In 1990, Julia Roberts, Richard Gere and veteran TV director Garry Marshall teamed together for the smash hit, "Pretty Woman." A modern retelling of the classic Pygmalion story (that also inspired "My Fair Lady"), the film launched Roberts' career into orbit, reinvigorated the romantic comedy genre and won over fans in both its theatrical and video releases.
Since then, those fans -- as well as the three principals -- have been hoping that the "Pretty Woman" team would find a project that would allow them to reunite for another stab at the genre. Well, nine years later, the threesome (and Hector Elizondo who played the hotel manager in that earlier film) has re-teamed for "Runaway Bride." A standard, by the numbers romantic comedy, the question on everyone's mind regarding it is whether lighting can strike twice.
While the film will certainly zap the box office like its predecessor and fans of the onscreen couple will undoubtably be blinded by the sheer star power and chemistry of the two leads, everyone else might find the proceedings somewhat pleasant, but certainly not as fun or magical as their previous effort. And if you didn't like that other film, you'd be advised to stay clear of this one.
Some of that blame can be pointed at the script delivered by the screenwriting team of Josann McGibbon & Sara Parriott ("Three Men and a Little Lady," "Worth Winning"). It's nothing but a retreading of the familiar romantic comedy plot where the man and woman initially don't like each other. They then get to know one another, fall for each other, then split up (with the obligatory music montage showing them doing their separate things as time passes by) and then finally getting back together again.
For those mad that I've ruined the plot, you would have to have lived in a cave (without cable) for the past decade or so not to be able to see the outcome of this film -- that lumbers down the road with all the subtly and mystery of an eighteen wheeler -- from the time the first reel starts or just from hearing that it's starring Roberts and Gere.
For example, there's little doubt that Ike and Maggie will become romantically involved, but despite our subconscious rooting for that to occur (after all, most everyone likes happy love stories), the way in which it transpires is never believable. While we know that Ike's really a good guy deep down -- simply from the genre's obligatory conventions -- it's hard to accept his quick change into defending Maggie's reputation, let alone their quick to blossom romance.
As such, very little, if anything, comes as much of a surprise -- except that someone has yet to figure out how to turn this genre on its head for comic effect (or even for just a simple change of pace) -- and for those who like predictable familiarity and absolutely no cinematic challenges, this film's for you.
The rest of the blame for the production's lameness falls squarely on the shoulders of director Garry Marshall. The creator/producer of some of the more popular sitcoms of the 1970s -- including "Happy Days" and "Mork and Mindy" -- Marshall's film career really took off with the unexpected success of "Pretty Woman." Since then, however, he's delivered a series of -- how shall we put it politely -- quite abysmal films such as "Exit to Eden" and "Dear God."
Perhaps "Pretty Woman" was a recent fluke, but Marshall misses the boat here and his maladroit handling of the material will probably turn off many viewers. The epitome of his overbearing directorial "touch" is a scene where Maggie's fiancé has Ike stand in for him as the groom during their wedding rehearsal.
Anyone with at least 20/2000 vision could see the symbolism of Ike now representing the groom (since he and Maggie have been generating so many romantic sparks that fire extinguishers are probably sitting in the pews), but Marshall can't stop there. Instead he has Peggy make the all too obvious comment detailing such symbolism.
Although some viewers might not mind that, such scenes are prevalent throughout the film. As a result, such heavy-handedness weighs down the production, thus preventing it from reaching the lofty heights it certainly wishes to achieve.
For all of those warranted criticisms and negative qualities, however, the film manages to be moderately enjoyable simply due to the presence of Roberts and Gere. While some funny one- liners and scenes are peppered throughout the script, the sheer attractiveness of the leads' combined DNA (good looks, healthy hair, great bods, etc...) and the natural chemistry between the two keeps the film floating above the debris that's supporting it.
Meg Ryan aside, Julia Roberts ("Notting Hill," "Stepmom") is the queen of the romantic comedy genre, and after some failed attempts at serious and/or dark drama, she's returned to the material for which she's best suited. That winning smile will always bowl over audiences, and Roberts delivers yet another fun performance proving yet again that she's clearly one of the best in this sort of film.
While certainly not primarily known for his work in comedies or romances (other than "Pretty Woman"), Richard Gere ("The Jackal," "An Officer and a Gentleman") similarly delivers a winning performance with his subtly comic take on his character. Although it probably won't change the mind of those who find his expression and/or performances wooden, it's fun to see him in this change of pace role.
Appearing in yet another Marshall film, Hector Elizondo ("Pretty Woman," TV's "Chicago Hope") doesn't get as a juicy a role as he did in the previous Roberts/Gere outing, and both he and Rita Wilson ("Sleepless in Seattle," "Now and Then") are pretty much relegated to minor supporting role status.
Faring better is Joan Cusack ("In & Out," "Working Girl") as Maggie's small town best friend and hairstylist, Peggy Fleming (no, not the ice skater). While she's somewhat similarly restrained from really cutting loose -- and is thus nowhere as much fun as she was as the stranded bride in "In & Out" -- she's still a delight to see in any role occurring in any movie.
Simply put, if you like Julia Roberts, Richard Gere or especially the two of them together in "Pretty Woman," you'll probably enjoy this film at least to some degree. While it has its moments and the chemistry between the two leads is both undeniable and unstoppable, one only wishes the script were stronger (something different, for goodness sakes -- and some better dialogue) and that someone other than Marshall would have been behind the camera.
Certainly not the worst romantic comedy you'll ever see, but clearly far from the best, the film is moderately entertaining, but proves that while lightning may strike twice, the second bolt never feels quite as powerful as the first. We give "Runaway Bride" a 5 out of 10.