This article analyzes Richard Curtis's Love Actually, noting its cultural impact and its portrayal of class and gender dynamics. While acknowledging the film's success in capturing the zeitgeist, the author criticizes its simplistic and unrealistic depiction of love, highlighting the emptiness of its fairytale romance. The piece also touches upon the film's enduring legacy and its influence on the rom-com genre.
encapsulated everything bad about Britain, not just our culture, but our entire self-fashioning. The editor said no – we had to draw a line somewhere. I deferred, which was annoying, because I was completely right; everything that’s wrong with that film was visible from space.
Twenty years later, it wasn’t Love Actually that Richard Curtis wanted to revisit, but Notting Hill – last month, he told IndieWire that he’d had an idea for a sequel, in which Hugh Grant and Julia Roberts got divorced, but Roberts had scotched it, thinking it a “”. Grant had already floated this unlikely notion – a romcom hingeing on a split – in 2020, saying in his urbane drawl: “I would like to do a sequel to one of my own romantic comedies that shows what happened after those films ended.
Love Actually Richard Curtis Rom-Com Class Politics Misogyny
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