It is just the vehicle through which she can access Sam. The fact that Annie is a journalist doesn’t build her character for the audience or provide any insight into what she is like outside of this romance. While I can acknowledge that there’s only a certain amount of time in a romcom to establish the romantic relationship, and this one gets tricky because (spoiler) the two leads don’t actually speak until the final scene, I’m still a little disappointed that Annie’s job really only exists to provide her means and access to Sam. There’s only a few scenes of Annie actually at work, and each one of them is really only there to deepen her growing Sam obsession. Annie becomes, frankly, a little obsessed with this man that she has only heard on the radio, and her growing love for Tom Hanks begins to creep into every area of her life, including her job. Walter is nice but a bit boring, I guess, so when Annie hears Tom Hanks say super sweet things about his dead wife on the radio, it’s all over for Walter. He’s technically not her boss, but still much higher up in the power structure than her, but the film doesn’t really pause on that at all. These two got together after meeting at work, as he’s an associate publisher at the Baltimore Sun where she also works. Which, I’m realizing, is maybe the point. At the start of the film, she’s engaged to Walter (Pullman), who quickly attains disposable fiancee status because he… has allergies? I’m really struggling to figure out what’s so terrible about Walter. Who should hear but Annie (Meg Ryan), driving in a car on Christmas eve, and she’s unbelievably moved by hearing from both Jonah and Sam.Īnnie, like many other romcom heroines before her, is a reporter for the Baltimore Sun. He decides he and his incredibly annoying (sorry) son Jonah need a change of scenery, so the two move to Seattle and take up residence on an inexplicably nice houseboat? On Christmas eve, Jonah calls into a radio station in Chicago and tell listeners that his sad dad needs a new wife.
#FINAL SCENE N SLEEPLESS IN SEATLE MOVIE#
In case you’re like me and haven’t seen this movie in years (and, to be honest, get it confused with the other “sleeping” movie that also has Bill Pullman in it: While You Were Sleeping), here’s the premise: Sam (Tom Hanks) is a sad sad architect in Chicago after his wife’s death.
With that in mind, let’s take a closer look at another classic paring of Meg Ryan and Tom Hanks.
I watched this movie with my roommate and at one point we were both in genuine tears for Sam. With its acknowledgement of the rosy nature of the romcom and the, of course, occasionally problematic use of tropes, I would consider Sleepless in Seattle a classic romcom, although admittedly it is light on the com by today’s standards. After all, the main character’s friend even challenges her: “you don’t want to be in love, you want to be in love in a movie.” As a romcom, I think Sleepless in Seattle presents a self-awareness that is really interesting to dig into. And, of course, it’s another Nora Ephron classic, so New York is a given element. Maybe this is perhaps showing a little romcom fatigue on my part, but my first thought when the opening of Sleepless in Seattle began to play was: “Wow, do I love that this isn’t set in New York.” Which of course, is completely false, as if you’ve seen this movie at all, you know that literally the most famous scene takes place on perhaps the most famous NY landmark: the Empire State Building.
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