Are you ready for love? We asked over 100 filmmakers, writers and actors to vote for the most romantic movies of all time.
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Love is a very strange thing. It’s also very painful and sometimes funny. It can make you swear with passion or make you feel like you’re losing your mind. It makes us do things we would never normally think of doing like singing, dancing or committing crimes. At least that’s how it’s shown in the movies. But even if few of us would, say, rob a bank in the name of love, the truth is that love is perhaps the greatest emotion a human being can feel. So it makes sense that filmmakers seek inspiration more than anyone else.
The Thrill Of It All (1963)
This makes choosing the best love movies a difficult task – frankly, there are just too many of them. To help us curate this list, we spoke to over 100 filmmakers, actors, and writers, including those at Time Out. Not just any filmmakers, actors, and writers. When it comes to movie romance, these are the people you can trust. Like Nicholas Sparks, author of The Notebook. And the director of Notting Hill, Richard Curtis. Heck, we even asked the ultimate romantic, Miss Piggy. Whether you prefer comedy or drama, horror or sci-fi, we’re sure you’ll find the following list of the 100 Best Romantic Movies of All Time to speak to your heart.
Written by Cath Clarke, Dave Calhoun, Tom Huddleston, Catherine Bray, Trevor Johnston, Andy P Kryza, Guy Lodge, Phil de Semlyen, Alim Kheraj and Matthew Singer
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You would think that Lean’s story of tight-lipped sentimentality would be woefully out of date and unwatchable today. A married woman falls in love with a married man and they do the right thing. AND…? Different
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, the future of civilization does not depend on results. Just the joy of two families. And not mincing words, they make a nasty pair.
She is Laura (Johnson), an unfriendly housewife. He is Alec (Howard), a diligent doctor. So why do we continue to find the popular Lean genre so buzzing? Because it’s still exciting to watch the emotional continents under Laura and Alec’s icy conditions. Celia Johnson is like a silent movie star with her big eyes, showing so much emotion without blinking.
Is a brilliantly crafted film, which begins with a farewell in a railway cafe – the end of an affair that never happened. From there, Lean goes back to the lovers’ first date at the restaurant. Laura has sand in her eyes. Alec bravely succeeds. Later, they meet at a restaurant. They have lunch (it’s the 1930s), go to the movies, drive through the countryside. He borrows the flat for the day so they can meet, but shame takes over and they don’t make love.
It’s all very innocent. We hear her innermost thoughts—as she narrates a kind of imaginary confession to her sweet but dimwitted husband: ‘I’m an ordinary woman. I didn’t think such violent things could happen to ordinary people.” Laura and Alec know in their hearts that leaving their families and running away together will not end well. And so they must part. He takes a job in South Africa. Our hearts go out to the lovers when a busy person squeezes those last few precious minutes together. Unforgettable.CC
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Of all the gin bars in every city in the world, he walks into it. Humphrey Bogart’s choice between the woman he loves and doing the right thing is one of the worst things you’ll ever see on screen. Seventy years later, the heart is always racing.
Bogey is Rick, a very drunk American in Casablanca, a city full of refugees fleeing the Nazis. Many of them end up at Rick’s bar, including his long-lost love Ilsa (Ingrid Bergman). With him is the leader of the Czech Resistance who escaped from the concentration camp.
It’s full of iconic quotes, but my favorite is Rick’s description of himself heartbroken and abandoned on a train platform – ‘a guy standing in the rain with a funny expression on his face because his insides were ripped out’.
Nobody understands the pain of love like Wong Kar-Wai, and ‘In the Mood for Love’ is his masterpiece. In 1960s Hong Kong, two of the most attractive leaders of all time – Leung and Cheung – move side by side. His wife cheats on him with her husband, and from this betrayal, a friendship arises. Should they have a romantic relationship?
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The characters look like rowdy students. At the heart of this unique and moving story is the feeling that love is a matter of time – that lost time cannot be regained. And Leung whispering his secret to the ruins of the wall is a picture of pain and passion.CC
Trust Powell and Pressburger to find a way to explore the novel that is funny, heartfelt, and thoroughly imaginative—while being timely for an audience reeling from six years of war, separation, and crisis. When Niven’s pilot hits the ground, we enter two worlds: a celestial one (in monochrome) and a real one (in color), although the contrast is actually more playful. After cheating death a bit (or did he?), will Niven stay on Earth with her new lover, Hunter? Or must he be defeated by fate? In the end, Powell and Pressburger’s idea is old and simple: love conquers all. But they explain it away with a very strange concept of putting this idea on trial in the heavenly court. The climax couldn’t be more exciting.DC
Gives us love in all its muddled glory. It’s the anatomy of a fracture. “Where did it all go wrong?” asks Woody Allen’s witty Alvy Singer after he breaks up with scatterbrained singer Annie (Diane Keaton, enjoying a moment of killer style in teen pants and fedora).
Allen said ‘Annie Hall’ was his first film to go ‘deeper’. And at the bottom is the sad message that finding your soul mate does not guarantee a happy ending. Or, as the old woman tells Alvy, “Love fades.” But despite all that,
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The hippie era was full of movies that tried to confront square society, to shock the audience into some kind of undefined action. How many of them are still relevant today? But ‘Harold and Maude’, the gentler side of the revolutionary dream, is as enchanting, moving and surprising as it should have been on its first release.
Partly because none of its themes are out of date: we still live in a world of empty opportunities and rigid leadership, limited authority and relentless conformity. So the idea of a young boy (Cort) dating an older woman (Gordon) is still a challenge to social norms. good for everyone
Fuck, Heath Ledger. Freshly plucked from the depths of his teenage heart, Ledger was just beginning to tap into his incredible potential when his career was brutally cut short. But between the unhinged madness of The Dark Knight and its painfully contrived twist here, we have a measure of possibility. And Brokeback Mountain is, at heart, a film about possibilities and the different ways in which they are suppressed and undermined by an indifferent world. Ang Lee’s film could easily have been controversial, a film so cleverly designed to play with prejudice. Instead, it plays mercilessly with the chains of the heart – there are few truer depictions of frustrated love on film.TH
Over the course of five years, Billy Wilder made three of the greatest romantic comedies of all time, but with his third, he improved not just his previous efforts, but the genre as a whole.
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It was something else – darker, more intense, but also more romantic and maybe even funnier at the same time. Jack Lemmon is a white-collar drug dealer who lends his apartment to superiors in his office so they can carry out their extramarital experiments. The promise of a promotion keeps her smiling through the ordeal – until her suitor (Shirley MacLaine at her best) shows up with her boss (Fred MacMurray). A deep sadness permeates everything – the plot is based on a suicide attempt, full of courage for 1960 – to a sweet and sour conclusion encapsulated in the film’s final line: “Shut up and deal with it”.
You can watch this incredible film, the collective culmination of Michel Gondry’s career, writer Charlie Kaufman and their unlikely but perfectly matched protagonists, described in DVD catalogs as romantic comedies. It’s a term that feels completely out of place with its acrobatics of disturbing conceptualism, not to mention the profound sadness in its absurd mining of post-romantic trauma.
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