“I think we both missed a great opportunity here,” states Carrie (Andie MacDowell) as she reluctantly departs for the United States after a one-night-stand with protagonist, Charlie (Hugh Grant). Despite an unexpectedly overwhelming success in the box office domestically and internationally, “missing a great opportunity” is the sentiment of Four Weddings and a Funeral. This 1994 British film includes clever and heart-felt moments, but ultimately fails to elevate itself above the ranks of so many other generic, cute-yet-forgettable romantic-comedies. While it uniquely addresses the loneliness, lust, excitement, uncertainty, and regret of love, the story concludes with a feel-good resolution and overtly cliché kiss in the rain. The envelope is pushed, but when the plot reaches its culmination, the moment where this movie could truly make a statement with an honest or even slightly unexpected conclusion, it fizzles out, trading substance for cheap emotion. However, if the goal was to create a film that produces consistent slight chuckles and a naively optimistic view of the world, then it is a smashing success.
The strongest aspect of Four Weddings and a Funeral is the well-developed characterization of Charlie and his close friends. Mike Newell and Richard Curtis, the respective director and writer, do a fantastic job creating distinct supporting characters without drawing too much time and attention away from Charlie. Each member of the group has his or her own unpleasant flaw, but the way they accept, support, and celebrate each other throughout the movie make the close friendships realistic and endearing. This creates opportunities for bizarre, comedic minor characters, like the sloppy speaking priest or the senile old man. Hugh Grant’s portrayal of Charlie, the well-intentioned bachelor prone to social mistakes, is commendable. He subtly, yet effectively wears his heart on his sleeve, allowing the viewer to truly feel his character’s nervousness, embarrassment, disappointment, and joy.
Unfortunately, the same cannot be said for Andie MacDowell starring opposite him as Carrie, Charlie’s American love interest. Her uncomfortable delivery of lines meant to reveal quick whit and strong emotion come off unconvincing and unnatural. This further accentuates certain areas of cheesy, poorly written dialogue. Carrie’s character lacks the charm and charisma of the other supporting characters. Coupled with her emotional flippancy toward Charlie, there is little appeal for Carrie in this film other than the anticipated happiness of Charlie.
The plot is not the strongest, often relying on major sporadic events to propel the characters from one emotional episode to another. The contemplative emotional low of the film is induced when Gareth, the lovable older friend, drops dead completely out of the blue. The possibility for resolution comes when Carrie conveniently shows up at Charlie’s wedding and announces she is again available. The film moves from wedding to wedding to wedding to funeral to wedding, lurching over large gaps of time in-between, making the death of Gareth and the reappearance of Carrie even more jarring. It feels as if the story grew stale and the writer had to inject a sudden immediate event in order to carry along the plot.
The film exhibited the renowned British quick, dry wit very well. Jokes and jabs at others’ expenses add to the charm of the close friendships and provide a majority of the comedy. The film is directed well, with moments of awkward pause and enjoyable body flailing for even more laughs. It cleverly places characters in humorous situations that require even more humorous solutions. Still, it touches upon major emotional undertones as it chronicles adults coming to terms with the difficulties of loneliness and the search for love. This film is a decent comedy and an above average friendship-comedy, but it falls short of being an exceptional or noteworthy romantic-comedy.
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