In The Holiday, for example, there’s Rufus Sewell as the columnist who exploits the editorial prowess of his colleague Winslet, though he knows she’s carrying a flame for him. Sure, the action will feature some male dastards. When guys get dragged to a Meyers chick flick – even one as slack and erratic as The Holiday – they know their species will receive a fair shake. She also loves those ’70s films in which hurt or angry women find comfort with individualistic and attractive fellows like Kris Kristofferson in Alice Doesn’t Live Here Anymore and Blume in Love, or Alan Bates in An Unmarried Woman. Meyers wants to spread the word about classic romantic comedies like His Girl Friday and The Lady Eve – farces that people the eternal erotic runaround with men and women of equivalent charm, wit and velocity. But if you gauge who gains the most from this adventure, it’s got to be the male of the species.Ī movie like The Holiday, the latest chick flick from Nancy Meyers (What Women Want, Something’s Gotta Give), makes you wonder, “How lucky can a fella get?” Not only does it star Cameron Diaz and Kate Winslet, it also promotes a perfect fantasy of sexual equality. The simple act of attending a chick flick can be viewed as a gesture of incomparable self-sacrifice. The theory goes that if guys attend, it’s to win points with the women in their lives. ![]() Today they are called “chick flicks,” and they refer to any movie that a girl or a woman is most likely to attend alone or with her gal pals, or with her local chapter of Oprah’s Book Club. When Hollywood was still adult, they were called “women’s pictures.” They revolved around eternal issues like the tension between personal happiness and wifely duty or motherhood, and the shape these issues took could range from powerhouse tearjerkers such as Imitation of Life to no-holds-barred melodramas such as Mildred Pierce. Baltimore Sun eNewspaper Home Page Close Menu
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