Skip to main content

Empire Magazine Greatest Movies List - # 375: Four Weddings and a Funeral

A wedding is a situation ripe for comedy, something Richard Curtis obviously knew when he wrote “Four Weddings and a Funeral” which was directed by Mike Newell in 1994. It began a frequent collaboration between Curtis and the movie’s protagonist, Hugh Grant, who became a star in North America thanks to the movie’s success. Nowadays Grant’s character seems all too familiar as he has played similar bumbling romantics in many other comedies in the decade following the movie, but the first time around you can’t deny he is a perfect fit for Curtis’ writing.

The first time I watched this movie was during family movie night with my mom, my brother and I. Of course my mom picked that title since she was a fan of Grant. I was sold on my love of Rowan Atkinson (BlackAdder) who plays a priest who is clearly not ready for the job. I had never been to a wedding yet, so this was a bit like watching a movie set in Cuba: you’ve never been there, but you might someday. As it turns out, I did go there in 2011 when I attended my first wedding, that is to say my cousin’s wedding. It didn’t have as many funny situations as this movie, but of course there were of few friends with embarrassing speeches. It didn’t sell me on the whole wedding concept, but on the plus side: open bar.

As the title says, “Four Weddings…” follows Englishman Charles (Grant) as he attends three weddings, a funeral, and finally his own wedding. In the first wedding Charles acts as the best man, while he and his collection of single friends wonder if they will ever get married themselves. Charles meets Carrie (Andie MacDowell) an American woman living in England only for the wedding. They have a one-night stand and ponder on what could have been since they will probably never see each other again.

Carrie returns to England for the second wedding, only this time she is engaged to Sir Hamish Banks (Corin Redgrave), a wealthy Scottish politician. It’s bad enough that the woman you might be in love with is engaged, but engaged to a man with a “sir” in front of his name? Feeling dejected, Charles finds himself at a table with several of his ex-girlfriends who share embarrassing stories about him.

The third wedding is Carrie’s, and oddly enough Charles is invited. Despite the fact that Charles and Carrie keep running into each other at weddings, and that Charles does awkwardly declare his love for her before the wedding, there is no indication that these two are simply meant to be together. Carrie’s engagement is a realistic story development, just like Charles rekindling a relationship with an ex-girlfriend in between weddings. There is no such thing as “meant to be.” There are possibilities and failures. Maybe this relationship will work, maybe it won’t. When you say, “I do” you’re just throwing the dices.

Each wedding in the movie has the classic wedding characters: the best man with the inappropriate speech, the immature groomsmen, and a priest who keeps messing up his lines (Rowan Atkinson). One of the funniest situations involves Charles getting stuck in a bathroom while the bride and groom are having sex in the adjacent room. That will make for an awkward conversation the next time they see each other over drinks.

Of course there is also that moment when the priest says, “if anyone believes these two should not marry, let him speak now or forever hold his piece.” Someone does raise his hand, but it is Charles’ brother, who, even though he is deaf, does say something no bride ever wants to hear, even if it is said with sign language.


Popular posts from this blog

Empire Magazine (2008) Greatest Movies List - #77: Spartacus

Spartacus (1960) is an interesting movie in Stanley Kubrick's filmography because it doesn’t really feel like a Stanley Kubrick movie. I don’t exactly know why, but his signature style doesn’t seem to be present unlike in classics such as The Shining, A Clockwork Orange, or Dr. Strangelove. It does however feel like one of those big sword-and-sandals epics in which you have British thespians acting as Roman politicians with the occasional big battle sequence. In that respect it is spectacular and features Kirk Douglas at his best as the titular hero.
The story of the rebel slave Spartacus has inspired a bloody and sexy TV series (so far unseen by me, but I hear it’s great) and the story behind how it was made is one of those cases of life imitating art. The Bryan Cranston film Trumbo tells how screenwriter Dalton Trumbo was blacklisted in Hollywood during the 1950s for his communist beliefs and had to rebel against the system by writing screenplays for cheap movies under a fake nam…

Empire Magazine (2008) Greatest Movies List - #79: The Thin Red Line

I once saw an interview in which Christopher Plummer said that what Terrence Malick needs is a writer. He was referring to his experience shooting The New World, which saw his role considerably reduced. The same happened to a much greater extent with Malick’s war movie The Thin Red Line (1998), which saw the screen time of many movie stars reduced to mere minutes amid a 170-minute running time. However you have to hand it to the guy: he knows how to make anything look beautiful, including the carnage of war.
Malick’s movie came out the same year as Saving Private Ryan, so I think that year I had my fill of ultra violent war films and was no too interested in seeing it. Sixteen years later I finally caught up to it on Netflix, but in hindsight the big screen might have been a better option since this is a very visual story. The plot is pretty loose, following one American soldier and sometimes some of his brothers in arms as they make their way through World War II in the Pacific theat…

Empire Magazine (2008) Greatest Movies List - #85: Blue Velvet

Exactly how do you describe a David Lynch movie? He is one of the few directors whose style is so distinctive that his last name has become an adjective. According to Urban Dictionary, the definition of Lynchian is: “having the same balance between the macabre and the mundane found in the works of filmmaker David Lynch.” To see a prime example of that adjective film lovers need look no further than Lynch’s Blue Velvet (1986), which does indeed begin in the mundane before slowly sinking in macabre violence.
My first introduction to the world of David Lynch was through his ground breaking, but unfortunately interrupted, early 1990s TV series Twin Peaks. This was one of the first television shows to grab viewers with a series-long mystery: who killed Laura Palmer? A mix of soap opera, police procedural, and the supernatural, it is a unique show that showed the darkness hidden in suburbia and remains influential to this day. Featuring Kyle MacLachlan as an FBI investigator with a love for …