What is the factor that takes something from being an excellent film to a masterwork that endures through generations? Normally, I’d argue innovation and subversion are the main ways that most of the greatest films of all time have upheld their reputation. Yet, this isn’t always the case, as many films (including the subject of this review) are able to be effective and brilliant without being too experimental, but rather remaining simple and straightforward, understanding its limitations and embracing them unequivocally. A film that I feel demonstrates this point with extreme clarity is Moonstruck, one of the most beloved romantic comedies ever made, and a nostalgic piece of 1980s filmmaking that has persisted today with the same refreshing simplicity that made it such a success over thirty years ago. The film is well aware of the shortcomings that come part and parcel with the genre, and instead of trying to be too unique, Moonstruck remains delightfully undemanding and sincere. It may initially appear to be another example of overly-sentimental 1980s romantic comedy, but it exceeds its temporal moment with affectionate humor and a candid representation of love that looks beyond where it is situated in time, continuing to resonate with audiences today.

Loretta Castorini (Cher) is a 37-year-old widow who works as a bookkeeper in New York City. Her husband had been unfortunately killed in an accident seven years before, but Loretta has since moved on, with her boyfriend Johnny (Danny Aiello) proposing marriage to her, to which she accepts. While in Sicily to visit his ailing mother, Johnny requests that Loretta contact his estranged brother, Ronny (Nicolas Cage) to invite him to the wedding. What starts as an antagonistic and over-dramatic moment between the two eventually and unintentionally spirals into a passionate love affair, with Loretta constantly trying to resolve to end any feelings between the two, only to have Ronny’s brutal charms get in the way of all logical thought. Soon, Loretta finds herself in conflict, not aided in any way by her parents, Rose (Olympia Dukakis) and Cosmo (Vincent Gardenia), who are not particularly fond of Johnny, nor of their daughter’s intention to marry him. Johnny represents safety and reliability, Ronny represents excitement and youthful lust – both are the embodiments of contradictory desires in our heroine, who has to find it within herself to not only do what is right but also what she hopes will make her happy.

Despite being one of the most endearing and adored entertainment icons of all time, Cher’s singing career has heavily eclipsed her acting, which is a shame, considering that she is one of the rare cases of someone who is able to effectively use her talents in both performance areas with equal brilliance. Moonstruck is one of her most iconic performances, and it was perhaps the one that defined her as an actress (obviously resulting in her much-deserved Academy Award for Best Actress, one of the more inspired winners in this category). I found her to be marvellous in this film, playing the character of Loretta, who goes from being frumpish widow to a glamorous, desirable woman (the effectiveness of this “transformation”, in retrospect, needs to be re-examined, but we need to consider this film as a product of its time), and finding her own self-worth through her realization that she does not need to be simply an object of desire, but also a fiercely independent woman who does not need the gratification or approval from anyone. In essence, when watching Moonstruck, it is easy to forget that this reserved, insecure woman is being played by perhaps the embodiment of glamour and enchantment. This is not Cher the singer appearing in a film – this is Cher the actress giving one of her finest performances, being able to convey the inner turmoil of this ordinary character with dynamic brilliance, showing off a set of skills that was unexpected but extraordinarily believable. Perhaps not the redefinition of a romantic comedy heroine, Cher’s performance is nonetheless remarkable, with her restraint and sensitive attention to capturing the essence of this character working together to allow her portrayal of Loretta to be almost revelatory.

However, regardless of how remarkable Cher was, Moonstruck is not carried entirely by her, and when we look at the rest of the cast, we see some equally terrific performances. Nicolas Cage is at his most excessive here, using his natural knack for dramatic hysteria to play a rough Brooklyn baker with a heart of gold, driven by emotion rather than logic. Cage’s career has been defined – for better or worse – for his portrayal of eccentric, unhinged characters, and while his performance here may be considered gaudy or garish in comparison to some of the most subtle performances, he is nonetheless terrific. Perhaps his performance as Ronny does lack some nuance, but it is still a fascinating early performance by one of cinema’s most strange leading men. Olympia Dukakis, a tremendous character actress, gives a magnificent performance as Loretta’s mother, and she perfectly captures the essence of who her character is supposed to be – she is a loving housewife, but far from someone submissive. Her performance is subtle but effective, and it fits in well with the film. The other great character actor who appears in this film is Vincent Gardenia, who made his own career out of playing these stuffy, slightly awkward, middle-aged, working-class everymen, and he’s great here. While his character doesn’t have the same dedicated focus that others did, Gardenia is excellent, finding the honesty in an imperfect individual. Moonstruck has a great ensemble, and through their simple but effective performances, they interpret story wonderfully. However, I do need to admit that I found the characterization of some of the supporting characters to be somewhat shallow – we have a great ensemble, but only Cher and Cage are given something substantial to do, with the other characters not getting much attention, despite being constructed as being complex and interesting. It is a film that begins as a strong character-driven piece but seems to lose its way when it becomes too preoccupied with the romantic aspect of the story. A bit more attention to the secondary characters would’ve given Moonstruck an added boost that I felt it needed.

I found Moonstruck to be a great film because of what it represented – it is about an ordinary working-class Italian family, and as anyone who grew up in a household that has such powerful cultural values (not necessarily Italian, but any culture which informs the lives of the individuals within the family unit) will tell you, there is a certain realism present throughout this film. Affectionately mocking without ever being cruel, Moonstruck has the same attention to the culture, whether it be in the background of these characters, or the Catholic imagery present throughout – screenwriter John Patrick Shanley seems to imbue this film with many references to faith, which could be seen as him drawing upon his own upbringing in a Catholic family in New York City. Moonstruck is not only an effective film, it is also one that is profoundly moving due to the clear personal connection between the artist and the work. The director of the film, Norman Jewison, bring his own idiosyncratic vision to interpreting Shanley’s screenplay, and his remarkable prowess at extracting extraordinary performances from his actors, as well as his simple approach, makes Moonstruck quite a tremendous film, and a deeply personal and honest work that exceeds its genre specifications.

Moonstruck seems to be a film that is very easy to criticize for various reasons, but I would argue that those reasons that are privy to complaint actually constitute what makes this such a remarkable film. I’ve heard this film be negatively-labeled as “simple”, and while this point is not entirely untrue, the simplicity of the film is possibly its biggest merit. It doesn’t attempt to be unnecessarily deep or profound in its execution, and the candid story works in conjunction with the theatrical background of the writer to present something that is void of any unnecessary moments. It is far too easy to take these kinds of films into the realm of the unrealistic for the sake of artistic merit, so it is refreshing to see something so grounded. Moonstruck may not be the most innovative romantic comedy of the era, but it has an undeniable elegance that is difficult to reproduce, and it presents fully-realized characters that may not be particularly likable, but they are certainly presented in a way that is honest. Perhaps my only problem with Moonstruck is that it is far too formal – it seems to not realize the fun that it can possibly have with this premise, and while it is a sweet, heartwarming film with some very funny moments, perhaps some more self-awareness, whether in narrative or execution, could’ve allowed for this film to be more effective. Perhaps not outrageously funny, but definitely amusing, Moonstruck succeeds at being a really warm, welcoming romantic comedy that doesn’t take itself too seriously.

As a whole, Moonstruck is a delight. A heartwarming comedy that is a great romantic story, as well as a meaningful ode to family and culture. It is a sophisticated, delicate film and one of the most quintessential 1980s romantic comedies that would inspire countless more films of its kind, as well as inviting subversion of the reliable formula it proudly uses her. The film has a great cast, with Cher and Olympia Dukakis being particularly noteworthy, with their honest performances being far more moving than they could’ve been. Moonstruck is not without its flaws, but it is an entertaining film that makes powerful statements to the allure of romance and the importance of family in a way that is stark but never excessive. It may not be a film that redefined the genre, but it provides new energy as well as unrivaled compassion to this simple but meaningful story, which allows Moonstruck to enter into the hallowed halls of great romantic comedies, earning a reputation as a pinnacle of the genre that it truly deserves.