Romances That Could Have Been
In Joe Wright’s 2005, Pride and Prejudice, Mr. Darcy holds Lizzy Bennet’s hand to help her get in the carriage. The gesture comes as a surprise to Lizzy as we witness Mr. Darcy’s growing affection for her. Throughout the film we see these two characters go through their ups and downs, thanks to misunderstandings and tribulations, and we watch as they eventually confess their love for each other. The last scene sees Mr. Darcy and Lizzy Bennet together, and the film ends happily, their romance fulfilled. While the ride of watching this story unfold is exciting and gives us a warm feeling, there are films that dare to not give the audience such a happy conclusion. Some films give us no conclusion to the romance plot line at all, opening the doors to a far more realistic and reflective portrayal of love and relationships.
The rise of fan fictions and alternate universe stories have allowed fans and viewers alike to take control of the narratives they enjoy. In “fixing” the stories that are initially presented to us, and characters we might believe hold potential for something magical, film has turned into a medium that transcends our television screens. Sometimes we do not get the ending we wanted, but sometimes, it’s the ending we deserve. And sometimes, it’s best to leave things to our imagination.
The idea of a romance that could have been, goes beyond two characters having chemistry on screen and not being given a chance to develop this. Rather, it’s the portrayal of characters longing for each other and seeing them ultimately end up alone, as we too personally hold fantasies of a future that could have been, alongside them. We, as the audience, dwell in the gut-wrenching feeling of a story that could have happened; often a romance that could have been monumental. However, some films show us that often, the waiting and ultimately not receiving, is more epic than the conventional, happy, romantic ending. Our lives, unlike romance films, do not end in “The End” followed by credits. Our lives continue and we take with us the things we have experienced, and the things we missed out on.
Wong Kar Wai’s Chungking Express (1994) is perhaps one of the best examples of this. The film follows two stories and four main characters. A mysterious drug smuggler who doesn’t seem to care, and a cop who is still holding on to his last relationship, spend a night together. The morning after, the mysterious woman disappears, and as the cop begins to move on, he receives a birthday wish from her. This simple story that is easier to watch on the screen, portrays three key emotions; loneliness, anticipation and hope. We see this in the way that these two characters roam around the cities of Hong Kong in their solitude, eventually finding each other, and while they do not end up together, there is a sense of mutual care and understanding. This story ends mid-way through the film. Wong Kar Wai could have perhaps developed this story and continued building the complicated relationship between the mysterious woman in the blonde wig, and the cop. However, this doesn’t happen. Through the voice-over dialogue that we hear throughout the film, we also get the sense that the characters themselves, especially the cop, are well aware that life is full of possibilities, and that each person you encounter is a possible story. The idea of possibilities is perhaps the key storytelling technique of this entire film.
The second story is between Faye, a snack-bar worker, and another cop, (who is also dealing with a break up, but in a much different way). This couple shows more attraction towards each other, and they are given more screen time to develop their relationship. Their solitude lies in the way they see the world; one in heartbreak and the other in contemplation. The difference here is that they see each other almost every day. In the backdrop of Hong Kong while California Dreaming plays in the background, both Faye and the cop establish a friendly relationship. We know that Faye likes him, but when he realizes that he too likes her, it’s too late; she leaves. Time passes and Faye returns, but the film ends neither with a happy nor sad ending. No one ends up together, yet in some ways, they don’t end up alone either. Wong Kar Wai’s stylistic aesthetics, from the neon scenes of Hong Kong, to the cinematography that beautifully captures the synchronization of time and space, to the movement of people - sometimes delayed with the emotions that come with making difficult decisions, or when one must face the past we are still holding on to. Shown in an almost dreamy escapade, the film depicts the relations of loneliness, and lingering imagination of longing for love and affection. Both stories in this film portray romances that could have been, and could have happened, but whose ending has been left for the audience to interpret and to fantasize to their liking.
Some films don’t get second chances for interpretation, as is the case of Joe Wright’s Atonement (2007). Based on the novel by Ian McEwan, Atonement follows the story of Cecilia, Robbie and Cecilia’s sister, Briony, and their tragic story that begins with a single mistake. This mistake ends up ruining Cecilia and Robbie’s lives for the worse; not only driving the characters to separation, but also to penitence. Wright gives us a film about the life these characters could have had, if it wasn’t for the erroneous tragedy that separated the two lovers. Wright masterfully deceives the viewer into thinking that they are watching a certain type of film, only to be met with a tragic story of lives that were never able to intertwine with each other again. For those who did not read the book beforehand, the ending is not only tragic, but also conveys the sentiments of moments that people wish to live but cannot - the idea of spending time with someone you really care for, but never being able to.
One could be filled with anger when watching Wright’s ending, but nevertheless it shows a different, and in many ways beautiful, form of storytelling. Here, Briony, a writer herself, creates an alternate universe in which her penitence is served in the form of storytelling and “fixing” her past mistakes through writing, therefore showing the audience the power of the person holding the pen, pencil or even camera.
While Wong Kar Wai illustrates these experiences of loneliness and the imagination that comes with it, through dissociative spells of contemplation and inner dialogues, Wright outwardly presents them on screen. In doing so, he gives a taste to the audience of the fate of these characters, only to reveal in the end that it was merely an interpretation of the potential fate of Cecilia and Robbie, had it not been for Briony’s mistake.
Circumstances that cannot be changed or reversed certainly make for a compelling plot in many of these romances, as is the case with Héloïse and Marianne in Céline Sciamma’s 2019, Portrait of a Lady on Fire. Another portrayal of loneliness and isolation, this film differs in that the romance flourishes, but it is in the circumstances that the characters find themselves, namely societal expectations and conventions, that we see their separation. Indeed, based upon the time period in which the film is set, that is, eighteenth-century France, our wonderful protagonists are faced with no options but to cherish their time together.
While the ideation of what could have been lies more in the audience’s imagination, the film is clear to point out the specific characters that are involved in our protagonists’ separation. The longing and love we see between these two characters is wonderful, so the moment in which the ongoing metaphor of Orpheus and Eurydice is materialized, breaks our hearts. Nevertheless, neither Héloïse or Marianne regret the time they spent together; they still hold each other to great esteem and adoration. Through seeing Héloïse’s book in the painting, to Marianne’s reaction to seeing her while she listens to Vivaldi’s Four Seasons, it is evident that there is ongoing longing and sentiments of love between them. As the audience, we can’t help but feel sad that these two cannot be together, and alongside them, not only do we cherish their love story, but we think about the ways which the story could have gone differently, if it hadn’t been for the social circumstances that separated them.
Ultimately, what these films have in common is not only the portrayal of loneliness, and unfulfilled romance, but more importantly the message of encountering people who may change our lives. As the audience, we are lucky to be able to use our imaginations, and oftentimes our artistic skills, to analyze and view these bodies of works and mould them to our liking. Or, we too may leave them alone for what they are, as they provide either a sense of hope, (even if the film had a sad ending), for the continuation of our own lives and experiences. As Japanese writer Haruki Murakami, said in his novel, Kafka On the Shore; "Chance encounters are what keeps us going".