Bridget Jones (Renee Zellweger) will be the first to tell you she is a total mess. Her love life is nothing to envy, her eating habits are atrocious, and she is convinced she will die alone eaten by wolves in her tiny flat. To say Bridget is a bit on the hysterical side is an understatement. She is a woman seduced by drama, as can be the only explanation for her ill-thought affair with the cad Daniel Cleaver (Hugh Grant). But she is also a woman who fervently wants to love and be loved. So when she finally realizes she doesn’t love Daniel but actually loves her snobby childhood neighbor, Mark Darcy (Colin Firth), it might just be the dream match. Too bad for her he’s moved to America to be with his perfect supermodel-esque girlfriend.
Luckily for our girl Bridget, Mark changes his mind and greets her outside said tiny flat with a proposal she cannot refuse. But once they step inside and she excuses herself to freshen up, Mark finds her diary and reads the multiple entries written about his deplorable behavior. When she returns to the room, Bridget finds Mark’s gone. What’s a sensible woman to do? Of course run out in the snow with just a robe and knickers to find the man of her dreams (who just stepped out to buy her a new journal so they can begin a new chapter in their lives). Swoon, and scene.
2. Love Actually
Oh, the scene that launched a thousand swoons. Almost nothing can top Mark’s (Andrew Lincoln) big love declaration to Juliet (Keira Knightley) via cue-cards accompanied with caroler music. The final one punctuating his entire message that despite how much he loves her he knows that she cannot be his. To Mark, Juliet is perfect. And to me, so is this scene.
1. Notting Hill
Woo, take a deep breath everyone. This has been a long journey and you have all been such good company. Here is the scene we’ve all been waiting to argue over, the most romantic moment committed to film (according to my complete bias): Anna Scott’s (Julia Roberts) attempt to win William Thacker (Hugh Grant) back. She wants nothing more than his love and for him to love her in return, but acknowledges that he has a right to want nothing to do with her. While she is “just a girl, standing in front of a boy, asking him to love her” he is too scared to admit he’s still loves her. This is the moment other romantic films wish they could have.
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