The Diversity of Romance (or Lack Thereof): Reviewing Classic Rom-Coms Through A New Lens

An avid romcom fan experiences unseen classics to celebrate the upcoming holiday — and to search for some much needed representation. 

Consumerism and Capitalism aside, I love Valentine’s Day. I’ve always thought that it’s an adorable way to celebrate your friends or significant others with pink and red-themed presents. This holiday is also the perfect mate for my favorite movie genre: romantic comedies. As Valentine’s Day is quickly approaching, I thought it was only fitting to watch the classic rom-coms that I’d never seen.

The rom-com genre is championed by so many talented writers and directors, but unfortunately, most of the heavy hitters are white. White and male. One thing I’ve noticed recurring in romcoms is the lack of diversity and, often, very sexist stereotypes. As I began compiling this list, I found very few films with diverse casts or storylines. This can probably be blamed on the lack of diversity behind the scenes, but it is problematic nonetheless.

Searches for “classic romcoms” yield results like “The Notebook,” “Sleepless in Seattle,” or anything starring Julia Roberts or Meg Ryan. Intending to focus on the classics, I found myself at a loss when it came to racial and gender minority representation in films. The lack of representation in mainstream media, specifically in the portrayal of romance, is incredibly problematic, and it is something that needs to be heavily examined by our society. As a result, I decided to focus on directors, leading me to a list that still included mostly men (all white except for one) and only two women (both white). While most of the movies on this list consist of a white cast and little to no relationships outside of the gender binary — which says a lot about Hollywood in general — I still believe that these movies are a great watch ahead of this romantic holiday season.

Jerry Maguire – Cameron Crowe

Cameron Crowe is a talented director known for films such as Almost Famous and Vanilla Sky (also starring Tom Cruise), and the writer behind the iconic film Fast Times at Ridgemont High, directed by Amy Heckerling. He was raised in San Diego, California, and is a freelance writer for Rolling Stone magazine in addition to his successful film career. 

Jerry Maguire (1996) grossed over $273 million worldwide, earning it a spot in the top 10 grossing films of that year. The film was nominated for a total of 67 awards worldwide, winning 26, including many in comedic categories. 

Jerry Maguire, Sony Pictures, 1996, directed by Cameron Crowe.

Romance Factor: 6/10

Representation:  6/10

Comedy: 7/10

Enjoyment: 8/10

Engaged sports agent Jerry Maguire explores love and new business endeavors in this unlikely romcom. I love sports, although I rarely equate them with romantic comedies (unless we’re talking Love & Basketball of course). Maguire is a successful sports agent with high-profile clients, but the cutthroat attitude needed for this type of job gets the best of him. In a moment of crisis, he publishes a memo detailing all of the secrets and misfortunes of his job, resulting in his being fired. Left to his own devices and incredible talent, Maguire teams up with an accountant, Dorothy Boyd, played by the quirky-but-amazing Renée Zellweger, to start their own business. 

This movie is not without critique. Firstly, the portrayal of women is grossly stereotypical and one-dimensional. The “divorced women’s group” held in the home of Dorothy’s sister shows a group of men-hating “feminists,” which is a diluted and outdated take. In a similar vein, Maguire’s fiancé is essentially slut-shamed in just the first 15 minutes of the film. “Whoever snagged him must be some classy babe,” says Dorothy, and the film immediately cuts to a sexual interaction between Jerry and his fiancé, suggesting that she isn’t “classy.” This perpetuates the idea that women aren’t allowed to enjoy sex without being called offensive names or being slut-shamed. Macguire is later celebrated for his number of sexual partners at his bachelor party, presenting a double standard. His relationship with Dorothy also moves quite fast, and until the end, she seems to be much more taken by him than he is by her. While this isn’t necessarily a problem, she does give up her entire career to follow him and his chauvinistic business endeavor, while he considers her a lesser priority than his work. 

Additionally, there isn’t much diversity in the film, which isn’t surprising. The corporate side of the sports world tends to be very white, and this movie reflects that well. Macguire’s sole client in his new business is the Arizona Cardinals’ Rod Tidwell, played by actor Cuba Gooding Jr., an arrogant yet family-oriented football player. He puts his career in the hands of Maguire, and their friendship is able to blossom as a result. Gooding’s character is easily the most comedic of the film, and his relationship with his family is essentially an example of what Maguire strives to have in his life with Dorothy. Because I expected absolutely no cast diversity in this film, I was pleasantly surprised to see a Black man in a prominent supporting role — one that landed him a well-deserved Oscar.

All of this critique isn’t to say that this isn’t a great film, it’s one that I enjoyed a lot. Cameron Crowe’s directorial style is one that I appreciated, and, like his other films, the soundtrack was great. I quite liked the ending, contrary to many critics. Although I’ve seen better, it’s hard not to love a film containing so many iconic lines and quite possibly the most adorable kid I’ve ever seen on screen. 

When Harry Met Sally – Rob Reiner

When Harry Met Sally, Columbia Pictures, 1989, directed by Rob Reiner.

Rob Reiner, born in the Bronx, New York, made his debut in the entertainment industry on All In The Family, the wildly popular sitcom of the 1970s, before his directorial career. Known for films such as The Princess Bride and Stand By Me, his career spans many decades. 

When Harry Met Sally (1989) grossed just under $93 million in North America, debuting in less than 50 theaters before becoming available around the country. The film was nominated for 21 awards, bringing in 5 wins, including the funniest actor and actress, awarded to both leads, Billy Crystal and Meg Ryan.

Romance Factor: 8.5/10

Representation: 3/10

Comedy: 6/10 

Enjoyment: 8/10

I thought just about everyone had seen this movie except for me, which is why I was so excited to have When Harry Met Sally on my list. Written by the talented Nora Ephron and directed by Rob Reiner, this film follows the lives of two people, Harry and Sally, played by Billy Crystal and Meg Ryan, respectively, on their quest to stay platonic in a world where men and women cannot be friends without sex. This idea in itself is sexist and lacks regard for a world outside of the gender binary, but is still very timely for a movie released in 1989.

Meg Ryan’s character, Sally, is incredibly independent and sure of herself and her quirks, not allowing anyone to stop her. She refuses to be complacent when it comes to Harry’s passive sexism, which I appreciate in a movie made during this time period. Not to split hairs, but the title itself is inherently sexist. It insinuates that the man is the dominant and controlling one in the relationship, and it leaves me to wonder, what would have happened if Sally would have met Harry? 

In terms of representation, the main cast includes absolutely no minorities, although it gets a few points for feminism and anti-patriarchal dialogue. The ending is the perfect cheesy romantic moment, one of the more well-known of the romantic comedy genre. But despite a sweet and romantic final 30 minutes, Harry’s misogynistic persona is ever-present. They don’t become intimate until Sally is in a vulnerable moment of need, and he essentially spends the whole film pining after a woman who wants nothing to do with him for over a decade. And, to be frank, the more genuinely romantic and comedic moments came from the relationship between Marie and Jess. Though, in the end, what’s not to like about Meg Ryan in her prime?

Pretty Woman – Garry Marshall 

Pretty Woman, Buena Vista Pictures, 1990, directed by Garry Marshall.

Garry Marshall began his career as a writer for The Lucy Show and The Dick Van Dyke Show in the 1960s, before making his directorial debut with the Los Angeles Opera. He is known for creating the iconic series Happy Days, as well as for directing Princess Diaries 1 & 2 and Beaches, among many others. 

Pretty Woman (1990) was nominated for 19 awards, winning 8 of them. It grossed about $463 million worldwide, becoming the fourth-highest-grossing film worldwide, just behind Indiana Jones and The Last Crusade. 

Romance Factor: 7.5/10

Representation: 2/10

Comedy: 6/10

Enjoyment: 9/10

Pretty Woman is another classic film that I’d never seen before, and I’m happy to report that the hype is deserved. The life of young prostitute Vivian Ward, played by the wonderful Julia Roberts, is flipped upside down when she meets Mr. Edward Lewis, an all-important businessman, played by Richard Gere, on a routine night on Hollywood Boulevard. What she assumes would be one night turns into a week when he hires her to “be at his beck and call” on his very important business trip. 

Edward lacks the ability to interact with people, specifically women, outside of business deals or in situations where money is not involved, such as love. Vivian challenges him, and it is that quality that makes me really like her character, as well as her ability to be unapologetically herself. Edward has an obsession with having and being the best, which is why he stays on the highest floor of every hotel and sits in the balcony seats at the opera, and why I’m also convinced that he asked Vivian to work for him: because he believed that she was the best. In some twisted, patriarchal way I find that romantic, but I recognize that, if this film were made today, this sort of relationship would be more heavily criticized. 

In her line of work, there is little that Vivian has control over, but she maintains that “where what, and who” she interacts with is her decision. My main issue with this movie is the inhumane treatment Vivian receives. Firstly, she is ignored and made fun of by employees on Rodeo Drive because of her appearance, even though she is carrying around the black card of a millionaire. The people Edward introduces her to refer to her as “one of Edward’s girls,” or, as his lawyer simply puts it, “a hooker” — reducing her to her appearance and sexuality. Additionally, there are moments when Edward diminishes Vivian to that title, speaking uncomfortably about her class, the way she dresses, her mannerisms, etc. He feels a sense of control over her, and gets angry when she is not the arm candy he intended her to be. Vivian is a dynamic character, but she is forced to assimilate to Edward’s lifestyle. 

Diversity-wise, I am a bit surprised by the lack of it in this film compared to other popular 90s romcoms. I counted just three Black people, all men, two of whom were employed by the hotel, throughout the entire film. 

The ending is a classic Rapunzel moment, Edward recreating Vivian’s childhood fantasy of being swept off her feet by a man at the base of a tower. After the pair go their separate ways, he finds her at her apartment, declaring his love for her by climbing up the fire escape to the highest floor and presenting her with roses. I appreciated the overall simplicity of this movie, and the collision of their very different worlds was done well — serving as the perfect segue from a transactional sexual relationship to a romantic one. 

You’ve Got Mail – Nora Ephron 

You’ve Got Mail, Warner Brothers Studios, 1998, directed by Nora Ephron.

Nora Ephron, born in New York City in 1941, is famously known for her poignant female characters, both in her writing and directorial projects. She began as a reporter for the New York Post, while also writing comedic pieces for Esquire. She made her screenwriting debut in 1983 with Silkwood, starring Meryl Streep. This film won her her first Academy Award nomination. Additionally, she wrote the screenplays for both Sleepless In Seattle and When Harry Met Sally. 

Debuting at number 1 in North America, You’ve Got Mail (1998) brought in over $18 million on opening weekend, grossing a total of $280 million worldwide. The film won 6 of its 8 nominations, including nominations for the funniest actor/actress. 

Romance Factor: 9/10

Representation: 5/10

Comedy: 6/10

Enjoyment: 9/10

Set against the backdrop of New York City in Autumn to a soundtrack featuring “The Cranberries” and Harry Nilsson, “You’ve Got Mail” is a certified romcom classic. Katheleen Kelly, played by Meg Ryan, is the owner of a small children’s bookstore that her late mother previously owned. As a small business owner, her business is in jeopardy of being shut down. This danger becomes more imminent as Fox Books, owned and operated by Joe Fox (Tom Hanks), opens up down the street. The allure of her quaint bookstore is not enough for the growing New York economy, but his high shelves filled with discounted books and a coffee bar are. Despite their in-person rivalry, the two are unknowingly engaging in a series of online exchanges, in which they become emotionally involved with each other. Due to their agreed-upon online anonymity, they know no valuable details about each other. They meet in a chat room under their respective pseudonyms, and while their relationship seems mostly platonic, it blossoms into something special, which of course becomes romantic once they get to know each other in person. 

The two run into each other frequently as business rivals, and despite their attempts to keep their online relationship vague, small parts of their identities seep into their conversations and encounters, namely Joe’s extremely valid obsession with The Godfather. Worlds collide when Joe suggests that he and his online friend meet in person. Kathleen waits for him in a cafe, Joe arrives, realizing that ShopGirl, the woman he’s been conversing with, is his business rival. He approaches her as himself, not revealing his identity as NewYork152 (his online handle). She is taken aback by his unsolicited presence and is incredibly rude to him. Katheleen believes Joe’s in-person self to be cold and insensitive, while simultaneously falling in love with his true personality through their communication. She is, of course, the last person to know that these people are one and the same. Because he is the only one aware of their unique situation, Joe is left to figure out how or if their relationship should be progressed further. 

Joe’s best friend and business partner in the film is Black, and aside from a few minority characters thrown in during random scenes, he is the only non-white person in the cast. His presence in the film is an interesting commentary on progressivism. The idea that a Black person could be at the same corporate level as a successful, nepotism baby like Joe is somewhat impressive for the 90s, and brings up an exciting discourse. The divide between Joe and Katheleen’s socioeconomic classes does provide some kind of diversity, which I think is important to note. 

Both Katheleen and Joe maintain separate romantic relationships throughout the film. Katheleen breaks up with her boyfriend after they realized that they didn’t love each other anymore, freeing her to unpack her feelings for the mysterious man on her screen. Soon after, Joe realizes that his relationship isn’t a good one, and is left confused, not knowing what he wants out of his budding relationship with Katheleen. After the bookstore is forced to close, Katheleen is heartbroken, searching for a new career as a children’s author. The pair begin to see each other platonically, knowing that their conflicting careers don’t allow for romance. 

After some prompting from Joe, Kathleen decides to arrange a date with her online friend in person. In a very sweet ending, this seeming platonic relationship turns intensely romantic when Joe’s identity is revealed- reminiscent of an enemies-to-lovers trope. I enjoy the perspective that this film provided on media and the ability to connect with people online. This idea of online relationships is very relatable to the teenagers of today, who rely on social media for the vast majority of our romantic interactions. 

She’s Gotta Have It – Spike Lee

She’s Gotta Have It, 40 Acres & A Mule Filmworks, 1986, directed by Spike Lee.

Spike Lee is possibly the most influential Black director ever, his films unapologetically focusing on the Black experience and race relations in the United States. Born in 1957 in Atlanta, Georgia, Lee attended Morehouse College and NYU Tisch Film School. He first gained recognition for his master’s thesis, Joe’s Bed-Stuy Barbershop: We Cut Heads, which discussed the importance of “the barber shop” to the Black experience. His films deal explicitly with racism, providing artistic and important takes on Black issues from the 1980s onwards. He is known for films such as Do The Right Thing, School Daze, and Malcolm X.

His debut film, She’s Gotta Have It (1986), was made on a $175,00 budget, premiering in just one theater. It eventually amassed over $7 million in the United States, winning 4 of 6 award nominations, including one at the 1986 Cannes Film Festival. 

Romance Factor: 6/10

Representation: 9/10

Comedy: 8/10

Enjoyment: 8/10

I LOVE Black cinema, and I’m ashamed to admit that I’d never seen She’s Gotta Have It. Nola Darling, played by Tracy Camilla Johns, is a creative young woman in Brooklyn, New York. Nola navigates life in the City through her independence and relationships with three very different men. Jamie: romantic but a bit overbearing, Mars: comedic and naive, and Greer: the charmingly arrogant photographer. Despite her ability to maintain these relationships, Nola is still treated with patriarchal bias, mostly by Greer, who says that Nola is “a typical Brooklyn tack head” that he molded and reformed. In one way or another, all of the men treat her as a sexual object. Mars believes that “nice girls” don’t behave like Nola does, which is a harmful stereotype. Even Jamie, who, in my opinion, has the most romantic relationship with Nola, essentially rapes her in a fit of rage, leaving Nola hurt and confused. 

Nola somehow handles these relationships until all of the men meet on Thanksgiving, where they fight and openly insult each other. It is clear that each of them wants a monogamous relationship with Nola, but she wishes to maintain her independence. The only person to truly validate her lifestyle is a female therapist, who says men often confuse healthy sexual habits with addiction. Each of the three men demands answers, leaving Nola to make a difficult choice. Nola breaks it off with Mars and intends to pursue only Jamie. She loves Jamie, but unfortunately for her, it doesn’t work out. 

There is something to be said about the sexual liberation of a woman like Nola, and it’s a perspective that I appreciate. We rarely see women portrayed in this light, and for a movie made in the 80s to be so openly celebratory of this makes it quite an impactful piece. Spike Lee’s directorial style is one that I admire greatly, specifically his use of perspective and breaking of the fourth wall. Visually this was a beautiful movie: from the use of color vs black and white shots, photography displayed throughout, and the overall aesthetic of Brooklyn. 

Unsurprisingly, this movie contains more representation than any of the others on this list. In addition to evident racial diversity, Nola’s closest friend, Opal, is openly lesbian. The end of the film is a powerful portrayal of independence and femininity. Nola wants control of her body, and not to be tied down by marriage in the way that Jamie and the other guys want her to be. She never loses sight of what she wants, and from beginning to end, she maintains her position as a sexually fluid, financially independent, successful woman.