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Genre: Comedy. Harry and Sally meet when she gives him a ride to New York after they both graduate from the University of Chicago. The film jumps through their lives as they both search for love, but fail, bumping into each other time and time again. Finally a close friendship blooms between them, and they both like having a friend of the opposite sex. But then they are confronted with the problem: "Can a man and a woman be friends, without sex getting in the way?". creator: Nora Ephron. Casts: Carrie Fisher. directed by: Rob Reiner. 95M.

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When Harry Met Sally. free download software. Synopsis During their travels from Chicago to New York, Harry and Sally Will debate whether or not sex ruins a perfect relationship between a man and a woman. Eleven years and later, theyre still no closer to finding the answer. Original title When Harry Met Sally. IMDb Rating 7. 6 163, 482 votes TMDb Rating 7. 3 1181 votes.

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When harry met sally... free download version. YouTube. All, Celebrity, 07. 12. 2019, 13:40 People Special Edition ? When Harry Met Sally (2019) 1 / 1 All the content is for demonstration only, we do not store the files and after reading you we ask you to buy a printed version of the magazine. You may also like. Jennifer have better body. For Nick Introduction by Nora Ephron This screenplay has my name on it, but it was very much a collaboration, and before I write a word about the movie itself, I want to write about how it got started. It began in October 1984, when I got a call from my agent that Rob Reiner and his producing partner Andrew Scheinman wanted to have lunch to discuss a project. So we had a lunch, and they told me about an idea they had for a movie about a lawyer. I've forgotten the details. The point is, it didn't interest me at all, and I couldn't imagine why they'd thought of me in connection with it. I remember being slightly perplexed about whether to say straight off that the idea didn't interest me or whether to play along for an hour so as not to have that horrible awkwardness that can happen when the meeting is over but the lunch must go on. I decided on the former; and we then spent the rest of the lunch talking about ourselves. Well, that isn't entirely true: we spent the rest of the lunch talking about Rob and Andy. Rob was divorced, and Andy was a bachelorâ??and they were both extremely funny and candid about their lives as single men in Los Angeles. When the lunch ended, we still didn't have an idea for a movie; but we decided to meet again the next time they were in New York. And so, a month later, we got together. And threw around some more ideas, none of which I remember. But finally, Rob said he had an ideaâ??he wanted to make a movie about a man and a woman who become friends, as opposed to lovers; they make a deliberate decision not to have sex because sex ruins everything; and then they have sex and it ruins everything. And I said, let's do it. So we made a deal, and in February, Andy and Rob came back to New York and we sat around for several days and they told me some things. Appalling things. They told me, for instance, that when they finished having sex, they wanted to get up out of bed and go home. (Which became: HARRY: ¡ÈHow long do I have to lie here and hold her before I can get up and go home? Is thirty seconds enough? â?üü How long do you like to be held afterwards? All night, right? â?üü Somewhere between thirty seconds and all night is your problem. ¡É SALLY: ¡ÈI don't have a problem. ¡É) They told me about the endless series of excuses they had concocted in order to make a middle-of-the-night getaway. (SALLY: ¡ÈYou know, I am so glad I never got involved with you. I just would have ended up being some woman you had to get up out of bed and leave at three o'clock in the morning and go clean your andirons. And you don't even have a fireplace. Not that I would know this. ¡É) They also told me that the reason they thought men and women couldn't be friends was that a man always wanted to sleep with a woman. Any woman. (HARRY: ¡ÈNo man can be friends with a woman he finds attractive. He always wants to have sex with her. ¡É SALLY: ¡ÈSo you're saying a man can be friends with a woman he finds unattractive. ¡É HARRY: ¡ÈNo. You pretty much want to nail them, too. ¡É) I say that these things were appalling, but the truth is that they weren't really a surprise; they were sort of my wildest nightmares of what men thought. Rob and Andy and I noodled for hours over the questions raised by friendship, and sex, and life in general; and as we did, I realizedâ??long before I had any idea of what was actually going to happen in the movie itselfâ??that I had found a wonderful character in Rob Reiner. Rob is a very strange person. He is extremely funny, but he is also extremely depressedâ??or at least he was at the time; he talked constantly about how depressed he was. ¡ÈYou know how women have a base of makeup, ¡É he said to me. ¡ÈI have a base of depression. Sometimes I sink below it. Sometimes I rise above it. ¡É This line went right into the first draft of the movie, but somewhere along the line Rob cut it. A mistake, I think, but never mind. Here's another from Rob on his depression: ¡ÈI think I'm not ready for a relationship. When you're as depressed as I am â?üü If the depression was lifted, I would be able to be with someone on my level. But it's like playing tennis on a windy day with someone who's worse than you are. They can do all right against you, they can win a couple of games, but there's too much wind. You know what I mean? ¡É I have no idea what Rob was talking about, but as I wrote those words in my notebook I knew that I would use the lines somehow. And I did, and they were cut, and it was a mistake, and never mind. The point is that Rob was depressed; but he wasn't at all depressed about being depressed; in fact, he loved his depression. And so does Harry. Harry honestly believes that he is a better person than Sally because he has what Sally generously calls a dark side. ¡ÈSuppose nothing happens to you, ¡É he says in the first sequence of the movie. ¡ÈSuppose you live there [New York] your whole life and nothing happens. You never meet anyone, you never become anything, and finally you die one of those New York deaths where nobody notices for two weeks until the smell drifts out into the hallway. ¡É Harry is genuinely proud to have thought of that possibility and to lay it at the feet of this shallow young woman he is stuck in a car with for eighteen hours. He is thrilled to be the prince of darkness, the master of the worst-case scenario, the man who is happy to tell you, as you find yourself in the beginning of a love affair, that what follows lust, inevitably, is post-lust: ¡ÈYou take someone to the airport, it's clearly the beginning of a relationship. That's why I've never taken anyone to the airport at the beginning of a relationshipâ?üü. Because eventually things move on and you don't take someone to the airport, and I never wanted anyone to say to me, â??How come you never take me to the airport anymore? ¡É So I began with a Harry, based on Rob. And because Harry was bleak and depressed, it followed absolutely that Sally would be cheerful and chirpy and relentlessly, pointlessly, unrealistically, idiotically optimistic. Which is, it turns out, very much like me. I'm not precisely chirpy, but I am the sort of person who is fine, I'm just fine, everything's fine. ¡ÈI am over him, ¡É Sally says, when she isn't over him at all; I have uttered that line far too many times in my life, and far too many times I've made the mistake of believing it was true. Sally loves controlâ??and I'm sorry to say that I do too. And inevitably, Sally's need to control her environment is connected to food. I say inevitably because food has always been something I write aboutâ??in part because it's the only thing I'm an expert on. But it wasn't my idea to use the way I order food as a character trait for Sally; well along in the processâ??third or fourth draft or soâ??Rob and Andy and I were ordering lunch for the fifth day in a row, and for the fifth day in a row my lunch orderâ??for an avocado and bacon sandwichâ??consisted of an endless series of parenthetical remarks. I wanted the mayonnaise on the side. I wanted the bread toasted and slightly burnt. I wanted the bacon crisp. ¡ÈI just like it the way I like it, ¡É I said, defensively, when the pattern was pointed out to meâ??and the line went into the script. But all that came much later. In the beginning, I was more or less aloneâ??with a male character based somewhat on Rob, and a female character based somewhat on me. And a subject. Which was not, by the way, whether men and women could be friends. The movie instead was a way for me to write about being singleâ??about the difficult, frustrating, awful, funny search for happiness in an American city where the primary emotion is unrequited love. This is from my notes, February 5, 1985, Rob speaking: ¡ÈThis is a talk piece. There are no chase scenes. No food fights. This is walks, apartments, phones, restaurants, movies. ¡É Also from my notes, Rob again: ¡ÈWe're talking about a movie about two people who get each other from the breakup of the first big relationship in their lives to the beginning of the second. Transitional on some level. Who are friends, who don't have sex, who nurse each other and comfort each other and talk to each other and then finally do it and it's a mistake and recover from it and move into second relationships. ¡É Here's a scene from the first draft; it bit the dust early, too self-conscious, but I toss it in partly because I can't stand to waste anything, and partly because it perfectly sums up the movie I was trying to write: SALLY Â?Â?Â?Â?I think we should write a movie about our relationship. HARRY Â?Â?Â?Â?What's the plot? SALLY Â?Â?Â?Â?There are only two plots. The first is, an appealing character strives against great odds to achieve a worthwhile goal, and the second is, the bluebird of happiness is right in your own backyard. We're the first. HARRY Â?Â?Â?Â?An appealing characterâ?? SALLY Â?Â?Â?Â? Two appealing characters strive against great odds to achieve a worthwhile goal. Two people become friends at the end of the first major relationship of their lives and get each other to the next major relationship of their lives. HARRY Â?Â?Â?Â?I don't know anything about writing movies. SALLY Â?Â?Â?Â?Neither do I. HARRY Â?Â?Â?Â?But on the face of itâ??I don't want to be negative about itâ?? SALLY Â?Â?Â?Â?Sure you do. You love being negative, it's who you are, emb
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Sometimes it doesn't come at all I only know that when I'm in it It isn't silly, no, it isn't silly, love isn't silly at all. These words, from Paul McCartney's 'Silly Love Songs' seem to me to be a very accurate description of the theme of 'When Harry Met Sally. This iconic romantic comedy, written by Nora Ephron, is, for me, one of the most insightful comments on the place of love in the post-60s world. It charts the way that acquaintance can turn into friendship and then into love. Harry (Billy Crystal) encounters Sally (Meg Ryan) on a long car journey during which they both seem to decide that the other is obnoxious in one way or another. Their path to love is funny, totally engaging and ultimately unforgettable. One of the greatest - no THE greatest - characteristic of the cinema is its ability to access our deepest emotions. How many times do we weep cathartically in our normal lives - most of us, not many. Yet there are dozens of films that induce just this kind of reaction. How many times do we laugh so much that we ache - very rarely outside a cinema, but often within. How many times are we so scared that we cannot move - almost never in life, but often in the cinema. And these emotions cannot be accessed in the same way through any other art. And there are laughs and tears galore in 'When Harry Met Sally. Why? Because we really *care* for these kooky characters, and the love that they find has a kind of purity that our loves struggle to emulate. For some people (and I feel sorry for them) films that induce a warm feeling of pleasure are sentimental and worthless. They should avoid this film as it might undermine their sterile cynicism. But if you trust your emotions and regard them as your greatest asset, When Harry Met Sally' will be one of the most worthwhile films of the modern era.

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