(She was nominated in 1991 for Pretty Woman, and won 10 years later in 2001 for her role in Erin Brockovich.) She has been nominated for more than 100 awards, including four Academy Awards, two of which were for Best Actress.Her 13 most popular movies have grossed more than $3 billion at the box office worldwide.Since 1989’s Steel Magnolias, she has been in 39 films.Shea Serrano: Julia Roberts, in totality, is unstoppable. Her continuum wasn’t just any romantic comedy.
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To paraphrase one of her TV sisters, Charlotte York: Ryan had been doing this for 13 years where was he? The rebooting had taken its tragic toll. You can see the disappointment, the desperation, and the disillusion. Ryan is the most important person to make romantic comedies in the last 40 years.
To see her drunk and sloppy or acutely sexualized - in Hurlyburly or In the Cut - was to experience a star’s allergic reaction to herself. By 2001, it was a dude imported from another century. In 1998, she was reduced to dating an angel and the man who wants to put her bookstore out of business. Her principles had gone dark, her clothes were disheveled, her body hard, her hair hacked off. Flying to Paris in order to get back the fiancé who dumped you over the phone (1995’s French Kiss) or teaming up with a stranger to get revenge on your cheating partners (1997’s Addicted to Love) is something else. But the idea of waiting atop skyscrapers for Hanks and falling for peak-of-his-powers Billy Crystal is one thing. In any case, despite understandable attempts to diversify, her brand was love, and you could feel the search for it turning her bitter. You can even feel it in the sweetness and whimsy of something as terribly made as 1994’s I.Q. And she maybe she could have kept trying, but a chameleon star like Nicole Kidman (never the same role twice), honed in on at least some of Ryan’s dreams of actorly seriousness. But Hanks had different gears, which makes you wonder whether Ryan’s attempts to find gears of her own - as a depressive good-time girl, an alcoholic guidance counselor, and the first woman to (posthumously) receive the Medal of Honor - was, in a sense, a way of keeping up with him. They are right for each other, even when what Ephron has them do at the end of You’ve Got Mail is notoriously wrong. That these two have made only three movies together feels like a rip-off. The few people who saw them together probably had the same thought: “$$$$.” Ryan and Hanks were old Hollywood souls, and the two movies Ephron made with them were set against classical backdrops: An Affair to Remember for Sleepless in Seattle and The Shop Around the Corner for You’ve Got Mail. A year later (1990), she wound up with Tom Hanks in Joe Versus the Volcano. It was the purity with which she picks up her fork and puts it in the lettuce. It wasn’t the moaning and thrashing that made her a star in that deli scene. She began her run as Sally Albright, an avatar for Nora Ephron’s explanatory candor. She was single in the modern sense, striving at first for idealism, then for her dignity. Meg Ryan was on a continuum with society. Hepburn was on a continuum with Tracy, Astaire with Rogers, Doris Day with Rock Hudson. It’s tough work, devoting yourself to the dramatization of falling in love, because the genre refuses to let you stay there. You can do two or three before the idealism turns to dust. And romantic comedies trace a perilous arc. Based on the beginning and middle, you can imagine an end.
Wesley Morris: With a good star, there’s a continuum. Today, we look at the titanic figures of the modern rom-com and the players who never quite reached the mountaintop. And while the genre has morphed over the years, we’re still in love with rom-coms - so we’re celebrating them all week.
In these movies we find predictable moments, heightened notions of love, and a lot of questionable outfits. Beginning with When Harry Met Sally… in 1989, the genre has become a launching pad for some actors and a refuge for others. It’s been 25 years since the birth of the modern romantic comedy.
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