It’s pretty easy to spot a Nancy Meyers film. There will most likely be a lavish kitchen to die for, a whimsical score, lots of neutral colors, and a strong female character who’s probably divorced, broken-hearted, or at least has something to prove.
With a 40-year filmmaking career under her belt, which includes movies such as The Parent Trap (1998), Something’s Gotta Give (2003), It’s Complicated (2009), and The Holiday (2006), Meyers has earned her right as a screenwriter/director whose films are easily recognizable. While her stories might be unique—Father of the Bride (1991) and Private Benjamin (1980) are as different as two scripts can be—each script contains distinctive qualities that undeniably create the trademarks of a Nancy Meyers film. Here’s what they are.
Career Focused Women (Usually) Over 40 Years Old
In an industry that doesn’t write specifically for women, especially for women over 30 years old, let alone 40 years old, Meyers’ work stands out. Her protagonists are usually career-focused women who are most likely divorced or heartbroken but are determined to live their best lives no matter what. They’re also, more often than not, middle-aged (or close to it).
Think Jane Adler (Meryl Streep) in It’s Complicated, Erica Barry (Diane Keaton) in Something’s Gotta Give, and Iris (Kate Winslet) and Amanda Woods (Cameron Diaz) in The Holiday. Even in Meyers’ earlier work, such as Private Benjamin and Baby Boom (1987), her female characters are successful—if not privileged—and hold a certain gravitas.
However, Meyers’ female protagonists are also vulnerable and aren’t afraid to open their hearts once again, even if it means getting hurt one more time.
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‘Something’s Gotta Give’ (2003)
Handsome Leading Man Is a Louse At First
Typically, a handsome leading man—who is generally a louse at first—plays the opposite of the strong female role in a Nancy Meyers film. He’s charming, sure, but he’s also a cad, and he needs to get his act together if he’s to win over our leading lady. Think Nick Marshall (Mel Gibson) in What Women Want (2000), Harry Sanborn (Jack Nicholson) in Something’s Gotta Give, and Graham (Jude Law) in The Holiday.
Of course, what makes these male characters less cliché are their triumphant, heartfelt arcs that are satisfyingly sweet when they finally right their wrongs and get the girl.
‘What Women Want’ (2000)
An Enchanting Balance of Humor With Romance
What keeps audiences returning to Meyers’ films time and again is her ability to craft an engaging romantic comedy that encompasses the right amount of charm, humor, and, of course, romance.
Her films use a variety of writing tropes, like a fish out of water (The Holiday and Private Benjamin), the out of the bottle (What Women Want), and the rites of passage (Father of the Bride). But the tropes don’t feel stifled because she explores universal themes everyone can identify with, like aging, love, personal growth, and family.
While her romantic comedies certainly feel romantic, and, yes, sometimes a little fantastical, we return to her films because her characters are well-rounded enough for us to buy into what we are watching—even if it’s a man being able to read a woman’s thoughts or a last-minute house swap that brings true love to two heartbroken women.
‘The Holiday’ (2006)
Nancy Meyers Has an Eye for Lavish Interiors
Not many directors have the honor of their movie kitchens being ranked, but that’s because not many directors put so much thought, detail, and money into their lavish interiors. Meyers told The Hollywood Reporter that her set design “sometimes” overshadows her work “a little bit,” which is a bit of an understatement.
Most of her movies focus on successful, affluent women who have the budget to splurge on fancy pans, expensive appliances, and granite countertops. Many of the people in Meyers’ movies are wealthy, which means they have huge California homes or audacious New York apartments that belong in Architectural Digest.
While her lavish settings aren’t exactly realistic, it’s for that reason why audiences are obsessed with them: we get swept up in the fantasy, and isn’t that what moviemaking is all about?
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‘The Intern’ (2015)
… And Luxurious Costumes
Another trademark of Meyers is the luxurious wardrobe for her characters. Googling Nancy Meyers’ style showcases several articles highlighting the fashion of her beloved female leads, from Erica in Something’s Gotta Give to Amanda in The Holiday to Elizabeth James (Natasha Richardson) in The Parent Trap.
It’s no secret that Meyers loves a white and cream palette, which her leading ladies are delectably decked out in. Wardrobe choices might seem superficial, but they distinctly say a lot about a character. The clothing of Meyers’ characters state their level of power, class, and sophistication, which adds to the romantic fantasy element that her movies are known for.
‘The Parent Trap’ (1998)
Nancy Meyers Brings It Full Circle
A Nancy Meyers film always end with an emotional resonance that hits audiences in the heartstrings, and a lot of that has to do with her ability to use a full-circle moment.
For example, Ben (Robert DeNiro) does T’ai Chi alone at the beginning of The Intern (2015) and ends the film practicing it with Jules (Anne Hathaway). In The Holiday, Amanda and Iris reunite in person (finally) and with their respective new beaus (Graham and Jack Black’s Miles). The end of Something’s Gotta Give features Erica and Harry united as a family at the same restaurant where he broke her heart.
These callback moments make for a magical and empathetic connection to the characters and story, which probably explains why Meyers’ movies are like serotonin for the brains of her fans.
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Author: Brianne Hogan
