In this blog post, we will examine how the film ‘Four Weddings and a Funeral’ follows the traditional romantic comedy formula while simultaneously reimagining the relationship between love and marriage through an ending that features cohabitation instead of marriage.
What is a romantic comedy?
The romantic comedy originates from a literary tradition known as “New Comedy.” Developed in ancient Greece and Rome, this genre features a relatively strict narrative structure. A man and a woman (usually an innocent maiden) fall in love and must overcome various obstacles to reach marriage. These obstacles often take the form of one parent opposing the marriage. In ancient theater, characters who assist these lovers frequently appear, with the resourceful slave in particular playing a key supporting role.
In modern romantic comedy films, characters such as family members who openly oppose the protagonists’ love, or the resourceful slave found in ancient comedy, rarely appear. However, this does not mean the genre has completely departed from the structure of New Comedy. This is because traditional conflict elements, such as opposing family members, have been transformed into different forms of obstacles and integrated into the narrative. For example, in the film *50 First Dates* (2004), one of the lovers cannot remember the other due to short-term amnesia, and in *Force of Nature* (1999), the fact that the male protagonist already has an fiancée serves as the source of conflict. Furthermore, in *Pretty Woman* (1990), the class difference between a successful businessman and a prostitute serves as the central conflict. Amid these changing historical and social contexts, the role of the wise slave—a figure from the past—is now fulfilled by peripheral characters such as family members, friends, or housekeepers. These characters provide crucial assistance as the male and female leads overcome their conflicts. For example, in *Wedding Crashers* (2005), a daughter who is struggling with the prospect of marrying a man she doesn’t love receives encouragement from her previously strict politician father, who urges her to go find the person she truly loves.
One of the strengths of genre films is their ability to reduce audience resistance by presenting socially sensitive or subversive stories within a familiar and entertaining format. The romantic comedy is a genre that excels particularly well at this. Examining the typical plot formula of a romantic comedy, the male and female leads, having fallen in love, soon face conflict due to differences in personality or social and economic status. Various events are combined with comedic elements and unfold in an exaggerated manner. As the situation becomes increasingly complicated and tangled, supporting characters step in to help, and the protagonists eventually realize that they share enough values and emotions to overcome all conflicts. The story then concludes with a happy ending, such as reconciliation or marriage. Audiences choose this genre knowing that romantic comedies generally conclude with a happy ending, and they anticipate the sheer joy that such an ending provides.
However, strictly speaking, the ending of a romantic comedy is also a kind of fictional device. This is because the personality differences or social and economic conflicts between the two protagonists are often difficult to resolve in reality through love alone. Even if they deeply share their feelings, the protagonists’ individuality or sense of self does not completely change. In fact, romantic comedies subtly mock the way men and women navigate social conventions while simultaneously suggesting that reality isn’t quite so romantic. Yet this cynicism is gently diluted within the comedic form. When mixed with comedic devices, the intensity of this cynicism is significantly weakened, and the audience accepts its meaning amidst laughter. Ultimately, the happy ending is more like a form of lip service aimed at the majority of conservative audiences. Romantic comedies maintain this balance by presenting progressive narratives while simultaneously incorporating genre conventions that do not alienate the audience. In this sense, romantic comedies can be described as a unique narrative form that simultaneously encompasses laughter, romance, and subtle social satire.
Why do audiences love romantic comedies?
People have different expectations for each film genre. If you search online movie reviews to see what audiences expect from romantic comedies, you’ll find quite a few comments saying they watched it “because I was feeling down” or “just to cheer myself up.” After watching the movie, many leave comments saying, “It was delightful,” “It was fun without being a headache,” or “I wish I could experience love like that.” And these reactions are found far more overwhelmingly in romantic comedies than in other genres. So, what exactly is a romantic comedy to audiences?
Romantic Comedies as Prozac (an antidepressant)
People expect to have a good laugh through romantic comedies. The exaggerated actions taken by protagonists with unique personalities in unusual situations naturally provoke laughter. Of course, the audience knows that the situations in the movie are not identical to reality. However, the events in romantic comedies are not entirely impossible in real life, unlike those in horror or sci-fi films. This is because the universal theme of love between a man and a woman is an experience with which audiences can fully empathize, even if the portrayal is somewhat exaggerated. Therefore, the laughter generated by romantic comedies is not completely unrealistic; rather, it is laughter that touches upon reality.
Romantic Comedies as a Warm Embrace
If the sole function of a romantic comedy were simply to make people laugh heartily, it wouldn’t be much different from a typical comedy. However, audiences don’t stop at just laughing; they expect to experience emotions that go a step further. What sets romantic comedies apart from ordinary comedies is precisely that warmth and sensitivity. In other words, by allowing the audience to share in the romantic feelings of the film’s protagonists, it makes viewers feel as though they themselves are being loved.
There was a time when chocolate gained explosive popularity after research findings revealed that eating it releases hormones similar to those secreted during romance. Romantic comedies serve a similar purpose. Just as the sweet taste of chocolate substitutes for the sweet emotions of being in love, romantic comedies allow viewers to indirectly experience the warmth and joy of romance while watching the film.
Although I mentioned earlier that romantic comedies can serve as a substitute for the feeling of being in love for singles, that doesn’t mean they are exclusively for singles. Couples who have just started dating are also regular viewers of romantic comedies. In the past, watching horror movies was considered a typical dating strategy to naturally lead to physical intimacy, but as this was criticized for being too predictable, romantic comedies have recently re-established themselves as the go-to choice for date movies. This is because they allow couples to laugh together in a romantic atmosphere and naturally engage in physical affection.
Couples who have just started dating may be brimming with romantic feelings but may not yet be fully certain about their relationship. Watching a romantic comedy together can help create a romantic atmosphere. The romantic emotions felt in the movie can combine with their current feelings to create a synergistic effect, and seeing a happy ending can help them feel more positive about their own relationship.
Romantic Comedies as a Guide to Dating
Romantic comedies depict, in a direct and engaging way, why misunderstandings arise between men and women and how those misunderstandings are resolved. Through this, audiences gain an indirect understanding of the differences between men and women—differences often described as “Men Are from Mars, Women Are from Venus.” Additionally, viewers apply the situations in the movie to their own reality. For example, they might think, “If I do this, she (or he) will probably dislike it,” or “I should try doing this too.” In this sense, audiences sometimes go to see romantic comedies as if they were watching an educational program.
Romantic Comedies as a Source of Hope
Through these films, audiences harbor the hope that “I, too, can have a relationship like that.” While the experience of sharing the romantic emotions in the film may be a temporary effect, the anticipation of romance lasts much longer. The male and female leads in romantic comedies bicker due to their differing personalities and face conflicts stemming from their different social and economic backgrounds. In reality, such conflicts are often difficult to overcome. However, the films suggest that because the two leads love each other or share the same values, they can overcome all obstacles.
The majority of the audience does not belong to the upper class. Romantic comedies confidently answer “yes” to the question these viewers harbor: “Even though I’m not wealthy, if I meet someone with similar values and fall in love, might I eventually get married?” Furthermore, viewers begin to imagine the fantasy of entering the upper class through marriage to a chaebol heir, and even the hope that social equality might be possible. The reason why the “Cinderella marries the prince” structure remains consistently popular in Korean dramas, as well as the massive success of an American reality show depicting a young man posing as a second-generation chaebol as he selects a spouse, is closely tied to the hope that audiences seek in romantic comedies.
The Romantic Comedy as a Problem-Solver
At first, the events unfolding in the film show little sign of being resolved. Misunderstandings pile up, and the situation grows increasingly complex. Yet audiences can laugh off these chaotic situations with relative ease. This is because they know that eventually, the misunderstandings will be cleared up, all problems will be resolved, and the story will end with a happy ending. Therefore, even if the film raises issues that might touch on the sensibilities of conservative audiences, the genre’s inherent tendency to wrap up with a happy ending means that the audience’s resistance is relatively low.
Romantic Comedies as Conversation Starters
It is commonly believed that an ideal ending requires all the events in the story to be neatly resolved and presented in a way that the audience can fully understand. In fact, many viewers do prefer such endings. To satisfy the general public, most romantic comedies opt for a “problem-solving” ending. However, to be a truly outstanding ending, the film must leave the audience with a variety of topics to discuss after watching. If it leans too heavily in one direction, the story can become cliché or fail to resonate with the audience. On the other hand, a well-made film fulfills the function of resolving problems while simultaneously leaving room for new conversations.
Romantic comedy is a genre that is relatively well-suited to striking a balance between these two elements. This is because it can maintain a happy ending—a sort of lip service to conservative audiences—while subtly revealing the inherent nature of the comedy genre: “cynicism toward existing conventions.” It is precisely through this balance that romantic comedies simultaneously deliver laughter, romance, and subtle reflections on reality, providing audiences with lasting enjoyment.
“Four Weddings and a Funeral” as a Romantic Comedy
Icons in Film
An icon is a device that, simply by being presented, hints at an element of the plot that has not yet unfolded, helps us understand a character’s psychology, and explains their motivations. Based on this definition of an icon, when we examine *Four Weddings and a Funeral* (1994), actor Hugh Grant can also be viewed as an icon of the romantic comedy. In romantic comedies, a charming male lead is essential for driving the romantic narrative. Hugh Grant has established himself as the quintessential embodiment of this male lead archetype and has, in fact, appeared repeatedly in the romantic comedy genre. Just hearing the name “Hugh Grant” conjures an image of a man who is somewhat clumsy and indecisive, yet simultaneously charming and someone you’d want to date. Therefore, even if he doesn’t speak much in a film, the audience can naturally guess what kind of character he is and how he will behave in a given situation.
Romantic comedies often feature banquet scenes such as weddings or parties, and these “banquets” also function as icons. Banquets are accompanied by lively music and dancing, and alcohol serves as an effective medium for breaking the ice between strangers and breaking down barriers. Especially at weddings, single guests naturally appear, looking to find a partner. In the wedding reception scene from *Four Weddings and a Funeral*, a woman grumbles, “They say bridesmaids have a line of guys waiting to sleep with them, but I don’t see a single one.” While this may be a slight exaggeration, it effectively captures the atmosphere audiences expect from a wedding scene. In other words, within the space of a reception, men and women naturally meet, and the romantic atmosphere serves as a catalyst for them to fall in love. In this way, parties and upbeat music act as icons that allow the audience to anticipate the film’s narrative direction.
“Four Weddings and a Funeral” uses the sequence of the receptions alone to depict the progression of the story—specifically, the development of the romance. At the first wedding, Charles, attending as a guest, meets Carrie and falls in love with her, but they soon part ways. At the second wedding, Charles is delighted to see Carrie again, but she is already engaged. The third is Carrie’s wedding, and Charles, attending as a guest, cannot hide his bittersweet feelings. The fourth wedding is Charles’s own. Upon learning that Carrie has divorced, Charles ultimately calls off his own wedding and reaffirms his love for her. While the central plot revolves around Charles and Carrie’s romance, the supporting characters’ attempts to “woo” potential partners and find their soulmates are also a key charm of the film.
While the supporting characters’ romances progress relatively smoothly, the protagonist Charles’s relationship with Carrie continues to miss its mark and becomes increasingly complicated. This leaves the audience wondering who Charles will ultimately end up marrying.
The accents and vocabulary used by the main characters also serve as icons that help us understand their personalities and psychology. Of course, these elements are not unique to romantic comedies. However, considering the structure of romantic comedies, where differences in male and female personalities are a major source of conflict, accents—as clues revealing these personality differences—serve as effective icons for understanding the genre. In *Four Weddings and a Funeral*, since the film features a British man and an American woman, the accents themselves act as devices that clearly reveal the protagonists’ personalities. For example, Charles’s precise British accent suggests that he comes from a polite, middle-class background, while also indicating a reserved and cautious personality. In contrast, the American English spoken by the American woman, Carrie, reveals her free-spirited nature. Their attitudes toward romance also align with these linguistic characteristics. Charles hesitates to approach Carrie, but Carrie actively pursues him. Their personalities ultimately emerge naturally through the language they use.
Finally, the protagonists’ friends can also be seen as icons of the romantic comedy genre. While the film primarily revolves around the relationship and tension between a man and a woman, it is the friends who provide emotional stability to the protagonists throughout the story. Scenes where friends gather to chat and view reality through a twisted lens are imbued with both cynicism and wit. When unique and interesting friends appear, the audience naturally comes to expect humor and wit from them. In this sense, the very existence of these friends becomes an icon in itself. This is particularly often cited as a characteristic element of British romantic comedies. The role of friends is also very prominent in films like “Notting Hill” (1999) and “Bridget Jones’s Diary” (2001, 2004).
Character Development and Setting
In romantic comedies, conflict usually stems from personality differences or social and economic disparities between men and women. “Four Weddings and a Funeral” also follows this structure. As briefly mentioned earlier, Charles is a British man with a polite and cautious personality. In contrast, Carrie is an American woman who enjoys life to the fullest. This difference in personality is clearly reflected in their approaches to dating. Charles fears entering into a serious relationship because he finds the responsibilities that come with it burdensome. Carrie, on the other hand, tries not to attach too much significance to her relationships with men and wants to remain free from emotional entanglements. Even after meeting Carrie, Charles’s attitude doesn’t change much. He loves her but lacks the confidence to commit to a serious relationship, nor is he the type to actively pursue his feelings. Carrie, too, doesn’t cling to him because she initially viewed Charles as just one of her many flings. While these differences in personality and values don’t erupt into intense conflict, they clearly act as obstacles to the development of their relationship.
Charles and Carrie aren’t in a serious relationship, nor are they planning to marry each other. Yet their feelings for one another grow deeper. As the audience watches Charles, who is tormented by social pressure to marry, and the repeated encounters between Charles and Carrie at various wedding venues, they wonder if the two will ultimately end up together. However, there are simply too many obstacles standing in the way of their marriage. This is because Carrie has already married another man, and Charles fears being bound by the institution of marriage.
Through these conflicts, the film raises the question of whether the formality of marriage is truly necessary for love. Can we say that only relationships premised on marriage are genuine? Do people actually marry the person they love most? Is marriage an institution that must be entered into?
Through these questions, the film quietly prompts the audience to reflect on the relationship between love and marriage.
Resolving the Conflict
How can the two, who are growing apart as they marry other people, be brought back together? “Four Weddings and a Funeral” employs the classic narrative structure of a romantic comedy to resolve this issue. Specifically, the protagonists realize that they love each other deeply enough to overcome all obstacles. Ironically, it is through their experiences of marrying other people that Charles and Carrie come to realize they love each other. Heeding his sister’s advice not to marry someone he doesn’t love and regret it later, Charles ultimately calls off the wedding just before the ceremony. He then reunites with Carrie, and they reaffirm their feelings for one another.
However, while the film follows this classic formula, it also possesses a certain freshness by introducing variations. This is because the film presents an ending where Charles and Carrie choose to continue their relationship through cohabitation rather than opting for the institution of marriage. It is an ending that slightly deviates from the audience’s expectation that the two would naturally proceed to “marriage” after confirming their love. Of course, from the perspective of romantic love triumphing, and considering that the two later have a child and live a life virtually indistinguishable from marriage, it is difficult to say that this ending is entirely innovative. However, since the film rejects not love itself or the act of living together, but rather the ritual of the wedding ceremony, this ending creates a clear distinction from typical romantic comedies.
The film features various forms of love that exist outside the institution of marriage. A same-sex couple from a time when marriage was not socially accepted supports each other with deep affection without adhering to the institution of marriage. There is also a couple consisting of a deaf person and a hearing person who overcome communication barriers—despite speaking different languages—through their love. Furthermore, the funeral scene, where the characters can smile even amidst grief while remembering a deceased friend, offers a fresh perspective on the meaning of love and relationships. These scenes ultimately convey the message that love itself is more important than the form it takes. In this context, Charles’s choice—rejecting the hypocrisy of weddings that bestow “eternity” on relationships with people one does not love, and demonstrating that one can live together with a loved one even without social recognition—can be seen as a sufficiently alternative and refreshing conclusion.
Conclusion
Compared to typical romantic comedies, “Four Weddings and a Funeral” is a film that incorporates more dramatic elements than slapstick comedy. There are almost no scenes where situations become extremely complicated, eccentric protagonists appear, or physical slapstick comedy takes center stage. Nevertheless, the reason this film is classified as a romantic comedy rather than a melodrama is that it naturally elicits laughter within everyday situations. For example, the scene where Charles badmouths his ex-girlfriend only to find her standing right next to him; the scene where Charles finds himself in an awkward situation at a wedding because all his ex-girlfriends end up sitting at his table; and the scene where he enters what he thinks is an empty room, only to find a newlywed couple expressing their affection, leaving him unable to leave and forced to secretly watch the situation—these moments generate natural laughter without any exaggerated direction.
Wordplay is also one of the film’s key comedic elements. A prime example is the scene where Rowan Atkinson, famous for “Mr. Bean,” appears as a novice priest officiating the wedding.
While leading the wedding vows, he accidentally says “my awful wife” instead of “my lawful wife,” and mispronounces “Holy Spirit” as “Holy Spigot,” committing a series of such blunders. These linguistic gaffes provide the audience with delightful laughter.
Furthermore, *Four Weddings and a Funeral* effectively utilizes the iconic setting of a wedding to unfold the protagonists’ journey toward love with a lighthearted and fast-paced rhythm. The repetitive structure of wedding scenes naturally connects the narrative flow, and each wedding serves as a crucial device to illustrate the evolving relationships between the characters. However, since most of the story unfolds around ceremonial scenes like weddings and funerals, it is somewhat regrettable that realistic elements are not sufficiently reflected. For example, Charles and Carrie appear without fail at nearly every wedding as guests or central figures, but their relationships with the couples getting married are often not clearly explained. Because of this, the setup where the two keep running into each other at various weddings can feel somewhat contrived.
Nevertheless, while the film shows most of the single characters eventually finding partners and living happily ever after, it does not simply settle for a clichéd ending. Instead, it leaves a refreshing impression by naturally introducing the alternative idea that “love does not necessarily require a specific form.” While satisfying the audience with a happy ending, the film also provides a sense of relief by showing that no one is left out—even the ex-girlfriend who was dumped by Charles goes on to find a new partner and get married. At the same time, the film poses lighthearted yet sharp questions about love, marriage, and social conventions, standing as a work that maintains a critical perspective on society even amidst laughter and romance.
