I’m reading a book called Runaway Romances: Hollywood’s Postwar Tour of Europe, a book about the popularity of Hollywood films in the 50’s and early 60’s which revolve around young women traveling to Europe; these movies include Roman Holiday, September Affair, Indiscretion of an American Wife, Summertime, and Interlude.
The author of Runaway Romances, Robert Shandley, has made a list of traits that are typical in these movies, so I was curious to see to what extent our four travelers fit into this fictional model. Here’s what I’ve come up with, based on Shandley’s list.
Shandley’s points are in bold. And in my responses to Shandley, I’ve moved from his term “Americans,” to the more all-encompassing “travelers.”
1. The Credit Sequence: A nondiegetic travelogue alerts the viewers that the film is set in contemporary times in Europe.
I wonder what the travelers saw from the boat or airplane as they were arriving—what their first visual impressions of Europe were. Note: If any of you has details on this, let me know.
2. The Arrival Scene: The main character, usually an American, frequently female, is seen arriving in the European city.
What our four travelers seem to remember is not so much the arrival per se, as the encounter of all of them at the Rembrandt Hotel in London. Note to self: must find out what I can about this hotel.
3. The Travelogue: The film uses her arrival to offer another travel sequence, this time more diegetically bound, as the traveler makes her way to her lodgings…. The travelogue highlights the sorts of monuments and landscapes one would see in a travel guide.
Again, all I heard about is arriving at the Rembrandt Hotel. My guess is that the trip from the boat or train to the hotel did not pass significant landmarks, or that the travelers were too jet-lagged to notice. The one comment I did get is that my mother found the English countryside disappointing.
4. The Rationale: The film will need to offer the American’s presence in Europe…. A wish for self-discovery, reinvention, or renewal is explicitly mentioned.
Ok, so what struck me is the need to have a rationale to go to Europe. Now a days, it seems that going to Europe is the automatic thing to do if you’ve gone to a decent college, although such ideas are changing–with a more global (non-Western) emphasis in the post-college trip. In terms of our travelers, it seems that the European tour was also “the thing to do” if one went to Vassar. I’m guessing that the Western culture oriented curriculum, along with the opening up of tourism after the war led to this; however, I find our four protagonists to be particularly plucky here–going to Europe when pretty much the majority of tourists were military men or business men.
5. Local Rituals: The American partakes in some sort of local ritual, … that allows her to mix with the local people … and highlights her difference from home.
Again–must find out more about this. I seem to hear mainly about food–about only being able to eat sausage and kartoffel in Austria and Germany. Although I guess the fancy lunch at Madame de la Noue’s in Paris comes the closest to a local tradition. But I think that, essentially, they didn’t need this experience per se, as they already had friends and contacts in Europe.
6. Class Mobility: The American moves freely and sometimes obliviously among the old and fixed European families, mixing with aristocratic families and street urchins with equal ease.
I would give this a qualified “yes.” Definitely true about the aristocracy, given tea with the Queen of Iraq and lunch with the de la Noues’; however, I did not hear anything about street urchins.
7. The Locals: Regardless of socioeconomic status, the local population is deferent to the Americans. The locals are often presented as children, regardless of their age.
Ok, so not true of our travelers in terms of thinking of the Europeans as childlike. However, there were moments of deference. Maria saw this more with the Germans and Austrian border officials and similar people, who had been brought low at the end of the war and so were a bit wary and shy about how tourists would respond to them.
8. The Romantic Relationship: A romantic relationship is quickly established between characters of the Old World and those of the New World.
Well, haven’t heard much about this, but it’s likely that some were created eventually, although not “quickly”. I did hear that Carmen had at least one proposal of marriage during this trip, and that there was an “adventure” with her and another man in Europe after the trip (details remain vague), as there was, after the trip with Maria. So, perhaps “toujours l’amour”. And it is now time for me to confess that my first romantic kiss was in Anzere Switzerland from a very cute Swiss guy named Gilbert in 1972, when I was 16. The de la Noues’ (my hosts) were not happy, since he was the son of their cleaning woman. My mother sent me to Europe to learn to be more sophisticated and cultivated–maybe that worked, but I also came back with my first experiences with whiskey, cigarettes, and kisses experiences.
9. The Declaration of Difference: The American character realizes, and often says or has said to her, that what is happening now could not have happened at home… that the folks back home would not longer recognize her. This moment may be celebratory, or alienating, or both in turn.
Well, I would definitely like to know if our travelers had this experience!
10. The Decision: The American is forced to choose between romantic relationships or not, or to choose between lovers. The decision is almost always framed, at least in part, as a decision between returning home or staying in Europe, or between American values and European values. The main character chooses the path associated with American.
Factoring out the romantic part, and, of course, the fact that three of them were not Americans, it’s interesting that these women essentially chose both or neither. Carmen went back to Cuba, but kept returning to Europe, Maria Teresa stayed in Europe for a while to run a refugee camp, but eventually married an American; Anisa continued her education in America, but went back to Iraq; however, more recently she settled in London. Only Joan–the only American–seems to have unequivocally chosen to return to the States. It does make me think about my mother’s one articulated concern about my one-year trip to France in 1979-80 to study at the Institut Catholique de Paris—the concern that I might fall in love, marry, and end up living a continent away. But no runaway romance for me that year–just some great friendships.
11. The Transformation: The American has been transformed by these events, almost invariably becoming stronger, wiser, and more independent.
I’d love to hear about this as well. What I can say is that these women were already pretty strong and independent before they went to Europe, and smart as well; whether that constitutes “wise,” I don’t know, and whether they became wiser in Europe, I don’t know as well.
12. The Departure: The film almost always ends with a departure scene or a scene in which departure is decided upon. The tour of the Old World will come to an end, and the American will return home.
Well, it’s true, but only sort of, of this group, given the spotty and liesurely way that they went back to their old homes. Ironically, the only one who fits, at least for a while, is the least American (the Cubans at least lived 90 miles from the United States), Anisa, who left the trip first to get her Master’s in Political Science at Columbia University. Then, Joan returned, while Carmen and Maria stayed on and one with clearly no immediate interest in returning to the American continent.
Overall: with a bit more romance, this would make a great movie!
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