Article
Community
Mental Health
Romance
4 min read

Forget rapturous romance, the relationally malnourished need something else

Look beyond the commercialised celebration of Valentine’s Day.

John Wyatt is the author of Transforming Friendship. He also writes on ethical, philosophical and theological challenges caused by advances in medical science and technology.

A hand held out is gentle grasped by a turning person.

This article was first published in February 2024

 

It’s Valentine’s Day yet again – the annual commercialised binge of flowers, chocolates, tacky pink cards and heart-shaped balloons. This year US consumers alone will spend an estimated $26bn expressing their yearnings for someone or something. A special person that will make their dreams come true, a magic chemistry that will bring meaning and fulfillment, or maybe just plain old-fashioned lust. Valentine’s Day provides an annual and unavoidable restatement of the message that the royal route to personal fulfillment and relational intimacy is mind-blowing sex and romantic endorphins.  

A time traveller from a previous era would look at these excesses with astonishment. How was it that sexual ecstasy and came to be seen as the route to human fulfilment, meaning and intimacy? For most of our history, sexual attraction and coupling has been regarded as a relatively minor part of life. Important for reproduction and continuation of the species, no doubt, but hardly the meaning of existence.  

There is a pervasive sense of relational deficit, a longing for genuine intimacy that remains unsatisfied. 

Dr Freud, obsessed with the hydraulic metaphors of the age, invents the idea of libido, a powerful but unruly fluid which provides the ultimate motive force for the personality. Sexual repression is essential to civilization but also the source of neurosis and other discontents. For decades Freudian psychology remains a minority interest for psychotherapists and creative artists but with the rise of the sexual liberation movement in the 1960s, the invention of the contraceptive pill and the commercial exploitation of sex for marketing, it has become the unquestionable orthodoxy of the age. The conviction formed that sex in all its forms is good for psychological health, that control and frustration of sexual drives leads inexorably to mental illness. That celibacy is a deeply unrealistic and potentially dangerous state, that the impulse for sexual pleasure lies behind much if not all human motivation, that our very identity is defined by our sexual drives and interests – these seem to be such obvious and scientifically authoritative ideas as to be self-evident and unchallengeable. They are part of the agreed presuppositions of twenty-first century culture, and they are all traceable to Freud. Valentine’s day is the ultimate celebration of libido in all its multifarious forms.  

But for many of us, February 14th is a painful reminder of what we don’t have. Whether unattached but aching to be romantically involved, or trapped in a dysfunctional relationship, the glossy merchandise packing out the supermarket aisles only seems to twist the knife. Surveys have indicated that half of UK adults report feeling lonely, and seven percent of the population experience ‘chronic loneliness’. The popularity of transactional dating apps, and the surprising rise of simulated AI partners, reflect a desperate longing for something, a relationship that will satisfy our deepest yearnings, bring purpose and fulfillment. There is a pervasive sense of relational deficit, a longing for genuine intimacy that remains unsatisfied. 

It is friendship with its genuine concern and caring for the other that must absorb our pain and meet our needs, just as we, in turn, meet the needs of others.    

How can we recover and celebrate an older, deeper and more lasting form of intimacy between human beings? To the writers, sages and philosophers of the past, friendship - covenantal, committed, intimate, self-disclosing - was the highest form of human love.  To Cicero, friendship was the most joyful gift of life and those who deprive life of friendship ‘seem to take the sun out of the universe’. To JC Ryle ‘Friendship halves our troubles and doubles our joys.’   

Our culture’s tendency to read a sexual dimension into all close adult relationships, implies that we have forgotten that non-sexual and yet powerfully intimate, joyful and committed unions can exist between two people. Healthy covenantal friendship, in which our deepest fears, vulnerabilities and longings can be accepted, seen, known, and loved by the other, is inexpressibly beautiful and life-affirming, a form of intimacy which is open to all, unlike marriage or romance. Friendship is the love that our relationally malnourished, lonely society cries out for. Where so many in our society lack biological family or marital ties, it is friendship with its genuine concern and caring for the other that must absorb our pain and meet our needs, just as we, in turn, meet the needs of others.    

Romantic love and sexual attraction have their place in our lives, but they have become twisted out of proportion and made into ultimate goals. Sex was never designed to bear the weight of every human need and desire. In a strange and poignant quirk of the calendar, this year Valentine’s Day coincides with Ash Wednesday, the first day of Lent, a reminder of mortality and death -ashes to ashes - but also the first day of the great Lenten journey which leads to Easter sacrifice and resurrection. It’s a reminder that ultimate meaning for human beings made out of dust may be found not in libidinous excess but in love and hope that affirm and transcend our mortality.   

Review
Culture
Film & TV
Romance
8 min read

Meet our top 5 rom coms for Valentine's Day

Love is the core of every truly good sweeping story.
A couple sit at a table in a diner talking intensely.
Castle Rocl.

1. The Apartment

Billy Wilder’s directorial tour-de-force is a timeless classic – proof for the sceptical that black-and-white films lose nothing in their monotone. Comedy legend Jack Lemmon plays C.C. "Bud" Baxter, an office worker who desperately seeks preferment. He impresses his superiors by allowing them to use his Upper West Side apartment to entertain their mistresses away from the gaze of their wives. He is also desperately seeking love, in the person of elevator operator Fran Kubelik. The only problem is that she is spoken for – she is the mistress of the big boss. Baxter juggles his ‘apartment schedule’, the disapproval of his neighbours, and his sorrow at seeing Fran slip away. 

The script is the perfect combination of laughs and smiles. The performances are excellent, especially Lemmon’s balletic physical comedy (the spaghetti strained through a tennis racket scene stays with me like an old friend). The message is important: love hurts. The film resonates just as much now, in our world of HR and workplace boundaries, as it did then. Baxter, and ESPECIALLY Fran, are victims of those with power; except they don’t use violence or coercion to exert their control, they use the promise of acceptance, of love. Love is not a trifling emotion, as some of the most vapid frippery of Valentine’s Day may suggest, but the deepest motivation a human being can have – look at what Jesus does out of love. It is a dangerous thing when treated as instrumental and disposable, and can yield terrible and tragic results if abused. Thankfully, The Apartment ends on a note of hope and expectation…but it really has you on the edge-of-your-seat up until the end, and gives you and new appreciation for the sanctity of romance and love.  

2. Notting Hill

We had to have a Richard Curtis pic – I’m a patriot after all! Naturally Four Weddings is excluded because of that one…appalling…unforgivable line…OF COURSE ANDIE MACDOWELL NOTICED THAT IT WAS RAINING! 

Anyway. Notting Hill is such a lovely and gentle film. Hugh Grant is effortless as divorced and timid bookseller William Thacker. His life is comfortable yet a little empty, with his only real company being his unspeakable lodger Spike – Rhys Ifans in a career-defining role. His life is turned upside-down when Hollywood superstar Anna Scott (Julia Roberts) enters his shop, leaves, and then has him spill orange juice all down her front. Romance develops between the two but is continually stalled by the very different worlds they inhabit: Thacker lives a quiet life in Notting Hill, and Scott is a globe-trotting paparazzi-magnet who cannot seem to keep any aspect of her stage-managed life private. I won’t go into anymore of the plot, as you’ll know it even if you haven’t seen the film…it’s a National Treasure by now. 

The wonderful message of this film, other than London property prices were ludicrously generous back in the day, is that love is a feeling and a force that can cross any boundaries. This is a modern-day quasi-Romeo and Juliet: two people from seemingly incompatible worlds allowing their love to break down barriers and overcome obstacles…except here we have a happy ending! Love is the greatest leveller this world knows (there is no Jew nor Greek, slave nor free, man nor woman) – it is the equaliser of the human experience and fount of understanding, empathy, and mercy. 

3. Knocked Up

I’m afraid we move to less elevated fare and instead begin the descent into puerility. One can expect nothing less from director Judd Apatow, who has made his name by combining the compulsory schmaltz of a rom com with the sweary gross-out humour of our less-civilised age. Nevertheless, this film has real merit.  

Katherine Heigl is Allison Scott, an ambitious reporter for an entertainment news channel. She goes out to celebrate her well-earned promotion, has a little (or a lot-tle) too much to drink, and ends up having a one-night stand with aspiring internet celebrity pornographer Ben Stone (Seth Rogen). Their dalliance leads to the inevitable – pregnancy. Allison finds herself in the invidious position of having dinner with Ben, to inform him of her maternal state, only to realise that she finds him repulsive. He is everything she isn’t: she is ambitious, organised, and stable, while his greatest achievement is a collection of bongs and a potential website detailing moments of on-screen nudity. They are chalk-and-cheese…and yet they both decide to try and make their lives compatible to raise their child together. 

It's not a clever film, and the laughs are all guilty guffaws at over-the-top toilet humour, but it does have heart. It is the story of two people who don’t find love in a glance across a crowded room, or through a shared interest, but through a shared struggle. It is the story of two people who learn through difficulty, pain, and self-sacrifice what it means to live for another; even if that other person is yet to be born. At the centre of this film – after digging through tranches of (apparently hilarious) excrement – is the message that love is not instantaneous or easy, but something that is worked towards and maintained through giving up one’s own wants and pleasures for the good of another. I wonder which two-thousand-year-old story embodies this theme? 

4. The Princess Bride

The phrase ‘cult-classic’ might as well have been invented to describe this film. It is a mad-cap tale incorporating piracy, palace intrigue, and a giant. I…I…I can’t even try to give a plot synopsis. It goes all over the place, as if it where story-boarded by an over-imaginative seven-year-old who’s been given a surfeit of sugar (sorry William Goldman). The humour, essential for the ‘com’ to the ‘rom’, is more-often-than-not accidental, but humour there is in spades. Its silly, and its sweet, and its certifiable…but it works. 

What puts The Princess Bride in my Top 5 is the epic sweep of the film. I’m pretty certain it didn’t intend to be a rom com, but I count it as one, and so it is the only rom com that manages to also be a mythopoetic tale. Perhaps Shrek is in the same league…but I can’t forgive the sequels and the overuse of Eddie Murphy. The Princess Bride is a wonderful reminder that love is a great, epic, poetic, mythic, legendary force in the world. Love has started and ended wars, it has rewritten the tablet of history over and over again, and is not a ‘story’ that can be confined to a ‘meet-cute’ between two unreasonably attractive people in a New York coffee shop – it is the very language of reality, and so is the lens through which we must view not only ourselves and our immediate loved ones, but the whole of the universe and the whole of human history. Love is the core of every truly good sweeping story – especially that story that begins with the loving creation of heaven and earth, their salvation in the love of the Cross, and their reconstitution as the New Heaven and New Earth where love of God is the primary vocation of all. 

AAAAAND…it starts and ends with Peter Falk as a grandfather lovingly telling this story to his sick grandson…the heart melts… 

5. When Harry Met Sally…

In the kingdom of rom-coms Nora Ephron is the Empress to whom all others bow, and this is her greatest conquest! When Harry Met Sally… is epic in its sweep, but in a very different way to The Princess Bride. It is epic in that it is a love story that takes over a decade to play out. Harry Burns (Billy Crystal) and Sally Albright (Meg Ryan) meet by chance in 1977. Serendipity is at work: he is dating her best friend, and so, as a matter of convenience, the two share a car to journey from Chicago to New York. As in many rom coms their personalities couldn’t be more different, and although they share chemistry, Sally chafes at Harry’s confident assertion that men and women cannot be friends. The journey ends unhappily, and the two have no intention of every meeting again. 

Five years pass and the pair find themselves on the same flight. Serendipity strike again when Harry learns that Sally is dating his neighbour. The chemistry is sparking reactions, but when Harry suggests they become friends Sally declines, citing his previous assertion about male/female friendship. 

Another five years pass – and so a serendipitous meeting is in the diary – and there is a chance meeting in a bookshop. Both are now single and have faced the sting of love lost. They strike up a friendship. The friendship matures and deepens, and those around them can see that they are falling in love, yet their determination to be friends leads them to have romantic attachments to other people. This falls apart after a night of high-emotion and comfort turns into amorous passion. Their friendship is seemingly ruined, and both miserably start to live like without the other. 

UNTIL… 

On New Year’s Eve 1988 Harry realises that he cannot be whole or happy without Sally and runs to find her at a party, to declare his love for her in the greatest speech in rom-com history! The cinema cheers! What makes When Harry Met Sally… dear to my heart is that seeming serendipity I keep mentioning, because it teaches us a vital lesson about love. There is no true chance, no true serendipity in love. Love is the very glue that binds all creation together. The Scriptures, the great mystics of the faith, the very person of Jesus Christ, teach us that God is love and that this love is all and is in all. There is no coincidence in love – love really is what makes the world go round. In the end, just as Harry and Sally seemed destined to be together, we are destined to be united with God in love. 

I started this list a little sceptical and burnt-out with the romance of Valentine’s Day. Having reengaged with these five films I am revivified and reconverted to the great name of love. Love drives us, heals us, and ultimately embraces us in eternity. What a wonderful legacy for St Valentine to have.

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