Romantic comedies can be hit or miss. Sometimes films in this genre are highly regarded as some of the best movies ever made. Other instances prove that it’s easy to make rom-coms that are nothing more than utter trash. The 1980s was one of the best time periods for the romantic comedy genre, and with those movies came a series of little tropes and cliches, some of which we loved, while others we just couldn’t stand. Here is 5 Silly Things From ’80s Rom-Coms That We Can’t Stop Loving (& 5 That We Don’t).
LOVE - LOVE/HATE RELATIONSHIP
The ’80s was really big on this trope, which involves two characters who can’t stand each other, but somehow end up falling for one another. Although it might not be the best indicator of a real-life long-term relationship, we love watching these dynamics unfold in rom-coms, whether it be on the big or small screen.
This was most evident in works such as When Harry Met Sally, along with the characters Sam and Dianne on the ’80s sitcom Cheers. There is nothing like that passionate spark between two people who hate each other’s guts, yet at the same time desperately want to lock lips. It’s just fascinating to witness.
DON’T LOVE - MAKEOVER MONTAGE
Sigh. The makeover montage. Is there any better way to cheapen a film than to have one of these unnecessary scenes? Sure, it’s a great way to show off music from the movie’s soundtrack while providing feel-good vibes for the audience, but this type of scene is so overused that it just feels like a parody within itself at this point.
We see this a lot in ’80s rom coms where all the girl needs to do is get a makeover if she wants the man of her dreams to fall in love with her. This puts way too much emphasis on appearance and it sends out a bad message to viewers that the only way to get your crush to notice you is to get a more flattering haircut and some cute clothes.
LOVE - SERENADE SCENE
Who doesn’t love a good serenade scene? The ’80s were chock-full of those, with Say Anything coming to mind as the most classic and iconic of the bunch. Love makes you do crazy things. It makes some people want to sing at the top of their lungs to the one they love or hold a boom box up by their window while blasting Peter Gabriel. Sure, these scenes are sometimes cheesy, but isn’t that what makes rom-com movies so fun to watch?
DON’T LOVE - PITTING FEMALE CHARACTERS AGAINST EACH OTHER
For a long time, it was a widespread belief in film that women were supposed to compete against each other over the man they both happened to be pursuing. Rather than taking the time to get to know each other and to potentially band together, it was common in ’80s films for these women to simply regard each other as mortal enemies.
Usually the opposing female character is portrayed as an unrealistic monster which we just don’t see all that much of in reality. We’re glad this trope is slowly dying down because all it did was promote toxic behavior.
LOVE - GRAND ROMANTIC CONFESSION
What’s a romantic comedy without that final grand confession of love? These moments are usually the highlight of the entire movie, and they makes us feel all giddy and happy inside. They get our heart racing and it feels as though everything in the movie has been leading up to this final moment. The ’80s did a great job with these scenes and we still get a kick out of rewatching tear-inducing professions of love to this day.
DON’T LOVE - WHEN SHE TAKES OFF HER GLASSES SHE IS BEAUTIFUL
At this point, this is just laughable, but back in the day this trope was used all too often. It would be used when the dorky underdog girl suddenly became a regular hottie after she simply took off her glasses. Almost every time, the films would cast a beautiful girl who is conventionally attractive and in no way homely. This is bound to create an abundance of insecurities in female viewers who feel as though the only way to get their happy ending is to look a certain way. Luckily, modern-day films such as Isn’t It Romantic starring Rebel Wilson challenge this notion — and stomp all over it.
LOVE - OPPOSITES ATTRACT
Remember when Allison and Andrew got together in The Breakfast Club and it was such a beloved moment? That’s because people love the idea of two complete opposites gaining attraction for one another. It is just nice to see people from totally different walks of life coming together to form a connection. We enjoy it because it is unpredictable and unique. Luckily, we still see this trope used in modern-day media, such as April and Andy in Parks and Rec, along with Rachel and Finn on Glee.
DON’T LOVE - STEREOTYPES ABOUT MEN AND WOMEN IN RELATIONSHIPS
We are sick of those tired stereotypes found in ’80s rom-coms, promoting the belief that all women want is to find love, while men on the other hand are the ultimate commitment-phobes. Although for some men and women this is true, it is most certainly not the case for all people, and these well-worn pigeonhole views do the world more harm than good. This is why we appreciate films where they reverse the stereotype by having the male characters desire commitment while the female characters do not.
LOVE - OBSERVING A CRUSH FROM THE FEMALE P.O.V
John Hughes paved the way for a whole new type of rom-com with Sixteen Candles and Pretty in Pink, both starring Molly Ringwald. Although today, romance films through the female point of view are more common, back then, it was almost considered revolutionary. We were constantly being met with films that promoted the male gaze, and the ’80s finally gave women the chance to be the pursuers and the chasers. It was nice and refreshing to witness a love story through the female perspective and we are glad more and more films are doing this today.
DON’T LOVE - UTTER LACK OF MINORITY CHARACTERS
Romantic comedies have a terrible reputation when it comes to their portrayals of minority characters — or lack thereof. Most rom-coms are guilty of relying on aged stereotypes to portray these minority characters, who serve no purpose in the movie other than to help the leading protagonist. Again, Isn’t It Romantic does a wonderful job addressing this issue and we are glad modern-day films are moving away from this offensive cliche.
