We Want Love, Actually: Kate Gardner Wonders Why Feature Films Are Ditching the Feel-Good Moment as the Credits Roll
Gardner, Kate, New Statesman (1996)
These days, any film that concludes on a positive note is accused of being "Hollywood-ised", as if happiness were just not realistic. The preferred style of ending is non-committal, as exemplified by the cult hit Donnie Darko (2001). Given a chance to relive his past few months, the disaffected youth Donnie gives his life so that those he cares about can have happiness. He dies, but for positive reasons, which leaves one very confused.
Then there's The Good Girl (2002), starring Jennifer Aniston. Given that the film is a remake of Brief Encounter, the ending shouldn't have been a surprise, but at least the 1945 classic featured a husband worth returning to. Aniston's character has a pig of a husband, and my girlfriends and I were egging her on to leave him as well as her depressive lover. There really could not have been a more ghastly ending than her returning to a loveless union, whether or not she was doing "the right thing".
The same goes for mainstream movies. Cast A way (2000) was rendered "believable" by its almost cruel ending. When Tom Hanks's character finally returns home after …
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Publication information: Article title: We Want Love, Actually: Kate Gardner Wonders Why Feature Films Are Ditching the Feel-Good Moment as the Credits Roll. Contributors: Gardner, Kate - Author. Magazine title: New Statesman (1996). Volume: 133. Issue: 4704 Publication date: September 6, 2004. Page number: 43. © Not available. COPYRIGHT 2004 Gale Group.
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