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Modern Romance

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"Modern Romance" is Albert Brooks's masterpiece, and one of the funniest, most engaging romantic comedies ever made.

Brooks's first three films certified his status as a legend in the minds of comedy fans. Often described as a "jockier version of Woody Allen," Albert cultivated his own cinematic shtick during the late seventies and early early eighties -- a technique which capitalizes on a number of elements that quickly became Brooks trademarks, particularly self-parody; Bob Newhart-style telephone conversations (and man-against-the-odds conversations, where Brooks protagonists get in way over their heads, but make laughable, quixotic attempts to fight their way out); and gags built entirely around the use of a specific (often confined) setting. In "Modern Romance," these elements come to full fruition.

As in "Real Life" (1979) and "Lost in America," (1985) Brooks plays an exaggerated version of himself -- a neurotic, compulsive, self-obsessed opportunist. He's Robert Cole, a film editor for American International Pictures, who breaks up with his girlfriend, bank teller Mary Harvard (Kathryn Harrold), because they can't communicate ("You've heard of a no-win situation, right?... No? You've never heard of one? Vietnam...? This...?") but instinctively regrets his decision and spends a miserable night strung out on quaaludes, stumbling around his house, crashing into walls, and calling friends to talk about deep feelings. When Robert finally launches a successful, obsessive attempt to win Mary back with a porch full of stuffed animals, they can't stay together for more than two days, because he's such a paranoid shmuck that he won't give her enough freedom to function.

"Modern Romance" is a classic example of how comic genius (and clever presentation) can lift an ordinary premise to the level of brilliance. The picture brims with hundreds of hilarious one-liners and running gags. The phrase, "I love you" becomes a piece of shtick, in itself, because Cole uses it like a self-explanatory mantra, to account for his obsessive behaviour. ("This is only happening because I love you."; ""The problem is that I'm in *love*...!" "Here we go... I LOVE YA!") The most impressive aspect of the picture is that Brooks carries 80% of the scenes completely alone -- he talks to himself while driving, shaving, checking his vitamin cabinet ("Got any B6? No B6? Outta C? Got E... the old standby!") -- and manages to be consistently hilarious and credible!

Cole is so obnoxious, and yet -- somehow -- so painfully funny and believable (remember Charles Grodin's self-destructive character in "The Heartbreak Kid"?), that while we're aghast that he'd be insensitive enough to tell an old friend, "I'll call you right back" and write the number in the air with his finger, or to interrupt his girlfriend's business dinner with clients in the middle of a crowded restaurant, we're laughing the entire time.

And yet, I think the Cole character is only one of the film's two major strengths. The other: "Modern Romance" seems to challenge (though not defy) the boundaries of cinematic milieux. According to some sources, Stanley Kubrick was fascinated by this film, which fell in-between "The Shining" (1980) and "Full Metal Jacket" (1987) -- in one story, Kubrick called Brooks after he attended a theatrical screening of "Modern Romance," and the two tried to strike up a friendship. That story may be apocryphal, but if not, I wouldn't be surprised. Here's why: in "Modern Romance," screenwriter/director Brooks manages to give an illusion of greater depth to the cinematic world than what we normally sense in movies -- the structure of the film, in a way, seems driven by the central character. It feels as if Cole has freedom beyond the confines of the screen -- the ability to move into other *environments* -- eg. the film editing booth, Santa Monica-area stores, the Santa Monica freeway, Idlewhile. (He spends half of the film simply driving from location to location, and making each decision on the gut level, led by whims). The hilarious scenes where Brooks edits a B budget Sci-fi picture, in fact, have *nothing* to do with the film's central premise of Robert-winning-Mary-back. So, why include them? Perhaps because it gives the characters, in a way, more mobility -- and creates the anti-Brechtian illusion of a vast world beyond the confines of the movie set.

Now: if we think about the structure of "Full Metal Jacket," where Kubrick cemented the audience in one world (the military base) and restarted halfway through with another (the war), or -- even earlier -- "2001: A Space Odyssey," where the structure resembles three loosely-linked films, each with separate environments (The Dawn of Man/The Voyage to Jupiter/ Jupiter), we'll notice that Kubrick, in an overt, explicit way, pushed cinematic boundaries.

Brooks, on the other hand, merely nudges the boundaries out a little bit -- and because of that, the film feels more free and less restrictive than the reality of standard narrative cinema.

On a final note: though it wasn't intended as a period piece when shot in late 1980 and released in March of '81, twenty years since Modern Romance's general release have given it a distinctly un-modern, period feel. The music ("Another One Bites the Dust," "She's Out of My Life," "A Fifth of Beethoven," etc.) the references to films from the late seventies and early eighties (Bogdanovich's "Nickelodeon," Cimino's "Heaven's Gate,") the early-80s attire (like the brown jumpsuit Cole wears), and Cole's analog answering machine all evoke feelings of nostalgia for that brief, post-disco, pre-Reagan span of time that appeared and disappeared all too quickly.

A quick piece of trivia about "Modern Romance": according to Albert Brooks fan sites, Brooks and Harrold dated briefly in real life, following this picture. Harrold can be seen in Jaglom's "Someone to Love" (1985), playing herself at a party for singles.

Other, similar films you should check out if you enjoy this picture: "The Heartbreak Kid" (1971), "Cross My Heart" (1987), Bobby Roth's "Heartbreakers" (1984) with Harrold, Brooks's "Lost in America" (1985).

I think I even like it better than "Lost in America".

It had been a while since I watched this movie until I ran across it on cable this weekend. Of course, it is difficult to catch the entire movie that way (I saw parts of it again, twice) so I decided to try to find it on DVD.

Much to my amazement, this is about the only Albert Brooks movie that is not available on DVD! Even "Real Life" is available on DVD -- released over 3 1/2 years ago!

What are they waiting for?

Albert Brooks is, for some, an acquired taste. His diehard fans love virtually everything he has done, and then there are those who simply don't "get" him. Whichever camp you fall into, this film appeals to everyone. Brooks embodies the typical guy caught in one of those relationships that simply doesn't work but cannot be walked away from. This movie is an insightful comedic tribute to the fact that being obsessed with someone is NOT a healthy basis for a loving relationship.

Spectacular performaces from Mr. Brooks, Kathryn Harold, Bruno Kirby, and terrific cameos from James L. Brooks (no relation), Bob "Super Dave Osborne" Einstein (who IS Brooks' brother....Yes, Albert Brooks real name is....Albert Einstein!), George Kennedy and, believe it or not, Harlem Globetrotter Meadowlark Lemon. If for no other reason, see this movie for "the movie within the movie" that Brooks' and Kirby's characters are editing. "You're acting like little WEASELS!"

Enjoy...very highly recommended!

If you're at all familiar with Albert Brooks's work, you know exactly what you're getting into here. Another study of neuroses and how they impact (negatively) on relationships between the sexes.

Brooks, as usual, plays the usual and same character, himself. with Kathryn Harrold as the love of his life. Brooks is up to his usual insecurities here wondering whether Harrold is cheating on him, obsessing over every little detail. One of the best scenes in the film is when he's depressed over one of the many breakups and is given Quaaludes to relax him. When they start to kick in he starts a rant on how great his belongings are. Loving everything he owns including his record collection, his bird "Petey", and deciding to go through his rolodex and calling old girlfriends.* (*When doing Quaaludes stay away from the phone.)

Modern Romance has its best moments when it has nothing to do with the Brooks-Harrold story, but rather when Bruno Kirby as Brooks's best friend is on screen. Another highlight is the film that Brooks and Kirby are editing, an absurd, cheesy sci-fi romp starring George Kennedy. It's got nothing whatsoever to do with the main storyline, but is the most memorable part of the movie which makes the repetition and relative tameness of the primary plot seem all the more obvious. If you like Albert Brooks you'll like this movie. If you don't know his work, picture George Costanza in his own show.

As a big fan of Albert Brooks films, Modern Romance is by far I think one of Albert Brooks funniest movies. I have already seen it several times and each time I laugh equally at the great lines I already know are coming. A classic story of how a couple keeps breaking up and getting back together again and a man Albert Brooks, a Hollywood film editor, who tries to overcome his heartbreak and then tries to win his love's heart back. It is a must for anyone going through a break up, anyone that is a part of a couple or even singles. Modern Romance takes place in the early 80's, so the time travel back as you watch this movie makes it even funnier as you watch the outdated clothes, hair styles, music and way of living. The dialog of this film is brilliantly funny. Albert Brooks is a riot and adorable. I have been waiting years for this film to come out on DVD as my homemade from tv video copy is getting worn. Don't hesitate to buy Modern Romance. It is a purchase you will enjoy over and over. Save the elemet of suprise for yourself and avoid reading any long detailed reviews or dialog quotes on this film. Everyone I have turned onto this film has never been disappointed. Trust this one is a 2 thumbs upper.

I've been a fan of comedian, Albert Brooks since the mid 1970's, when his odd little, comical, short films were included on very early episodes of NBC's 'Saturday Night Live'. Since then he has branched off (both on and off screen) in a motion picture career in a series of hilarious film comedies, that feature his character persona of a self-obsessed (and somewhat spoiled) individual, who wallows & obsesses over his neuroses and insecurites. In otherwords everything is about "Me" with a capitol 'M'! Out of all of these films, my personal favorite is the 1981 relationship-comedy, "Modern Romance". I think I like it so much, because it is the Brooks character at his most neurotic. The film's opening scene is in an L.A. restaurant, where Robert Cole (Brooks), a successful Hollywood film editor, breaks up with his girlfriend, Mary (an excellent Kathryn Harrold). Mary instantly agrees and says "maby this is a good time". This seems to enrage Robert, who acuses her of infidelity and we get the first indications, that this guy dosn't take rejection all to well and he just might 'have a screw loose'. We spend the rest of the film following Robert throughout L.A. as he neurotically tortures himself for breaking up with this woman. He seems to go back and forth, alternately telling himself it's both the "best" and the "worst" thing he's ever done. When Robert eventually talks Mary into getting back together, he then precedes to start driving her crazy with his insecurities and paranoia. Every time he is confronted with evidence of this, he retorts with the mantra, "I do it, because I love you!" I guess what Brooks is saying is that this thing called love, can make us really nutty. So who needs it? Both Brooks and Harrold are excellent in the lead roles. This is really Brook's film, but Harrold makes an excellent straight man, who's character seems to show endless patience in dealing with Brook's craziness. The perfect example of this is a scene, where Robert interrupts Mary's business dinner in a fancy restaurant with a group of Japanese clients and demands she come home with him so they can "mend their relationship". In this wonderfully comic scene, she takes Robert aside and speaks to him like a cross mother, lecturing a badly mannered child. The film goes on and on like this, until it ends with one of the funniest postscripts I have ever seen in a movie. You have to see it to believe it. Also, look for good comic turns from character actor, Bruno Kirby as Brook's steadfast, editing assistant. All the scenes showing Brooks and Kirby at work, editing films are like these perfect little satires of how Hollywood works in creating it's product. Finally, there is an absolutely hilarious cameo from comedian (and Brook's real-life brother) Super Dave Osborne as an over-the-top, passive-agressive, sporting goods salesman. This is a wonderful, small, satiric film about relationships, that will leave you laughing! Highly recommended!

Its the one liners that make this film so suitable for repeated viewings. If you don't know these, you haven't seen it enough:
"Go ahead. Hit me. I'm in great shape."
"Hulk running"
"You're trash. Why don't you go live in an ash can?"
"Petey, dinner with Ellen."
"I misjudged you. Buy the box."

This is nearly Albert Brooks' best film. I waver between LOST IN AMERICA and this, and I guess LOST IN AMERICA is a little better, but I LOVE this movie. Albert Brooks is superb as a neurotic film editor who is dealing with his hot/cold relationship with Kathryn Harrold. Bruno Kirby(under-appreciated) is great as Brooks' assistant. Lots of memorable sequences and quotable lines. Good cameos too-Medowlark Lemmon, George Kennedy and Super Dave(Brooks real-life brother). Makes most relationship troubles seem a little less severe, but at the same time it comments on the eternal question what is love and how can I tell if I'm waist deep in it?

In the very funny MODERN ROMANCE (1981), director and star Albert Brooks reminds us of Larry David in CURB YOUR ENTHUSIASM. He makes us laugh, but at the same time we're finding his actions so obnoxious that they're almost painful to watch.

Perhaps that's because both Brooks and David bring a strong element of truth to their comedic efforts.

Brooks plays a successful film editor, obsessively in love with bank exec Kathryn Harrold. Theirs, however, is not an easy relationship. They continually break-up, then reunite. He grills her about her long-distance calls, storms into her business conferences and does other objectionable actions that would make most women run for the nearest exit...but not Kathryn.

Brooks also takes a couple of hilarious shots at the film-making process, and his ultra-short date with another girl is priceless.

© Michael B. Druxman

Writer-director Albert Brooks nearly single-handedly invented the genre of "cringe comedy", paving the way for Ricky Gervais and Larry David. In his best romantic comedy (co-written by frequent collaborator Monica Johnson), Brooks casts himself as a film editor who works for American International Pictures. His obsessive-compulsiveness makes him great at his job, but a royal pain-in-the-a$$ to his devoted girlfriend (Kathryn Harrold), who is becoming exasperated with his penchant for impulsively breaking up with her one day, then begging her to take him back the next. There are many inspired scenes, particularly a protracted sequence where a depressed Brooks takes Quaaludes and precedes to "drunk dial" every woman he's ever dated (like Bob Newhart, Brooks is an absolute master of "the phone bit"). Another great scene features Brooks and his assistant editor (Bruno Kirby) laying down some low budget Foley tracks for a sequence in the cheesy sci-fi movie they're working on. Brooks' brother, Bob Einstein (a regular on Curb Your Enthusiasm) has a funny scene as a sportswear store clerk. Also with George Kennedy (as himself) and real-life director James L. Brooks (no relation) as Brooks' boss.