The International Politics of Romantic Comedies

By Aanchal Bagaria

One may think that literature and news channels are the better starting points for digging into the world of geopolitics and diplomacy, but what about the most beloved medium of all? Romantic Comedies are one of the most commonly watched movie genres across the globe. In the US alone, roughly 7 out of 10 people enjoy watching romantic comedies. True, people would argue that the genre hit its peak around the 2000s, probably the day Sandra Bullock decided to stop charming us as the environmentally conscious boss lady, but let us save our judgements for later.  

We often underestimate romantic comedies as they only seem good enough for a pick-me-up after a rainy day, but the genre offers more than just serving as a blanket of warmth. If you pay attention, you will realise that they skilfully pack political undertones amid a good laugh and a happy ending. These films can also play an important role when it comes to soft power diplomacy, they help the audience understand the complexities of international relations and make them look more relatable and accessible. Who would expect that while watching a comedy of errors, they were actually getting a crash course in diplomacy? 

In the current geopolitical chaos, we need to turn to those so-called ‘cringe-y’ movies to engage in negotiations with more love, humour, and empathy. Love Actually might not be your average political pick, but it exerts its influence by subtly trying to foster goodwill toward Britain. What better way to boost a nation’s image than casting a heartthrob like Hugh Grant to portray the charming British Prime Minister who stands up against the American President over personal and political matters? Or by selecting Bill Nighy as the epitome of British pop music. One would wonder if charm and love really grease the wheels of diplomacy. While they may not be part of the toolkit, they surely do the job! The Kennedys used their undeniable charm to improve America’s global image. They made diplomacy seem like a scene straight from a ‘rom-com’, where big smiles and warm hearts can pave the way for promoting negotiations and fostering alliances. 

Apart from political diplomacy, rom-coms also have plenty to offer in the context of globalisation and the changing geopolitical landscape in their own way through sneaky commentary. Crazy Rich Asians might seem like an attractive example of Asia’s elite, but it does much more than that, especially when it comes to Asian representation in the West. It positions Singapore as a global economic powerhouse, equally capable of contesting against the United States in lifestyle, economy, and culture. Organic search interest in Singapore increased by more than three times in the US during the movie’s release, according to Google data, while there was a 110 percent spike in searches on travel planning site Orbitz. This often-used cross-border identity dynamic trope within this genre is used to facilitate negotiations in an increasingly polarised world. Rachel’s experience as a Chinese American is reflective of diasporic identities, it looks at cultural assimilation whilst balancing a dual nationalistic identity, where one is supposedly superior to the other. Similarly, The Proposal reveals the bureaucratic immigration policies of the United States when Margaret Tate, a Canadian executive, is at the risk of being deported. The film is a critique of the US immigration system and the pressures faced by immigrants, particularly those on work visas. Another example is Kumail Nanjiani’s semi-autobiographical film The Big Sick, which uses his portrayal of a Pakistani-American comic and his American fiancée to address themes such as race, immigration, and cultural disparities. He navigates the murky waters of worldly affairs as a second-generation immigrant through humour. If a lot of people can relate to it, maybe it’s not unique, but stories like The Big Sick — outside the mainstream, but inside real people’s lives — are incredibly valuable all the same.

It is also important to notice that, through these movies, we experience a romanticisation of the West. On one hand, it is shown as the shiny land of opportunities and aspirations, while on the other it still struggles with accommodating an influx of mass migration through strict foreign policies and discrimination. The recent immigration news regarding the US-Mexico border signifies the ambiguity of border security and policies. Characters like Margaret and Kumail are victims of structural inequalities and bureaucratic dynamics but are somehow faced with the challenge of assimilation. The “American Dream” is the Hollywood ending for just a small section of the world population. The idea that the US is a saviour when it comes to international relations is a very ever-present tool often leveraged by filmmakers. In Notting Hill, the actress Anna Scott, an American actress is the epitome of beauty and high standards while William Thacker is your average bookseller from London, a rather unequal counterpart to the actress. The movie is reflective of the power imbalance that exists between the two countries in world politics.  

So, if your friend says that romantic comedies set unrealistic expectations of love, remind them of the ways in which the United States follows suit in matters of diplomacy. They choose to overlook years of racism and inequalities while continuing to maintain their dominance. There is a very visible lack of representation of stories, characters, and culture in the biggest and oldest film industry in the world. The United States is an extremely ethnically diverse country, and Hollywood needs to be producing films that reflect this reality. 

The next time you choose a romantic comedy to watch on your week off, along with warming up the popcorn, warm up your brain and begin to wonder what soft power tools are being applied to shape your perception of world politics in between these grand gestures and misunderstandings. Now only if Hugh Grant was actually the Prime Minister, maybe more people would end up binging rom-coms.