The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (August 2009)

Marilyn Monroe and Tom Ewell in The Seven Year Itch trailer.

Romantic comedy films, also known as "rom-coms" or "romedies", are films with light-hearted, humorous plotlines, centered on romantic ideals such as that true love is able to surmount most obstacles.^[1] One dictionary definition is "a funny movie, play, or television program about a love story that ends happily".^[2] Another definition states that its "primary distinguishing feature is a love plot in which two sympathetic and well-matched lovers are united or reconciled".^[3]

Romantic comedy films are a sub-genre of comedy films as well as of romance films, and may also have elements of screwball comedies^[4] and stoner comedies. Some television series can also be classified as romantic comedies.

Description[link]

This section is written like a personal reflection or essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (February 2011)

Kathryn Grayson in Seven Sweethearts (1942), a musical romantic comedy film

The basic plot of a romantic comedy is that two characters, usually a man and a woman, meet, part ways due to an argument or other obstacle, then ultimately reunite. Sometimes the two leads meet and become involved initially, then must confront challenges to their union. Sometimes they are hesitant to become romantically involved because they believe that they do not like each other, because one of them already has a partner, or because of social pressures. However, the screenwriters leave clues that suggest that the characters are, in fact, attracted to each other and that they would be a good love match. The protagonists often separate or seek time apart to sort out their feelings or deal with the external obstacles to their being together.

While the two protagonists are separated, one or both of them usually realizes that they are ideal for each other, or that they are in love with each other. Then, after one of the two makes some spectacular effort (sometimes called the grand gesture) to find the other person and declare their love, or through an astonishing coincidental encounter, the two meet again. Then, perhaps with some comic friction or awkwardness, they declare their love for each other and the film ends happily. The couple does not, however, have to marry, or live together "happily ever after". The ending of a romantic comedy is meant to affirm the primary importance of the love relationship in its protagonists' lives, even if they physically separate in the end (e.g. Shakespeare in Love, Roman Holiday).^[6]

There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best Friend's Wedding and My Super Ex-Girlfriend). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothing and A Midsummer Night's Dream.

Some comedy films, such as Knocked Up, combine themes of romantic comedies and stoner comedies, creating a subgenre that appeals to both men and women. Often known as "bromance", such films usually use sexual elements which bring the two characters together. Films in this genre include American Pie 2 and even Wedding Crashers.

Contrived romantic encounters: the "meet cute"[link]

One of the conventions of romantic comedy films is the funny parts and contrived encounter of two potential romantic partners in unusual or comic circumstances, which film critics such as Roger Ebert^[7] or the Associated Press' Christy Lemire^[8] have called a "meet-cute" situation. During a "meet-cute", scriptwriters often create a humorous sense of awkwardness between the two potential partners by depicting an initial clash of personalities or beliefs, an embarrassing situation, or by introducing a comical misunderstanding or mistaken identity situation. Sometimes the term is used without a hyphen (a "meet cute"), or as a verb ("to meet cute").

Roger Ebert describes the "concept of a Meet Cute" as "when boy meets girl in a cute way." As an example, he cites "The Meet Cute in Lost and Found [which] has Jackson and Segal running their cars into each other in Switzerland. Once recovered, they Meet Cute again when they run into each other while on skis. Eventually,... they fall in love."^[9]

In many romantic comedies, the potential couple comprises polar opposites, two people of different temperaments, situations, social statuses, or all three (It Happened One Night), who would not meet or talk under normal circumstances, and the meet cute's contrived situation provides the opportunity for these two people to meet.

Use of "meet cute" situations[link]

Mary Astor and Joel McCrea in The Palm Beach Story, a screwball romantic comedy

Certain movies are entirely driven by the meet-cute situation, and contrived circumstances throw the couple together for much of the screenplay. However, movies in which the contrived situation is the main feature, such as Some Like It Hot, rather than the romance being the main feature, are not considered "meet-cutes".

The use of the meet-cute is less marked in television series and novels, because these formats have more time to establish and develop romantic relationships. In situation comedies, relationships are static and meet-cute is not necessary, though flashbacks may recall one (The Dick Van Dyke Show, Mad About You) and lighter fare may require contrived romantic meetings.

The heyday of "meet cute" in films was during the Great Depression in the 1930s; screwball comedy films made a heavy use of contrived romantic "meet cutes", perhaps because the more rigid class consciousness and class divisions of this period made cross-social class romances into tantalizing fantasies.

While film critic Roger Ebert has popularized the term "meet cute" in his reviews of romantic comedies, the term is mostly used in the film and screenwriting industries, where it provides a convenient shorthand for screenwriters who are doing a very compressed pitch to a film production company.

History[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2007)

The Oxford Dictionary of Literary Terms defines romantic comedy as "a general term for comedies that deal mainly with the follies and misunderstandings of young lovers, in a light‐hearted and happily concluded manner which usually avoids serious satire". This reference states that the "best‐known examples are Shakespeare's comedies of the late 1590s, A Midsummer Night's Dream, Twelfth Night, and As You Like It being the most purely romantic, while Much Ado About Nothing approaches the comedy of manners and The Merchant of Venice is closer to tragicomedy.^[10]

Comedies since ancient Greece have often incorporated sexual or social elements.

It was not until the creation of romantic love in the western European medieval period, though, that "romance" came to refer to "romantic love" situations, rather than the heroic adventures of medieval Romance. These adventures, however, often revolved about a knight's feats on behalf of a lady, and so the modern themes of love were quickly woven into them, as in Chrétien de Troyes's Lancelot, the Knight of the Cart.^[11]

Shakespearean comedy and Restoration comedy remain influential. The creation of huge economic social strata in the Gilded Age^{[citation needed]}, combined with the heightened openness about sex after the Victorian era^{[citation needed]} and the celebration of Sigmund Freud's theories, and the birth of the film industry in the early twentieth century, gave birth to the screwball comedy.^{[citation needed]} As class consciousness declined and World War II unified various social orders, the savage screwball comedies of the twenties and thirties, proceeding through Rock Hudson–Doris Day-style comedies, gave way to more innocuous comedies.^{[citation needed]} This style faded in the 1960s, and the genre lay mostly dormant until the more sexually charged When Harry Met Sally had a successful box office run in 1989, paving the way for a rebirth for the Hollywood romantic comedy in the mid-1990s.

The French film industry went in a completely different direction,^{[citation needed]} with less inhibitions about sex.^{[citation needed]} Virginia Woolf, tired of stories that ended in 'happily ever after' at the beginning of a serious relationship, called Middlemarch by George Eliot, with its portrayal of a difficult marriage, "one of the few English novels written for grown-up people."

Television[link]

Romantic comedy series have included:

• Living Single (1993–1998) (FOX)
• The Nanny (1993–1999) (CBS)
• Friends (1994–2004) (NBC)
• Ally McBeal (1997–2002) (FOX)
• For Your Love (1998–2002) (WB)
• Sex and the City (1998–2004) (HBO)
• Will & Grace (1998–2006) (NBC)
• The King of Queens (1998–2007) (CBS)
• Girlfriends (2000–2008) (UPN/CW)
• Half & Half (2002–2006) (UPN)
• All of Us (2003–2007) (UPN)
• Desperate Housewives (2004–2012) (ABC)
• How I Met Your Mother (2005–) (CBS)
• Emily's Reasons Why Not (2006) (ABC)
• Pepper Dennis (2006) (The WB)
• Hot Properties (2006) (ABC)
• Men In Trees (2006–2008) (ABC)
• Not Going Out (2006–) (BBC)
• Ugly Betty (2006–2010) (ABC and Channel 4(in the UK))
• The Big Bang Theory (2007–) (CBS)
• Gavin & Stacey (2007–2009) (BBC)
• Samantha Who? (2007–2009) (ABC)
• The Starter Wife (miniseries, 2007; series 2008–2009) (USA Network)
• Greek (2007-2011) (ABC Family)
• Cashmere Mafia (2008) (ABC)
• Lost In Austen (2008) (ITV)
• The Ex List (2008) (CBS)
• Lipstick Jungle (2008–2009) (NBC)
• Mistresses (2008–2010) (BBC)
• Accidentally on Purpose (2009–2010) (CBS)
• Drop Dead Diva (2009–) (Lifetime)
• Cougar Town (2009–) (ABC)
• Big Time Rush (2009-) (Nickelodeon)
• 100 Questions (2010) (NBC)
• Romantically Challenged (2010) (ABC)
• Running Wilde (2010-2011) (F0X)
• Mike & Molly (2010–) (CBS)
• Better With You (2010–2011) (ABC)
• Perfect Couples (2010–2011) (NBC)
• Love Bites (2011) (NBC)
• Friends With Benefits (2011) (NBC)

Film[link]

The neutrality of this article is disputed. Please see the discussion on the talk page. Please do not remove this message until the dispute is resolved. (January 2011)

This section lists examples of romantic comedy films^{[citation needed]}, ordered by year of release.

Early[link]

Later[link]

Top grossing[link]

See also[link]

• Romance film

References[link]

External links[link]

• Romantic Comedy Movies - from 1940s to future releases, with box office performance The Numbers
• Market Performance of Romantic Comedies in United States - year-by-year analysis of box office performance of romantic comedies The Numbers
• Romantic Comedy Movies - Top 290 (1978–present) by Box Office Mojo
• Top Rated Romance Titles by IMDB
• Your Guide To Romantic Comedies - Current Romantic Comedies by RCF

Comedy film is a genre of film in which the main emphasis is on humour. These films are designed to elicit laughter from the audience. Comedies are generally light-hearted dramas and are made to amuse and entertain the audiences. The comedy genre often humorously exaggerates situations, ways of speaking, or the action and characters.^[1]

Films in this style traditionally have a happy ending (the black comedy being an exception). One of the oldest genres in film, some of the very first silent movies were comedies. Comedy, unlike other film genres, puts much more focus on individual stars, with many former stand-up comic transitioning to the film industry due to their popularity. While many comic films are lighthearted stories with no intent other than to amuse, others contain political or social commentary (such as Wag the Dog and Man of the Year).

The comedy genre can be considered the oldest film genre (and one of the most prolific and popular). Comedy was ideal for the early silent films, as it was dependent on visual action and physical humour rather than sound. Slapstick, one of the earliest forms of comedy, poked fun at physical mishap, usually in practical jokes, accidents and water soakings.^[2]

Types[link]

A comedy of manners film satirises the manners and affectations of a social class, often represented by stock characters. The plot of the comedy is often concerned with an illicit love affair or some other scandal. However, the plot is generally less important than its witty dialogue. This form of comedy has a long ancestry, dating back at least as far as Much Ado about Nothing by William Shakespeare.

Slapstick (The Three Stooges is an excellent example of this kind of comedy) was popular in the earliest silent films, since they didn't need sound to be effective, and they were popular with non-English speaking audiences. The term slapstick was taken from the wooden sticks that clowns slapped together to promote audience applause. Slapstick films involve aggressive, physical and visual action, including harmless or painless cruelty and violence, horseplay, and often vulgar sight gags. Slapstick often required exquisite timing and well-honed performance skills.

In a fish out of water comedy film, the main character or character finds himself in an unusual environment, which drives most of the humour. Situations can be swapping gender roles, as in Tootsie (1982); an age changing role, as in Big (1988); a freedom-loving individual fitting into a structured environment, as in Police Academy (1984); a rural backwoodsman in the big city, as in "Crocodile" Dundee, and so forth. The Coen Brothers are known for using this technique in all of their films, though not always to comedic effect. Some films including people fitting the "fish-out-of-water" bill including The Big Lebowski and A Serious Man.

A parody or spoof film is a comedy that satirizes other film genres or classic films. Such films employ sarcasm, stereotyping, mockery of scenes from other films, and the obviousness of meaning in a character's actions. Examples of this form include Blazing Saddles (1974), Airplane! (1980), and Young Frankenstein (1974).

The anarchic comedy film uses nonsensical, stream-of-consciousness humour which often lampoons a form of authority. Films of this nature stem from a theatrical history of anarchic comedy on the stage. Well-known films of this sub-genre include Duck Soup (1933) and National Lampoon's Animal House (1978).

The black comedy film deals with normally taboo subjects, including, death, murder, sexual relations, suicide and war, in a satirical manner. Examples include Arsenic and Old Lace (1944), Monsieur Verdoux (1947), Kind Hearts and Coronets (1949), The Ladykillers (1955), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), The Loved One (1965), MASH (1970), Monty Python's The Meaning of Life (1983), Brazil (1985), The War of the Roses (1989), Heathers (1989), Your Friends & Neighbors (1998), Keeping Mum (2005), and Burn After Reading (2008).

Gross-out films are a relatively recent development, and rely heavily on vulgar, sexual or "toilet" humour. Examples include Porky's (1982), Dumb and Dumber (1994), There's Something About Mary (1998), and American Pie (1999).

The romantic comedy sub-genre typically involves the development of a relationship between a man and a woman. The stereotyped plot line follows the "boy-gets-girl", "boy-loses-girl", "boy gets girl back again" sequence. Naturally there are innumerable variants to this plot, and much of the generally light-hearted comedy lies in the social interactions and sexual tensions between the pair. Examples of this style of film include It's a Wonderful World (1939), The Shop Around the Corner (1940), Sabrina (1954), Annie Hall (1977), When Harry Met Sally... (1989), Pretty Woman (1990), and Four Weddings and a Funeral (1994).

It was not uncommon for the early romantic comedy film to also be a screwball comedy film. This form of comedy film was particularly popular during the 1930s and 1940s. There is no consensus definition of this film style, and it is often loosely applied to slapstick or romantic comedy films. Typically it can include a romantic element, an interplay between people of different economic strata, quick and witty repartee, some form of role reversal, and a happy ending. Some examples of the screwball comedy are: It Happened One Night (1934), Bringing Up Baby (1938), Philadelphia Story (1940), His Girl Friday (1940), and more recently What's Up, Doc? (1972).

Hybrid genres[link]

Action comedy[link]

Films in this sub-genre blend comic antics and action where the film stars combine wit and one-liners with a thrilling plot and daring stunts. The genre became a specific draw in North America in the eighties when comedians such as Eddie Murphy started taking more action oriented roles such as in 48 Hrs. and Beverly Hills Cop. These type of films are often buddy films, with mismatched partners such as in Midnight Run, Rush Hour, Bad Boys, and Hot Fuzz. Slapstick martial arts films became a mainstay of Hong Kong action cinema through the work of Jackie Chan among others. It may also focus on superheroes such as The Incredibles, Hancock or Kick-Ass. Henri Daniel Rops

Comedy horror[link]

Comedy horror is a type of horror film in which the usual dark themes are treated with a humorous approach. These films are either use goofy horror clichés such as in Scream, Young Frankenstein, Little Shop of Horrors, Haunted Mansion and Scary Movie where campy styles are favoured. Some are much more subtle and don't parody horror, such as An American Werewolf In London. Another style of comedy horror can also rely on over the top violence and gore such as in Dead Alive (1992), Evil Dead (1981), and Club Dread - such films are sometimes known as splatstick, a portmanteau of the words splatter and slapstick.

Fantasy comedy[link]

Fantasy comedy films are types of films that uses magic, supernatural and or mythological figures for comic purposes. Most fantasy comedy includes an element of parody, or satire, turning many of the fantasy conventions on their head such as the hero becoming a cowardly fool, the princess being a klutz. Examples of these films include Being John Malkovich, The Princess Bride, Night at the Museum, Groundhog Day, Click and Shrek.

Black comedy[link]

Much like comedy-horror, black comedy, or dark comedy, is a type of comedy film that often uses cruelty as the source of humour. Most black comedies involve crime or other intense moments like average school/workplace bullying. Some examples of these films include The Cable Guy, Ruthless People and Dr. Strangelove.

Sci-fi comedy[link]

Sci-fi comedy films, like most hybrid genre of comedy use the elements of science fiction films to over the top extremes and exaggerated science fiction stereotypical characters. Popular examples of these types of films include Back to the Future, Spaceballs, Ghostbusters, Evolution, Innerspace, Galaxy Quest, Mars Attacks!, and Men in Black.

Military comedy[link]

Military comedy films, involve comic situations in a military setting. Examples of military comedy are The Secret War of Harry Frigg, What Did You Do in the War, Daddy?, Stripes, Up the Academy, MASH, Private Benjamin, Tropic Thunder, The Private War of Major Benson, and the boisterous Flagg and Quirt movies.

History[link]

1895–1930[link]

Comic films began to appear in significant numbers during the era of silent films, roughly 1895 to 1930. The visual humour of many of these silent films relied on slapstick and burlesque. A very early comedy short was Watering the Gardener (1895) by the Lumière brothers. In American film, the most prominent comic actors of the silent era were Charlie Chaplin (although born in England, his success was principally in the U.S.), Buster Keaton and Harold Lloyd. In his native France and throughout the world, Max Linder was a major comic feature and might qualify as the first true film star.

A popular trend during the 1920s and afterward was comedy in the form of animated cartoons. Several popular characters of the period received the cartoon treatment. Among these were Felix the Cat, Mickey Mouse, Oswald the Lucky Rabbit, and Betty Boop.

1930–1950s[link]

Toward the end of the 1920s, the introduction of sound into movies made possible dramatic new film styles and the use of verbal humour. During the 1930s, the silent film comedy was replaced by dialogue from film comedians such as the W. C. Fields and the Marx Brothers. Stan Laurel and Oliver Hardy, who had made a number of very popular short silent films, used the arrival of sound to deepen their well-formed screen characterizations and enhance their visual humour, and went on to great success in talking films. The comedian Charlie Chaplin was one of the last silent film hold-outs, and his films during the 1930s were devoid of dialogue, although they did employ sound effects.

Screwball comedies, such as produced by Frank Capra, exhibited a pleasing, idealized climate that portrayed reassuring social values and a certain optimism about everyday life. Movies still included slapstick humour and other physical comedy, but these were now frequently supplemental to the verbal interaction. Another common comic production from the 1930s was the short subject. Hal Roach Studio specialized in this form. While Columbia was prolific, producing 190 Three Stooges releases, alone. These non-feature productions only went into decline in the 1950s when they were migrated to the television.

In the United Kingdom, film adaptations of stage farces were popular in the early 1930s, while the music hall tradition strongly influenced film comedy into the 1940s with Will Hay and George Formby among the top comedy stars of the time. In England in the late 1940s, Ealing Studios achieved popular success as well as critical acclaim with a series of films known collectively as the "Ealing comedies", from 1947 to 1957. They usually included a degree of social comment, and featured ensemble casts which often included Alec Guinness or Stanley Holloway. Among the most famous examples were Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and he Ladykillers]] (1955).

With the entry of the United States into World War II, Hollywood became focused on themes related to the conflict. Comedies portrayed military themes such as service, civil defense, boot-camp and shore-leave. The war-time restrictions on travel made this a boom time for Hollywood, and nearly a quarter of the money spent on attending movies.

The post-war period was an age of reflection on the war, and the emergence of a competing medium, the television. In 1948, television began to acquire commercial momentum and by the following year there were nearly a hundred television transmitters in American cities.

By the 1950s, the television industry had become a serious competition for the movie industry. Despite the technological limitations of the TV medium at the time, more and more people chose to stay home to watch the television. The Hollywood studios at first viewed the television as a threat, and later as a commercial market. Several comic forms that had previously been a staple of movie theaters transitioned to the television. Both the short subject and the cartoon now appeared on the television rather than in the theater, and the "B" movie also found its outlet on the television.

As television became filled with family-oriented comedies, the 1950s saw a trend toward more adult social situations. Only the Walt Disney studios continued to steadily release family comedies. The release of comedy films also went into a decline during this decade. In 1947 almost one in five films had been comic in nature, but by 1954 this was down to ten percent.

The 1950s saw the decline of past comedy stars and a certain paucity of new talent in Hollywood. Among the few popular new stars during this period were Judy Holliday and the comedy team phenom of Dean Martin and Jerry Lewis. Lewis followed the legacy of such comedians as Keaton and Harold Lloyd, but his work was not well-received by critics in the United States (in contrast to France where he proved highly popular.)

The British film industry produced a number of highly successful film series, however, including the Doctor series, the St. Trinian's films and the increasingly bawdy Carry On films. John and Roy Boulting also wrote and directed a series of successful satires, including Private's Progress (1956) and I'm All Right, Jack (1959). As in the United States, in the next decade much of this talent would move into television.

A number of French comedians were also able to find an English speaking audience in the 1950s, including Fernandel and Jacques Tati.

1960s–1980s[link]

The next decade saw an increasing number of broad, star-packed comedies including It's a Mad, Mad, Mad, Mad World (1963), Those Magnificent Men in Their Flying Machines (1965) and The Great Race (1965). By the middle of the decade, some of the 1950s generation of American comedians, such as Jerry Lewis, went into decline, while Peter Sellers found success with international audiences in his first American film The Pink Panther. The bumbling Inspector Clouseau was a character Sellers would continue to return to over the next decade.

Toward the end of the 1950s, darker humour and more serious themes had begun to emerge, including satire and social commentary. Dr. Strangelove (1964) was a satirical comedy about Cold War paranoia, while The Apartment (1960), Alfie (1966) and The Graduate (1967) featured sexual themes in a way that would have been impossible only a few years previously.

In 1970, the black comedies Catch 22 and M*A*S*H reflected the anti-war sentiment then prevalent, as well as treating the sensitive topic of suicide. M*A*S*H would be toned down and brought to television in the following decade as a long-running series.

Among the leading lights in comedy films of the next decade were Woody Allen and Mel Brooks. Both wrote, directed and appeared in their movies. Brooks' style was generally slapstick and zany in nature, often parodying film styles and genres, including Universal horror films (Young Frankenstein), westerns (Blazing Saddles) and Hitchcock films (High Anxiety). Following his success on Broadway and on film with The Odd Couple playwright and screenwriter Neil Simon would also be prominent in the 1970s, with films like The Sunshine Boys and California Suite. Other notable film comedians who appeared later in the decade were Richard Pryor, Steve Martin and Burt Reynolds.

Most British comedy films of the early 1970s were spin-offs of television series, including Dad's Army and On the Buses. The greatest successes, however, came with the films of the Monty Python team, including And Now for Something Completely Different (1971), Monty Python and the Holy Grail (1975) and Monty Python's Life of Brian in 1979.

In 1980, the gag-based comedy Airplane!, a spoof of the previous decade's disaster film series was released and paved the way for more of the same including Top Secret! (1984) and the Naked Gun films. Popular comedy stars in the 1980s included Dudley Moore, Tom Hanks, Eddie Murphy and Dan Aykroyd. Many had come to prominence on the American TV series Saturday Night Live, including Bill Murray, Steve Martin and Chevy Chase. Eddie Murphy made a success of comedy-action films including 48 Hrs. (1982) and the Beverly Hills Cop series (1984–1993).

Also popular were the films of John Hughes such as Ferris Bueller's Day Off. He would later become best known for the Home Alone series of the early 1990s. The latter film helped a revival in comedies aimed at a family audience, along with Honey, I Shrunk the Kids and its sequels.

1990s–2010s[link]

One of the major developments of the 1990s was the re-emergence of the romantic comedy film, encouraged by the success of When Harry Met Sally... in 1989. Other examples included Sleepless in Seattle (1993), Clueless (1995) and You've Got Mail (1998) from the United States, and Four Weddings and a Funeral (1994), Sliding Doors (1998) and Notting Hill (1999) from the United Kingdom. Spoofs remained popular as well, especially with the Scary Movie series and Not Another Teen Movie series.

Probably more representative of British humour were the working class comedies Brassed Off (1996) and The Full Monty (1997). Other British comedies examined the role of the Asian community in British life, including Bhaji on the Beach (1993), East Is East (1999), Bend It Like Beckham (2002), Anita and Me (2003) and Death at a Funeral.

Also there were "stoner" comedies, which usually involve two guys on an adventure with random things happening to them along the way. Big movies of this sub-genre would be "The Big Lebowski", Dude, Where's My Car, Big Nothing, Harold & Kumar Go to White Castle, and Pineapple Express. These movies usually have drug-related jokes and crude content.

Another development was the increasing use of "gross-out humour" usually aimed at a younger audience, in films like There's Something About Mary, American Pie and its sequels, and Freddy Got Fingered. In mid 2000s, the trend of "gross-out" movies is continuing, with adult-oriented comedies picking up the box office. But serious black comedies (also known as dramatic comedies or dramedies) were performing also well, such as The Weather Man, Broken Flowers and Shopgirl. In late 2006, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan blended vulgar humour with cultural satire.

See also[link]

• AFI's 100 Years...100 Laughs (1924–1998, list made in 2000)
• List of British comedy films
• List of Indian comedy films
• List of United States comedy films

References[link]

Bibliography[link]

• Thomas W. Bohn and Richard L. Stromgren, Light and Shadows: A History of Potion Pictures, 1975, Mayfield Publishing.

External links[link]

• Comedy Movies at the Open Directory Project

Sandra Bullock
Bullock at the 83rd Academy Awards in 2011
Born	Sandra Annette Bullock (1964-07-26) July 26, 1964 (age 47) Arlington County, Virginia, U.S.
Occupation	Actress, comedian, producer
Years active	1985–present
Spouse	Jesse G. James (2005–2010)
Children	1
Parents	John Bullock Helga Meyer (deceased)

Sandra Annette Bullock ( /ˈbʊlək/; born July 26, 1964) is an American actress and producer who rose to fame in the 1990s after roles in successful films such as Demolition Man, Speed, The Net, A Time to Kill, and While You Were Sleeping. In the new millennium she appeared in such films as Miss Congeniality, The Lake House, and Crash, the third of which received critical acclaim. In 2007, she was ranked as the 14th richest female celebrity with an estimated fortune of US$85 million.^[1] In 2009, Bullock starred in two of the more financially successful films of her career, The Proposal^[2] and The Blind Side.^[3] Bullock was awarded a Golden Globe Award for Best Actress, a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role, and the Academy Award for Best Actress, for her role as Leigh Anne Tuohy in The Blind Side. She is listed in the 2012 edition of the Guinness Book Of World Records as the highest-paid actress, with $56 million.^[4]

Early life[link]

Sandra Annette Bullock was born in Arlington, Virginia, a suburb of Washington, D.C. Her father, John W. Bullock (born 1925), was a United States Army employee and part-time voice coach from Birmingham, Alabama, and her mother, Helga D. Meyer (1942–2000), was a German opera singer and voice teacher.^[5][6][7] Bullock's maternal grandfather was a rocket scientist from Nuremberg, Germany. John Bullock, then in charge of the Army's Military Postal Service in Europe, was stationed in Nuremberg when he met his wife. They married in Germany, soon moving to Arlington, where John Bullock worked with the Army Materiel Command, before becoming a contractor for The Pentagon.^[8][9]

Bullock frequently accompanied her mother on her opera tours throughout Europe. She spent time in Salzburg and Nuremberg, where she stayed with her aunt and grandmother and became fluent in German. Bullock studied ballet and vocal arts as a child, taking small parts in her mother's opera productions.^[5] She sang in the operas children's choir at the Staatstheater Nürnberg.^[10]

Bullock attended Washington-Lee High School, where she was a cheerleader and performed in high school theater productions. After she graduated in 1982, she entered East Carolina University in Greenville, North Carolina. However, she dropped out in her fourth year in spring of 1986, just three credits short of graduating, to become an actress. She moved to Manhattan and supported herself as a bartender, cocktail waitress, and coat checker. She later completed her coursework and graduated from East Carolina University.^[11]

Acting[link]

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Bullock at the 2010 SAG Awards red carpet.

While in New York, Bullock took acting classes with Sanford Meisner.^{[citation needed]} She appeared in several student films, and later landed a role in an Off-Broadway play No Time Flat. Director Alan J. Levi was impressed by Bullock's performance and offered her a part in the TV movie Bionic Showdown: The Six Million Dollar Man and the Bionic Woman (1989). Afterward, she was cast in a series of small roles in several independent films as well as in the lead role of the short-lived NBC television version of the film Working Girl (1990). She later appeared in several films, such as Love Potion No. 9 (1992), The Thing Called Love (1993) and Fire on the Amazon. A prominent supporting role in the science-fiction/action movie Demolition Man (1993) led to her breakthrough performance in Speed the following year. She became a movie star in the late 1990s, carrying a string of successes, including While You Were Sleeping, and Miss Congeniality in 2000. Bullock received $11 million for Speed 2: Cruise Control, which she agreed to star in for financial backing for her own project, Hope Floats,^[12] and has revealed she regrets making the sequel.^[13] She later received $17.5 million for Miss Congeniality 2: Armed & Fabulous.^{[citation needed]}

Bullock was selected as one of People magazine's 50 Most Beautiful People in the World in 1996 and 1999, and was also ranked #58 in Empire magazine's Top 100 Movie Stars of All Time list. She was presented with the 2002 Raúl Juliá Award for Excellence^[14] for her efforts, as the executive producer of the sitcom George Lopez, in helping expand career openings for Hispanic talent in the media and entertainment industry. She also made several appearances on the show as Accident Amy, an accident-prone employee at the factory Lopez's character manages. In 2002, she starred opposite Hugh Grant in Two Weeks Notice and in the film Divine Secrets of the Ya-Ya Sisterhood.

In 2004, Bullock had a supporting role in the film Crash. She received positive reviews for her performance, with some critics suggesting that it was the best performance of her career.^[15] In 2005, she was a co-recipient of the Women in Film Crystal Award.

In 2008, Sandra Bullock was announced as "the face" of prestigious cosmetic brand Artistry.

Bullock later appeared in The Lake House, a romantic drama also starring her Speed co-star, Keanu Reeves; it was released on June 16, 2006. Because their film characters are separated throughout the film (due to the plot revolving around time travel), Bullock and Reeves were only on set together for two weeks during filming.^[16] The same year, Bullock appeared in Infamous, playing author Harper Lee. Bullock also starred in Premonition with Julian McMahon, which was released in March 2007.^[17] 2009 proved to be especially good for Bullock, giving the actress two record highs in her career, as earlier in the year she released The Proposal, with co-star Ryan Reynolds, a huge hit that took in more than $314 million at the box office worldwide, making it her most successful picture to date.^[18]

In November 2009, Bullock starred in The Blind Side, which opened at #2 behind New Moon with $34.2 million, making it her highest opening weekend ever. The Blind Side is unique in that it had a 17.6% increase at the box office its second weekend, and it took the top spot of the box office in its third weekend. The movie cost $29 million to make according to the Box Office Mojo. It has grossed over $309 million to date, making it her domestic highest grossing film and the first movie in history to pass the $200 million mark with only one top-billed female star.^[19][20] She won the award for Best Actress at the Golden Globes, Academy Awards, and the Screen Actors Guild Award for her performance in The Blind Side.^[21] Bullock had initially turned down the role three times due to a discomfort with portraying a devout Christian.^[22] Winning the "Oscar" also gave her another unique distinction — since she won two "Razzies" the day before, for her performance in All About Steve, she is the only performer ever to have been named both "Best" and "Worst" for the same year.^[23] Sandra was asked to return her 2009 "Worst Actress of the Year" Razzie award; however, this wasn't because of a change of heart for Bullock's performance but because Bullock personally accepted her Razzie and accidentally took the original one-of-a-kind prototype Razzie, as opposed to the cheap trinket normally handed out to celebrities.^[24]

Recognition[link]

Sandra Bullock's star on the Hollywood Walk of Fame.

As of 2009, Bullock's films have grossed over $3.1 billion worldwide.^[25] According to The Numbers, her total domestic gross stands at $1.7 billion, placing her among the Top 100 Stars at the Box Office.^[26]

Critics, while praising her screen persona,^[27] have been less receptive to her films. As of the 2009 release of The Proposal, Mark Kermode said she's made only three "good" films in her career—Speed, While You Were Sleeping, and Crash, and says "she's funny, she's gorgeous, it's impossible not to love her and yet she makes rotten film after rotten film after rotten film."^[28] As of December 2009, Bullock has appeared on three Entertainment Weekly covers. She was selected by People Magazine as its "Woman of the Year" for 2010.^[29] She was ranked #12 on People's Most Beautiful 2011 list.^[30]

Entrepreneurship[link]

Bullock runs her own production company, Fortis Films. Bullock was an executive producer of The George Lopez Show, which garnered a lucrative syndication deal that banked her some $10 million (co-produced with Robert Borden). Bullock tried to produce a film based on F.X. Toole's short story, Million-Dollar Baby, but could not interest the studios in a female boxing drama. The story was eventually adapted and directed by Clint Eastwood as the Oscar-winning film, Million Dollar Baby (2004). Bullock's production company, Fortis Films, also produced All About Steve, which was released in September 2009. Her father, John Bullock, is the company's CEO,^[31] and her sister, Gesine Bullock-Prado, is the former president.

Since November 2006, Bullock founded a popular Austin, Texas restaurant, Bess Bistro.^[32] She later opened another business across the street in a building she extensively renovated downtown called Walton's Fancy and Staple^[33] a bakery, upscale restaurant and floral shop that also offers services such as event planning.

Personal life[link]

Relationships and children[link]

Bullock was once engaged to actor Tate Donovan, whom she met while filming Love Potion No. 9; their relationship lasted four years. She previously dated football player Troy Aikman, Austin musician Bob Schneider (for two years), and actors Matthew McConaughey and Ryan Gosling.^[34][35]

Bullock married motorcycle builder and Monster Garage host Jesse James on July 16, 2005. They first met when Bullock arranged for her ten-year-old godson to meet James as a Christmas present.

In November 2009, Bullock and James entered into a custody battle with James' second ex-wife, former pornographic actress Janine Lindemulder, with whom James had a child. Bullock and James subsequently won full legal custody of James' five-year-old daughter.^[36]

Bullock at the 2010 Golden Raspberry Awards accepting her Razzie for "Worst Actress" for All About Steve

In March 2010, a scandal arose when several women claimed to have had affairs with James during his marriage to Bullock.^[37][38][39] Bullock cancelled European promotional appearances for The Blind Side citing "unforeseen personal reasons".^[40][41] On March 18, 2010, James responded to the rumors of infidelity by issuing a public apology to Bullock. He stated, "The vast majority of the allegations reported are untrue and unfounded" and "Beyond that, I will not dignify these private matters with any further public comment."^[42] James declared that "There is only one person to blame for this whole situation, and that is me", and asked that his wife and children one day "find it in their hearts to forgive me" for their current "pain and embarrassment".^[42] James’ publicist subsequently announced on March 30, 2010, that James had checked into a rehab facility "to deal with personal issues" and "save his marriage" to Bullock.^[43] However on April 28, 2010, it was reported that Bullock had filed for divorce^[44] on April 23 in Austin.^[45] Their divorce was finalized on June 28, 2010, with "conflict of personalities" cited as the reason.^[46]

Bullock announced on April 28, 2010, that she had proceeded with plans to adopt a baby boy born in January 2010 in New Orleans.^[47] Bullock and James had begun an initial adoption process four years earlier. The child began living with them in January 2010, but they chose to keep the news private until after the Oscars in March 2010. However, given the couple's separation and then divorce, Bullock continued the adoption of the baby, named Louis Bardo Bullock, as a single parent.^[47]

Vehicular accidents[link]

On December 20, 2000, Bullock and another passenger survived the crash of a chartered business jet during an attempted night landing at Jackson Hole Airport. The pilots were unable to activate the runway lights due to having out-of-date approach plates, but continued the landing. The aircraft landed in the airport's graded safety area between the runway and parallel taxiway and hit a snowbank. The accident caused a separation of the nose cone and landing gear, partial separation of the right wing, and a bend in the left wing.^[48]

On April 18, 2008, while Bullock was in Massachusetts shooting the film The Proposal, she and her then-husband were in an SUV that was hit head-on (driver's side offset) at moderate speed by a drunken driver. Vehicle damage was not major and there were no injuries.^[49]

Legal matters[link]

In October 2004, Bullock won a multimillion-dollar judgment against Benny Daneshjou, the builder of her Lake Austin, Texas home; the jury ruled the house was uninhabitable. It has since been torn down and rebuilt.^[50]

Stalking[link]

On April 22, 2007, Marcia Diana Valentine was found lying outside James and Bullock's Southern California home in Orange County. When James confronted the woman, she ran to her 2004 silver Mercedes, got behind the wheel, and tried to run over James. The woman is said to be an obsessed fan of Sandra Bullock.^[51] The woman was charged with one felony count each of aggravated assault and stalking, while Bullock obtained a restraining order to bar Valentine from "contacting or coming near her home, family or work for three years."^[52] Valentine pleaded not guilty to charges of aggravated assault and stalking.^[53] Valentine was subsequently convicted of stalking and was sentenced to three years of probation.^[54]

Charity work[link]

Bullock has been a public supporter of the American Red Cross, having donated $1 million to the organization at least four times. Her first public donation of that amount was to the Red Cross's Liberty Disaster Relief Fund. Three years later, she sent money in response to the 2004 Indian Ocean earthquake and tsunamis.^[55] In 2010, she donated $1 million to relief efforts in Haiti following the Haiti earthquake, and again donated the same amount following the 2011 Japan Earthquake.^[56]

Along with other stars, Bullock did a PSA urging people to sign a petition for clean-up efforts of the oil spill in the Gulf of Mexico.^[57]

Filmography[link]

References[link]