Your ‘for you’ page has likely been bombarded with an appraisal for the newest rom-com “Anyone but You,” a loose adaptation of Shakespeare’s “Much Ado About Nothing.” Perhaps, like me, you were scrutinous of such open TikTok adoration, snarling at those who deemed it “the best rom-com of all time.” However, I caved. Having seen the new film, I have proudly become one of the masses.
The film’s success story had a less-than-hopeful genesis. During its first week, “Anyone but You” merely brought in $6 million, despite costing Sony $25 million to make. Though marketing attempts were plentiful, the film’s triumph sprung from word of mouth. Bolstered by TikTok support, “Anyone but You” became a sleeper-hit, bringing in over $80 million worldwide.
The film is not technically the pioneer of the rom-com return, for its predecessor, Jennifer Lawrence’s raunchy film “No Hard Feelings,” was a summer blockbuster. Where “Anyone but You” differs, however, is in its 90s rom-com nostalgia. Whereas Lawrence’s film is unpredictable, unorthodox, and more comedy than romance, Sweeney and Powell’s chemistry feels reminiscent of the classics. Further, its loose ties to Shakespeare’s play resemble “Clueless” and its inspiration from Austen’s “Emma.”
The 90s and early 2000s marked the crux of the beloved rom-com genre’s success. Think “Notting Hill,” “Sleepless in Seattle,” and “10 Things I Hate About You.” As the decade turned, however, rom-coms rescinded. Production for rom-coms virtually ceased, and gone were new classics like “How to Lose a Guy in 10 Days.”
Categorically, rom-coms became obsolete. By 2017, a genre that once produced nine major studio-wide releases per year now produced zero.
Some have argued that the Marvel movie usurped the rom-com, and that feel-good fixes were found in action rather than sappy-silliness.
However, “Anyone but You” and its traditional rom-com feel and box-office victory indicate a much-needed rom-com revival. The unifying decree amongst its sea of supporters has been a warm regard for the film’s optimistic quality.
Having seen “Anyone but You” in the local St. Andrew’s New Picture House, I can fondly comment on the giddy atmosphere produced by our student audience. Bold laughter and sly smiles colored the crowd, and unanimous whispers conspired in agreement – “It was so good!”
But why do we respond so well to such a film, and how is this potentially emblematic of a proper shift in the film industry?
Firstly, in a post-pandemic world, constantly characterized by international conflict, war, and human suffering, people turn to films to switch off and escape. Rom-coms offer momentary peace and, more importantly, a glimmer of hope.
Similarly, contemporary tragedies like climate change are marked by the average person’s lack of control. It is uncommon to fall into a defeatist mentality: how can I make a change? And more ominously, what will the future bring? How will this election go? Etc.
Rom-coms, however, appeal to us now more than ever, as they follow an unfailing formula. We know Sydney Sweeney and Glen Powell will end up together; the fun is merely watching them get there.
The genre is an antiquated, comforting blanket, a gentle reminder of simpler times, and a promising protector against future uncertainties. It is warming and something we refuse to let go of.
Thus, as support for a rom-com revival flourishes, we can earnestly hope that the film industry takes note of our support and changes for the better, giving the genre the attention and budget it deserves to thrive properly.