Book Review: Love and Cinema – Thunderbolt on the Screen

By Sarah Osman

For those new to romantic comedies, Falling in Love at the Movies provides an informative introduction to how they work.

Falling in Love at the Movies : Rom-Coms from the Screwball Era to Today par Esther Zuckerman. Running Press, 256 pages, 24 $

The romantic comedy: a Hollywood staple. Movies like One night in Miami, Roman holidays et When Harry Met Sally are deeply rooted in our popular culture. We let ourselves be carried away, laugh and sometimes even gag slightly at the sentimental vapidity of these films. But where do they come from? Who are the creative minds behind it? And why do they arouse such enthusiasm?

These are the questions that entertainment journalist Esther Zuckerman seeks answers to in her book Falling in Love at the Movies : Rom-Coms from the Screwball Era to Today. In each chapter, she works to explain a specific aspect of the romantic comedy formula and explores the genesis of these tropes. It covers themes such as unexpected encounters, different types of heroines (notably the sympathetic woman and the strong-willed one), as well as typical secondary roles (the “Baxter”, the bad girl and the best friend). As an informed fan of rom-coms, much of this analysis was not foreign to me, but the evolution of the genre through the decades particularly captivated me. I was most intrigued by the often overlooked romantic comedies of the '20s, '30s, and '40s, especially the pre-Hays Code examples, which were truly daring.

Like romantic comedies, Zuckerman's writing is light and enjoyable. Falling in Love at the Movies is an ideal read for those who want to disconnect and immerse themselves in a world of romantic fantasy. This book provides a welcome distraction from the dark realities we face today. Celebrating those short “perfect rom-com moments,” like when Harry finally confesses his love to Sally on New Year’s Eve, also brings a touch of comfort.

However, like many romantic comedies, Falling in Love at the Movies remains on the surface. Zuckerman refrains from analyzing certain more problematic aspects of gender: the absence of people of color (a situation which is only beginning to be corrected) and the strict respect for gender roles. Although she acknowledges these issues, she never confronts them directly. Why, in 2025, are there still so few LGBT+ romantic comedies? And why are the big studios so reluctant to combine romance and superheroes?

Additionally, Zuckerman never delves into international romantic comedies, which is surprising given that the title doesn't make it clear that the book will only focus on the American edition (and a few British films). International romantic comedies have always fascinated me because they adopt many of the tropes of Hollywood rom-coms while reflecting the culture in which they are set. For example, the Nigerian romantic comedy A big one addresses the situation of its heroine, who, at 34, is considered an old maid. His mother presents him with a candidate who she considers culturally perfect. Isoken is also attracted to Kevin, who, being white, is very far from the local model. The film succeeds in exploring Nigerian racial stereotypes and cultural expectations while remaining an entertaining romantic comedy. A chapter devoted to works like A big one would have been appreciated, especially in a context where rom-coms are spreading on a global scale. Perhaps international romantic comedies were too big a terrain for Zuckerman to explore; she should consider writing a second book about it.

However, for those new to romantic comedies, Falling in Love at the Movies provides an instructive introduction to their mechanisms. Even those already familiar with the genre will be able to discover a new star, film or trope. And who knows? With Valentine's Day approaching, you might find a romantic idea or two. At least you'll discover a new movie to watch.