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Hello! I’m Enzo and my favourite color is yellow.
I am a third-year Bachelor of Media (international) student at UNSW Sydney, majoring in Communication & Journalism. I create outputs at the intersection of international affairs, entrepreneurship, and the creative arts to uplift communities I'm part of.
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Ross Malinger and Tom Hanks in a scene from “Sleepless in Seattle.” (Courtesy of Sony Pictures)
Reimagining High-Concept Cinema: How Sleepless in Seattle Redefines the Genre
Submitted to:
University of New South Wales
Sam Baldwin (Hanks):
It was a million tiny little things that, when you added them all up, they meant we were supposed to be together, and I knew it. I knew it the first time I touched her. It was like coming home, only to no home I’d ever known. I was just taking her hand to help her out of a car and I knew it. It was like magic.
HIGH-CONCEPT FILMS are often recognized by their sleek, polished, and visually striking cinematic style. Movies like The Terminator (1984), Avatar (2009), Jurassic Park (1993), and the Star Wars franchise (1977-1983) exemplify this futuristic, technology-driven aesthetic that sets high-concept films apart from other genres. However, Wyatt’s definition of high-concept films invites us to explore the 'high-concept value' in genres that diverge from this common thread. In this essay, I examine Nora Ephron’s romantic-comedy hit Sleepless in Seattle (1993) and argue that it qualifies as a high-concept film by analyzing its star power, marketing hooks, music and soundtrack choices, and the iconic imagery that distinguishes it from other romantic comedies of its time. To develop my analysis, I will also discuss key similarities and differences between romantic comedies from the classical Hollywood era, focusing on George Cukor’s The Philadelphia Story (1940). This exploration reveals how elements of modern high-concept films trace their roots to the early days of classical Hollywood as it evolved into a profit-driven institution.
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Wyatt emphasizes that high-concept films rely heavily on the visual representation of their stars and music as marketable elements in advertising. A star-studded cast is crucial to the success of a high-concept film. Casting Tom Hanks and Meg Ryan in Sleepless in Seattle was a deliberate move by Ephron to maximize the film’s marketing appeal. Both actors were already established in the romantic-comedy genre, with films like Splash (1984), Big (1988), and When Harry Met Sally (1989) cementing their roles in the genre. The pairing of Hanks and Ryan in Sleepless was so successful that they reunited in You’ve Got Mail (1998). Although You’ve Got Mail didn’t reach the same heights as Sleepless, Ephron’s choice to cast actors who had already proven themselves as reliable box-office draws is a key factor in categorizing her work as high-concept.
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Moving forward, Wyatt argues that a high-concept film must showcase an 'excess' through pre-sold elements that enhance the narrative when words and phrases alone aren’t enough. One such excess in Sleepless is its music and soundtrack. The film opens with Jimmy Durante’s rendition of As Time Goes By, a song famously featured in Casablanca (1942). By using this pre-sold element from a classic romantic tragedy, the film foreshadows an interplay of romance, comedy, and the emotional struggles of its protagonist. As David Bordwell notes, "Credit sequences are important narrational gestures”. These extra-fictional passages often present information in a highly self-conscious and omniscient manner. Sleepless is rich with jazz and crooner music, transporting audiences into a romantic, nostalgic atmosphere. Songs like Makin’ Whoopie by Dr. John featuring Rickie Lee Jones, Sometimes I Wonder by Nat King Cole, and the memorable Make Someone Happy by Jimmy Durante create a cohesive musical experience that harkens back to the classical romantic film era. When Sam and Annie finally meet at the Empire State Building, Durante’s Make Someone Happy plays, suggesting they have found the missing piece in each other.
Meg Ryan, Ross Malinger and Tom Hanks. (Courtesy of Sony Pictures)
Beyond its extensive use of music, the film is filled with references to classic romantic films, most notably Leo McCarey’s An Affair to Remember (1957) starring Cary Grant, who also appears in our classical Hollywood example. In Sleepless, Meg Ryan’s character Annie and her best friend Becky, played by Rosie O'Donnell, frequently quote lines from the 1957 film as they discuss their romantic dilemmas—“Think Cary Grant!”, Becky advises Annie. Moreover, the much-anticipated scene where Sam and Annie finally meet is set against the backdrop of the Empire State Building, mirroring the climactic scene in An Affair to Remember. This strategic borrowing of narrative elements from successful films enhances the marketability and profitability of Sleepless.
Theatrical Release Poster. (Courtesy of Sony Pictures)
While Sleepless borrows from other classics, its unique style sets it apart from other romantic comedies of its time, giving Ephron’s work a distinctive flair. Unlike films such as Pretty Woman (1990), Jerry Maguire (1996), and Notting Hill (1999), where the couples are shown together throughout the film as their relationships develop, Sam and Annie share only two scenes in Sleepless where they appear in the same frame. Yet, we still root for their love story. Annie falls in love not with Sam’s physical presence but with the 'idea of Sam’. This is where Ephron turns a famous aphorism into a creative and profitable output. Sleepless offers a refreshing escape from the superficialities that often define romantic comedies, challenging audiences to reconnect with their more fantastical notions of romance. The film effectively markets this concept, as seen in the movie’s poster design, which shows Tom Hanks and Meg Ryan facing opposite directions, looking into the distance, yet suggesting they are each other's destined match.
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On the marketing front, Ephron’s team made the savvy decision to postpone the film’s release from March to June, avoiding direct competition with Indecent Proposal (1993) and allowing more time to perfect the film’s promotional materials. The decision to hold sneak previews in 750 theaters the Saturday before the film’s release heightened pre-release buzz.
James Stewart, Cary Grant, and Katharine Hepburn in a scene from “The Philadelphia Story”. (Courtesy of MGM)
To further my analysis, I will discuss another romantic-comedy from the classical Hollywood era—George Cukor’s The Philadelphia Story (1940)—and its key similarities with Sleepless in Seattle.
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Staying true to the high-concept’s reliance on pre-sold elements, The Philadelphia Story was adapted from a hit Broadway show before its nationwide release, establishing a fan base and niche market. MGM spared no expense in securing the biggest stars of the era—Katherine Hepburn, Cary Grant, and James Stewart—and prominently featured their names and faces in every poster and billboard. The film also borrows key elements from other classics, such as James Stewart’s character Macaulay singing Somewhere Over the Rainbow, a song popularized in The Wizard of Oz (1939), the film that revolutionized Hollywood just a year before The Philadelphia Story's release.
Like Sleepless in Seattle, The Philadelphia Story shares a similar plot trope. The protagonist is already engaged but finds herself yearning for something more magical—in Tracy Lord’s case, rekindling her romance with her ex-husband C.K. Dexter Haven. The film’s setting among upper-class socialites was a novel concept for many audiences at the time, offering a glimpse into a world far removed from that of the average moviegoer. Yet, instead of portraying socialites as snobbish or corrupt, Katherine Hepburn’s character is shown as a complex and relatable figure, desiring love rather than worship. Though such narratives are common today, humanizing the rich and powerful in film was revolutionary in its time.
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In conclusion, this analysis has shown how high-concept films draw direct inspiration from classical Hollywood, a time when cinema was still a nascent medium but already a significant cultural force. Both classical Hollywood and high-concept films are driven by economic incentives, yet they strive to establish unique artistic styles that can inspire future productions and cement their place as timeless classics.
Notes
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Justin Wyatt, 'Chapter 2: Construction of the Image and the High Concept style', High Concept, Austin, TX: University of Texas Press, 1994, pp. 23-64.
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Justin Wyatt, 'Chapter 6: Conclusion: High Concept and the Course of American Film History: High Concept and the Course of American Film’, High Concept, Austin, TX: University of Texas Press, 1994, 188-202.