Can 'Think Like a Man' Revive the Romantic Comedy?

The genre's fallen into a formulaic rut, but this past weekend's box-office hit offers a different kind of story.

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Sony

The romantic comedy is dead, New York Times film critic A.O. Scott declared four years ago. "The dispiriting, uninspired sameness of romantic comedy strikes me as something of a scandal," he wrote upon the release of the formulaic Katherine Heigl vehicle 27 Dresses. His issue with recent additions to the genre wasn't simply their predictability, he said, but the fact that their "notion of love is insipid, shallow and frequently ludicrous."

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The intervening years haven't done much to improve Scott's picture of the genre. We've gotten The Proposal (2009), How Do You Know (2010), and No Strings Attached/Friends With Benefits (2011)—all joyless retreadings of the plotlines and the messages that Scott decried in 2008. This year has offered audiences more sameness and more shallow depictions of love. This Means War showed Reese Witherspoon in a familiar "dilemma": choosing between two equally attractive male suitors. Friends With Kids, which broke with convention in some ways, ended up being, at its core, a by-the-numbers rom-com. The movie opens with a man and a woman vowing they'll never be a couple and ends with them declaring their love to one another. Scott's criticism holds up—recycled storylines aren't the only things wrong with these movies. The real problem is the assumption in all these films that relational bliss comes from finding the "right" person. This Means War, Friends With Kids, 27 Dresses,and countless other modern romances devote most of their runtimes to watching a couple get together. They end with the first kiss or the avowal of love, and ask the audience to assume the central couple goes on to live happily ever after.

But this weekend, the romantic comedy showed signs of life. The sweetly funny Think Like a Man came out, offering a fresh, mature take on the traditional storyline. Its plot breaks from the romantic-comedy "sameness" by showing couples' struggles to stay together, not get together. By focusing on trying to stay in love rather than fall in love, the movie offers a radically different message about relationships than many of its rom-com cousins. Romantic bliss comes not from meeting the ideal person, the movie seems to say, but learning how to love an imperfect person.

The movie's first departure from the standard romantic-comedy mold comes at the beginning, when it introduces the four central couples. Three of the pairs started dating recently, while one has been together since college, but it's no mystery that these relationships will all still be intact by the time the credits roll. The question then becomes not "Will they fall for each other?" but "How will they make their relationships work?"

All the couples answer that question in different ways, as they all have their own barriers to commitment. There's the high-powered executive who can't handle the fact that she's dating an unemployed waiter. There's the woman who doesn't know how to get her new boyfriend to stick around for more than a few dates. There's the mama's boy whose loyalties are divided between his girlfriend and his demanding mother. And there's the woman who's been living with her college boyfriend for years and desperately wants him to marry her.

Romantic bliss comes not from meeting the ideal person, the movie seems to say, but learning how to love an imperfect person.

The woman in each of these relationships finds herself—sometimes reluctantly, sometimes deliberately—reading Steve Harvey's 2009 self-help book, Act Like a Lady, Think Like a Man. The book offers solutions to each couple's dilemma: For Miss High Standards, Harvey says, "there is no perfect man." For the woman who's sick of one-night stands, Harvey imposes the 90-Day Rule—no sex for the first three months of a relationship. And for the women dating men who can't quite grow up and commit, Harvey advocates a series of semi-awkward conversations about short- and long-term goals. Sure, the advice is delivered in slick, gimmicky soundbytes, but ultimately it's solid. Communicate. Stand up for yourself. Stop expecting to find the perfect man.

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Eleanor Barkhorn is a former senior editor at The Atlantic.

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