loses girl, boy becomes girl, Empire The building is beautiful and big and people thought something bad was going to happen but it didn’t and they didn’t know what to do with her,” she said. Brian LauderHer agent said in the documentary.
One of her follow-up films, You’ve got mailStar Wars, also starring Ryan and Hanks, ended in a similar fashion, though this time it was rooted in the grounds of the park rather than in the air on the 102nd floor. Despite a slightly less grand finale, the way it ended on a happy note still drew some criticism, especially after Hanks’ Joe Foxx was getting ready for “Katherine Kelly.” Watch the full movie by email.
This all raises an important question: Can we, as humans, be cynical and optimistic at the same time? It seems impossible, but if anyone is an exception, it’s Ephron. In part, this is why her films are so successful: by twisting together two different schools of thought, the resulting work is humorously relentlessly cynical, but always optimistic at heart. In short, it becomes the embodiment of poker face.
Ultimately, this is Ephron: she is her movie, as much as the movie is her.