It's hard to find a good romantic comedy, and even harder to find a great one. Many of them use the same basic mechanisms: dating, forced conflicts that threaten to separate the central couple, and over-the-top resolutions where they miraculously end up in each other's arms.
It is rare for a romantic comedy to break the mould. Adherence to a formula is not the problem. As in a relationship, it's the little things that make the difference - the way a film manoeuvres within the boundaries imposed on it.
Take the example of Rye Lane, which conforms to the typical romantic comedy script. Although its narrative structure is familiar, it stands out for its sense of humour, its location in the south London boroughs of Brixton and Peckham, and its vibrant sound and visual effects.
Rye Lane is Raine Allen-Miller's directorial debut and explodes with energy and style. From the outset, it is clear that the director has a well thought-out aesthetic, as evidenced by the wide-angle lens, distinct camera movements and vivid colour palette. Although the story unfolds exactly as one would expect, Allen-Miller's direction makes her film feel like something entirely new.
Nathan Bryon and Tom Melia's screenplay draws on established patterns. In a nod to Richard Linklater's Before trilogy, the 82-minute short follows a soon-to-be couple through the streets of South London on a long walk and talk, with stops at delicious restaurants, neon-lit clubs and modern art galleries.
But it all starts with an aerial view of some memorable stalls in a unisex public toilet, where Allen-Miller spies a range of activities (vomiting, baby changing, sleeping, Instagramming, etc.) before running into Dom (David Jonsson, from HBO's Industry). Still crying after a six-year relationship that ended three months ago, Dom cries alone in the art gallery loo and Yas (Vivian Oparah, from Teen Spirit) hears him. This encounter leads to a conversation that continues in the gallery exhibition (close-up photos of mouths) and on the streets of their neighbourhood, rich in African and Caribbean communities.
The scenario is classic: Dom and Yas, two attractive people, have just come out of a relationship. He is an accountant and a risk-taker. She is an outspoken costume designer with no social filter. He's sweet and shy. She is bold and tackles his nervousness. You know the drill. But Yas is more than a manic dream girl who brings Dom out of his shell, and they're more complex than a typical odd couple, even if that's what they seem like at first. But before we learn more about them, there are some delightful romantic comedy scenes that take us back to well-worn clichés:
When Dom admits that he's going to meet his ex, the vacuous Gia (Karene Peter), who cheated on him with his best friend, the dull Eric (Benjamin Sarprong-Broni), which Dom accidentally finds out on a FaceTime call, Yas offers Dom to join her for moral support. He refuses. Despite this, minutes after the excruciatingly awkward lunch at a Brazilian barbecue restaurant, Yas comes to Dom's rescue by telling how they are "low-key fuckin'" and that they met during an epic karaoke performance. Gia's obvious jealousy allows Dom to win.
Jonsson and Oparah have chemistry in spades, and their scenes together overflow with irresistible charm. Their characters quickly develop the kind of rapport where they feel a sudden intimacy, which makes them comfortable enough to check each other's teeth after a meal.
They wander around Brixton market and stop to eat at a place called Love Guac'tually, with a delightfully deadpan cameo from - well, you should find out for yourself. Later, when Yas shares the story of his break-up, the pair arrange to get his record of A Tribe Called Quest's The Low End Theory back from his self-obsessed ex (Malcolm Atobrah).
But before that, there's a crunchy diversions at a family dinner and an equally punishing performance of Salt-N-Pepa's 'Shoop' in front of a crowd - a realisation of Yas' story earlier in the evening. But while Dom and Yas seem playful and likeable, their first impression of each other proves too simplistic.
The Movie Rye Lane 2023 Official Trailer
The scenario is classic: Dom and Yas, two attractive people, have just come out of a relationship. He is an accountant and likes to take risks. She is an outspoken costume designer with no social filter. He is sweet and shy. She is bold and tackles his nervousness. You know the drill. But Yas is more than a manic dream girl who brings Dom out of his shell, and they're more complex than a typical odd couple, even if that's what they seem at first.
But before we learn more about them, there are some delightful romantic comedy scenes that bring us back to well-worn clichés: When Dom admits that he's going to meet his ex, the vacuous Gia (Karene Peter), who cheated on him with his best friend, the dull Eric (Benjamin Sarprong-Broni), which Dom accidentally finds out during a FaceTime call, Yas offers Dom to join her for moral support. He refuses.
Despite this, minutes after the excruciatingly awkward lunch at a Brazilian barbecue restaurant, Yas comes to Dom's rescue by telling how they're "low-key fuckin'" and that they met during an epic karaoke performance. Gia's obvious jealousy allows Dom to win.
Jonsson and Oparah have chemistry and their scenes together are brimming with irresistible charm. Their characters quickly develop the kind of rapport where they feel a sudden intimacy, which makes them comfortable enough to check each other's teeth after a meal.
They take a stroll through Brixton market and stop for a bite to eat at a place called Love Guac'tually, with a delightfully deadpan cameo from - well, you should find out for yourself. Later, when Yas shares the story of his break-up, the pair arrange to get his record of A Tribe Called Quest's The Low End Theory from his self-obsessed ex (Malcolm Atobrah). But before that, there's a crunchy diversion at a family dinner and an equally punishing performance of Salt-N-Pepa's 'Shoop' in front of a crowd - a realisation of Yas' story earlier in the evening.
But while Dom and Yas seem playful and likeable, their first impression of each other proves too simplistic.
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