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The love of your life isn't always the one you marry. This becomes the central focus of Guy Jamieson's thoughts when he is plagued by memories on his wedding day. As he wanders around at his own wedding reception, Guy recalls the warm and funny Jenny, with whom he had a long-term de facto relationship.
Notes
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The promotional trailer for this film is available to view via YouTube: http://www.youtube.com/watch?v=ij97h3cRtJs (Sighted: 24/10/2012)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Marriage, Romance and Mourning Movement in Cherie Nowlan’s Thank God He Met Lizzie
2014
single work
criticism
— Appears in: Journal of Popular Romance Studies , vol. 4 no. 2 2014;'Through a close analysis of Thank God He Met Lizzie, a rare example of an Australian romantic comedy/drama, this article demonstrates the central place of loss that still maintains an important role at the centre of contemporary marriage. Expanding on notions of male melancholia that were central to gender representation and desire in 1990s cinema, this article argues that the audience experience of grief in watching the film is dominated by a strong perception of an inevitable compulsion towards an unbreakable stasis in marital relationships increasingly devoid of love and intimacy. Formally and thematically expressed, what is seen as lost in this film is not only the truth and intimacy of romantic love, but the capacity for change and movement that it requires.'
Source: Publisher's blurb.
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Marriage, Romance and Mourning Movement in Cherie Nowlan’s Thank God He Met Lizzie
2014
single work
criticism
— Appears in: Journal of Popular Romance Studies , vol. 4 no. 2 2014;'Through a close analysis of Thank God He Met Lizzie, a rare example of an Australian romantic comedy/drama, this article demonstrates the central place of loss that still maintains an important role at the centre of contemporary marriage. Expanding on notions of male melancholia that were central to gender representation and desire in 1990s cinema, this article argues that the audience experience of grief in watching the film is dominated by a strong perception of an inevitable compulsion towards an unbreakable stasis in marital relationships increasingly devoid of love and intimacy. Formally and thematically expressed, what is seen as lost in this film is not only the truth and intimacy of romantic love, but the capacity for change and movement that it requires.'
Source: Publisher's blurb.
