Posted: 06/06/2008

 

Sex and the City

(2008)

by Laura Tucker




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The big question on everyone’s minds, regarding the Sex and the City film, is if it was really worth all of this hype. Is seeing what was previously a successful cable television show on the big screen worth the continual press, and women of all ages having cosmos and film-viewing parties throughout the opening weekend?

I have to say that, as a person that didn’t even watch the TV show on HBO or in reruns later on other cable stations more than a handful of times, it was indeed worth it. Somehow, in the creation of the storyline, I was made to care about these women and whether or not they finally found love.

I hesitate to even give much of a synopsis here, because I don’t want to ruin the storyline for anyone, but it picks up at some point after the series’ end. Carrie (Sarah Jessica Parker) is living with Mr. Big (Chris Noth), and done with writing about looking love; she is writing a book about having love. Samantha (Kim Cattrall) is still with Smith (Jason Lewis) and living out in L.A. Charlotte (Kristin Davis) and Miranda (Cynthia Nixon) are both married with children.

At the outset, it sure seems that everyone is happy with their current situations, but of course there wouldn’t be much of a movie if they were. I’m not going to spoil it by explaining what happens to whom, but I will say that the movie is filled with breakups, infidelity, and getting back together again—so pretty much just like the series.

Carrie starts the narration of the film stating that she came to New York looking for the two Ls—Labels and Love—and, having been labeled early, she concentrated on finding love. This is the overall theme of the movie—Carrie reflecting back on the twenty years she has spent in New York, and how things have changed but also stayed the same for her and her friends. A new character is added with the addition of Jennifer Hudson to the cast, playing Carrie’s assistant, and while some think she added nothing to the plot; the writer here sees the necessary plot device of showing a character just starting out in New York, working for Carrie, the 20-year veteran of New York.

Despite not having the full background on these characters, it still draws you into their lives, allowing you to care about what is going on to the point of laughing out loud in the theater, just as loud and easily as everyone else, and crying buckets of tears at all the love lost and gained. It forces you to connect, laughing out loud in the theater at Carrie’s witty lines (you can always count on writers for those) as she struggles to find how a couple could get a divorce living together in a beautiful penthouse—yet seeing the tiny envelope of a closet, she suddenly says she understands the divorce. There is also a marvelously funny scene where Charlotte doesn’t want the girls to say “sex” around her daughter, so they substitute having sex for coloring, to the point of asking how often everyone colors.

The tears are held in well to a certain point, until Charlotte screams, “No!” pointing at a man (unnamed by me here to avoid spoiling the plot). After this, the floodgates open up, as there is no putting a finger in the dam by this point. Every time someone loved and lost after this, the tears fell easily, even though I had nothing invested in these characters previously.

There is just something about these four women that makes you care about them, probably the same thing that allowed it to remain a hit show on HBO for so long. It’s great fun, and at the same time, makes you understand your own place in life, and the difficulties we have finding and keeping love, whether you’re new to the process or a 20-year veteran.

Laura Tucker is a freelance writer providing reviews of movies and television, among other things, at Viewpoints and Reality Shack, and operates a celebrity gossip blog, Troubled Hollywood.



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