#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Harry and Sally meet when she gives him a ride to New York after they both graduate from the University of Chicago. The film jumps through their lives as they both search for love, but fail, bumping into each other time and time again. Finally a close friendship blooms between them, and they both like having a friend of the opposite sex. But then they are confronted with the problem: “Can a man and a woman be friends, without sex getting in the way?”
Plot: During their travel from Chicago to New York, Harry and Sally debate whether or not sex ruins a friendship between a man and a woman. Eleven years later, and they’re still no closer to finding the answer.
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Famous romantic comedy
Can men and women ever be merely friends, without the temptation of sex rearing its ugly head? This is the question that this movie so famously posed – and so glibly answered – almost fifteen years ago. As it follows the progression of Harry and Sally – a pair of charming, if neurotic, Manhattanites – from enemies to confidants to lovers, it seems to smugly relish the fact that it has proven its point: men and women can never just “be friends” – sex is always the bond that unites them. But the film is so manipulative, so dogged in its pursuit of this goal, that it never appears an alternative position was ever considered. So, as philosophy, chalk When Harry Met Sally up to around zilch.
Now, disregard the above paragraph. Because When Harry Met Sally makes up for its slights to credibility and lack of rigorous thought by being easily the funniest movie of its year (1989). This humor flows mainly from the beautifully crafted scenes and dialogue; indeed, each scene is a dialogue set piece (and could be transferred to the stage quite easily – surprising no one’s ever done it, actually), which flows with the firm and confident rapidity of a 20th century Shaw or Oscar Wilde. Of course, this approach has its downside, too: mainly that the lead characters seem less and less like real people and more like tools for the brilliant lines and conceits of the screenwriter (Nora Ephron – never better; in fact, never even remotely close ever again). This may have something to do with the film’s inability to seem completely real or true to human nature as it actually plays out – but with lines like these, who’s complaining?
For, what is great about the movie is not its originality (it steals from all over, especially Woody Allen movies, and the few ideas it can truly call its own are, as I’ve said, not particularly bright or well-thought out), but its ability to hone in on stereotypes of character and situation and offer pithy and hilarious precis of the male-female condition through the witty banter and interaction of its characters. As such, the film is less like a conventional movie and more like a stand-up routine dealing with life and love in the Big City: it is to be judged not by its content, but by the dexterity of its put-ons and one-liners. (It is not surprising, for example, that several of its set-pieces and comic notions were revisited just a few years later, and in much the same manner, on “Seinfeld”.) In that regard, it succeeds flawlessly.
Just think of all the conventions it gets in, and skewers: the one-track mind male (Harry); the “sensitive” and practical female, repulsed yet intrigued by said male (Sally); the emotionally unsettled mistress playing the field (Carrie Fisher, who keeps an index card file of “available” men); the live-ins who can’t “commit” (Sally and her ex-boyfriend); women’s concern with middle age and their biological clock (“I’m gonna be 40,” weeps Sally. “When?” asks Harry. “Someday.”); the male’s tendency to skip out after making love; the horror and unpredictability of blind dates; and, in a scene which is almost passe to mention anymore, women’s ability to fake orgasm. The way this film jumps from one familiar convention to another would be embarrassing if it weren’t for the fact that each one is handled with such economy, humor and grace.
Billy Crystal acquits himself well as Harry – predictably, perhaps, as it’s a part tailor made for a standup comedian. Still, seeing him in this after years of half-baked movies and fawning Oscar presentations, it’s a revelation how glib and unlikable he can allow himself to be . . . and *still* be likable. Yo, Billy, if you’re listening out there: try incorporating some of Harry’s darker shadings and more egocentric traits into your future roles; it gives you a more complete palette to work from and keeps you from being too generic and schticky. And your charm and humor will always shine through anyway.
If Billy needs to edge a little bit closer back to Harry, though, Meg Ryan needs to get Sally completely out of her system. This role, deservedly, made her a star – but she has tried to go back to this particular well once too many times, and it’s become way too familiar: you know, the adorable, bright-eyed bit – mentally disheveled, prissy around the edges with just a wisp of klutziness, all topped by that cute, mega-watt smile. It has become now the “Meg Ryan” character, but back when Sally came along it was still fresh, and it was tied to a particular personality. Ryan gives Sally a shy-cum-toughness as well as a moody, slightly cynical and self-deprecating wit that is just totally right. She and Crystal play off each other like two old pros, and they weave in and out of some charming and hilarious verbal music.
It’s funny, but I just recently saw this movie on a Saturday afternoon television marathon of “Romantic Weepies” – and it struck me as an odd designation, because this movie is anything but a weeper. It takes a clear-eyed, almost cynical view of love and companionship, and creates around it a charming tapestry of bracing wit and crunching dialogue. So save the violins and the handkerchiefs for romantic comedies less sure on their feet – whose deficiency in wit must be made up for by a surfeit of melodrama and manipulation. This movie is manipulative too, of course, but its manipulation is almost beside the point. It’s the laughs along the way we remember here, not the big kiss or the grand embrace. That Harry and Sally were “meant” for each other and that the film “proves” it is much less important than the fact that Sally does one hell of a great orgasm.
Waiter, I’ll have what they’re having . . .
Arguably the best romantic comedy of recent years.
By the late eighties, the romantic comedy as a movie genre had been in a sort of disturbed sleep for twenty years with only an occasional and disappointing movie outing between snores.
Yet when they released ‘When Harry met Sally’ in 1989, it signified to the world that the RomCom was not only out of bed but it was showered, shaved, dressed in a brand new suit and ready to take on the world once more with new found confidence.
It’s 1977 and Harry Burns (Billy Crystal) has just graduated from the University of Chicago and is moving to New York to start his career. He’s a nice enough guy who’s only flaw seems to be his apparent misogynistic and macabre outlook on life.
Also New York bound is fellow graduate Sally Albright (Meg Ryan) who as a favour for a friend agrees to take Harry along. The two have never met before and almost immediately Sally takes a dislike to him. His brash and over flirtatious demeanour irritates her intensely and her quirky prissiness becomes a natural target for his humour. He even sexually propositions her, which she of course rejects outright.
In view of all this coupled with Harry’s somewhat blinkered idea that men and women can never be friends without sexual attraction becoming an issue, they reach New York and mutually call an abrupt halt to their 18 hour friendship, both convinced it has lasted 18 hours too long.
Fast forward five years and Harry and Sally meet again at an airport and when he discovers they are on the same flight, he approaches her to rekindle their friendship and this time things are even worse.
Despite both finding love and success in New York, the years have done nothing to kerb Harry’s sexist and irritating views and Sally’s abject disapproval of everything that he stands for seems even more pronounced. They part once again at journeys end, this time with Sally making it quite clear she wants nothing whatsoever to do with him again.
Another five years pass and both Harry and Sally meet in a bookshop both having recently lost the loves referred to in the previous paragraph. Harry is divorcing his unfaithful wife and Sally has just dumped her long-term relationship as it was becoming clear to her that it was never going to end in an ‘I Do’.
This time however, possibly due to them both being humbled by recent events in their life, they find that they have empathy with each other and a friendship starts to build, a true platonic friendship to the extent where they finally become inseparable and reliant on each other almost on a brother and sister level.
They partner each other at functions when neither have a date, they set each other up on blind dates and even take day trips together to the museum, and by using each other as an emotional crutch they finally learn to settle the demons of their previous relationships.
It seems like Harry has finally realised and now thoroughly excepts that men and women CAN be friends without a sexual entanglement. In fact so secure are they in their beliefs that they are nothing more than just good friends, they seem completely oblivious to the fact that they have in fact fallen head of heals in love with each other.
Billy Crystal is on fine form in one of his most memorable and hilarious performances and Meg Ryan ‘Fakes’ her way into movie history in that now famous restaurant scene. With great direction by Rob Reiner, a superb script by Nora Ephron and wonderful support from Carrie Fisher and Bruno Kirby, ‘When Harry Met Sally’ is the Crème de la Crème of all the modern day RomComs.
Original Language en
Runtime 1 hr 35 min (95 min)
Genre Comedy, Drama, Romance
Director Rob Reiner
Writer Nora Ephron
Actors Billy Crystal, Meg Ryan, Carrie Fisher
Country United States
Awards Nominated for 1 Oscar. 4 wins & 17 nominations total
Production Company N/A
Sound Mix Dolby Stereo
Aspect Ratio 1.85 : 1 (intended ratio)
Camera Panavision Cameras and Lenses
Laboratory Consolidated Film Industries (CFI), Hollywood (CA), USA, DeLuxe, DuArt Film Laboratories Inc., New York, USA
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm