Opinions abound on genre mixing for film and literature. I’ll venture that books, fiction and nonfiction, get more latitude with seemingly endless subgenre classifications and Amazon site keywords
Films are a different matter. Some industry types and reviewers still support the notion that a movie should adhere to one genre. Otherwise, audiences may be turned off, confused, and, ultimately, give bad reviews early on. But, comedy/drama movies a la dramedies, with a wink and nod to audiences, testify to the popularity and success of multi-genre films. Even so, I hear advice from seasoned screenwriters and producers that a pitch ideally spotlights one genre in describing a project. Of course, the dramedy balances two genres inherently. But describing a dramedy is tricky business. Funny and serious make strange bedfellows if not exquisitely executed. Try verbalizing a dramedy in a logline or elevator pitch! Plus, you can’t fool an audience. They know when something doesn’t work! And then there’s the dark comedy genre which isn’t dramedy. The dark comedy’s value is its ability to shock or deliver the unexpected. Recently, I watched “Vengeance,” the directorial debut of B. J. Novak of “The Office” television series fame. The story centered on a New York writer who traveled to Texas on invitation following the death of a burgeoning singer he hooked up with back in New York. His agenda was to create an in-depth, exploratory podcast entitled “Dead White Girl” about his Lone Star adventure. The story teemed with social commentary and is classified as a “darkly comic thriller.” Darkly comic? Yes, indeed. Thriller? Well, I’m not seeing that one.
In college, I studied film theory, my concentration as an English major. Genre was an essential component for deconstructing films similar to analyzing literature. I enjoyed seeking out a movie’s subtext—how it’s told, what tropes or conventions were employed, themes, all of the elements that sat quietly unspoken or screamed at you with the visuals. Many essay assignments later, I continued to wonder what made the ideal genre blend. And then, recently, I saw my perfect example.
One week before Christmas day 2022, I tested positive for COVID after three years of dodging the highly infectious virus! I discovered that a colleague tested positive days before my test reullt. I had shared a car ride with her earlier that week. The tracing mystery was solved. I didn’t want to infect anyone or create lingering repercussions for myself. So, I erred on the side of caution and commenced a two-week isolation period. Neighbors left care packages at my doorstep. For two days, I held a Cary Grant film festival and developed a mini-crush on the suave and sophisticated actor with a twinkle in his eyes. I watched four movies including “Penny Serenade” with Irene Dunne and “The Bishop’s Wife” with David Niven and Loretta Young. I was astounded by Cary Grant’s versatility as he mastered what could’ve come off as preachy when pleading to keep his adopted daughter in “Penny Serenade.” As the angel in “The Bishop’s Wife” he brought a debonair presence to the role. My third choice? “Charade.”
From the opening sequence, “Charade” played upon dire events with a light touch, a masterful telling of a romantic comedy with nuances of a thriller. Critic Kevin Carr’s Rotten Tomatoes review stated, “Cary Grant and Audrey Hepburn transcend several genres.” If you haven’t seen “Charade” you are missing out on the perfect genre blend. The film opened with a speeding train followed by a dead man rolling down a hill, obviously tossed from the locomotive. We switched to a closeup of a gun and then to Audrey Hepburn, in her glorious ennui, at a ski resort’s outdoor restaurant. From the fake gun, a young prankster shot water into Miss Hepburn’s lovely visage. Okay, a dead man and a fake gun. I thought, “What do I take seriously?” And the rollercoaster continued with Audrey Hepburn’s character in dangerously tight corners several times. Until the last sequence, I wondered if Cary Grant, the romantic interest, was the story’s villain or hero.
The official trailer for “Charade” started with, yes, a blender! A bit blatant, for sure, but wasn’t that the point? A hand reached for the blender button and, “Voila!.” Three ingredients: Suspense, Comedy, and Romance whirled around in brightly colored strips of red, yellow, and blue and dissolved into a long shot at a ski resort. The unfolding story bobbed and weaved life-threatening moments as romantic sparks flew about between Cary Grant and Audrey Hepburn. Their onscreen chemistry would probably make any genre mix work, but it certainly defined a comedy/thriller like no other. This year, “Charade” will mark its 60th anniversary from the December 5, 1963 opening a few weeks after the assassination of President John F. Kennedy. From reports, moviegoers lined up for the New York City premiere and entered a darkened theatre to escape one of the darkest days in our history.
Whatever passion project you’re writing and developing, know your genre and how your story fits into it. And if you’re seeking the hybrid, keep it balanced, exciting, and, if not fully believable, at least thrilling to the last screen moment!
Oh wait! The fourth Cary Grant movie? Alfred Hitchcock’s “To Catch a Thief.” In a toss-up between the two, I’d choose “Charade.” Either way, you can’t lose with Cary Grant. Happy writing!