What makes a romance timeless, and do Jack and Rose make the cut?
Following Titanic's return to theaters for its 25th anniversary, and to the tune of an extra $22.3 million, the discussion floodgates once again opened regarding the disaster-romance's merits. Writer-director James Cameron put the door debate to bed with science, sure, but is Titanic even good? Seriously, though, isn't it overrated? Dissecting a pop culture giant this gargantuan isn't just nerd heaven for movie fans — Titanic calls for retrospective interrogation.
Those qualifications are as inseparable from Titanic as a baby-faced Leonardo DiCaprio yodeling, "I'm the king of the world." Indeed, if one mixes and matches said narrative particulars, Titanic is little different from some of Hollywood's undisputed classics. If one may be so bold as to invoke this particular title, Casablanca is as much a staple of film history as can be.
More examples include Wong Kar-wai's masterful In the Mood for Love, which reckons with loneliness and yearning, how the cost of an unconsummated forbidden infatuation leaves you whispering into a silent void. City Lights is undoubtedly love at first sight between Charlie Chaplin's Tramp and Virginia Cherrill's flower girl, and their true love overcomes all barriers. Sleepless in Seattle tenderly examines loss, heartbreak, and whether destiny exists beyond fictional confines.
Let's not forget that Cameron crafted Titanic in the vein of classic Golden Hollywood romances. Through its grandeur, scope, and the merging of practical effects with new technology, the film evokes the past on a metatextual level: Gone with the Wind , Chariots of Fire, The Ten Commandments, It Happened One Night, His Girl Friday, North by Northwest, etc.
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