When Harry Met Sally...

It's a masterpiece.

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Directed By: Rob Reiner
Other Notable Films From Reiner: Misery, Stand By Me, The Princess Bride
Starring: Billy Crystal, Meg Ryan, Carrie Fisher, Bruno Kirby
Screenplay By: Nora Ephron
Movie Synopsis: Two very charismatic longtime friends realize they’ve loved each other for more than a decade.
Signature Line: “I’ll have what she’s having.”

THE INTRODUCTION
An accounting of time, and people, and context

Here’s the recipe for how to make a perfect rom-com, and it’s simple:

Firstly, you need a writer. But not just any writer. You need a writer who understands the intricacies and the dynamics of interpersonal relationships, both romantic and otherwise, in a way few people ever have. You need a writer who can craft dialogue so insightful that it feels like you’re getting an X-ray of someone’s psyche, but also that dialogue has to feel completely natural.

After that, you need a director. But not just any director. You need a director who specializes in character studies, who can turn a person inside out and present an audience with their most compelling parts. Also, the director needs to have such little ego that the only thing they care about is the movie being as true and real and nuanced as possible, without ever compromising any of that in service of their own profile.

After that, you need the stars. But not just any stars. They can’t just be charismatic, and funny, and earnest, and smart, and compelling. They have to be all those things IN ADDITION to complementing one another. They have to feel like they’ve known each other forever, but also like they’re meeting for the first time. They have to feel like their relationship was preordained by the cosmos, but also like they alone are wholly responsible for discovering it. They have to feel like fully-formed and realized individuals, but also like the only life that could ever have made them happy is one they share together.

And then you need the perfect cinematography (warm lighting, wide shots, rich-but-not-saturated), and the perfect music (romantic without ever being saccharine), and the perfect editing (patient without ever being slow), and the perfect setting (some distinct city in the fall), plus the perfect wardrobes (big sweaters and big hats!).

That’s it. That’s all you need. That’s how you make a perfect rom-com.

That’s how Nora Ephron, Rob Reiner, Meg Ryan, Billy Crystal, and the rest of the team behind When Harry Met Sally made When Harry Met Sally.

Simple, right?

THE VIEWING
A timestamped rewatch of When Harry Met Sally

2:35: All throughout When Harry Met Sally, we get these interstitials where different couples who’ve been together for decades recount how they came to be married. I can’t wait to do one of these with Larami one day. We’re just gonna be two super old people, all wrinkled and grey, and I’m sitting there in my nicest ready-to-die suit telling everybody about how I fell in love with her in the spring of 2000 when I walked into a night club and saw her twerking in a handstand to a “I Need A Hot Girl” by the Hot Boys.

4:58: Billy Crystal and Meg Ryan are here. Crystal plays Harry, an extremely charming cynic, and Ryan plays Sally, an extremely charming optimist. And let’s just go ahead and get this stated immediately: Regardless of whether or not you think When Harry Met Sally is the best and most important rom-com of all time (it is, by the way), it’s inarguable that these two are the best rom-com couple to have ever existed. There’s nobody above them. Not one single pair. They are absolutely, positively, unquestionably perfect together.

4:59: P.S. The movie follows Harry and Sally on their 12-year-long journey toward becoming a couple. Here, they’re meeting for the first time to carpool from the University of Chicago to New York. And I can’t imagine too many things worse than meeting someone for the first time and then immediately driving across the country with them. I don’t even like being in a car with somebody I like. Being in a car with someone I’ve never even met before sounds like true torture.

5:23: This wig is ridiculous, by the way. It’s supposed to make Billy Crystal look younger (Harry’s a new college graduate here; Crystal was about 40 at the time of filming), but it makes him look like he’s 60. He might as well have thrown on Christopher Lambert’s Raiden wig from Mortal Kombat.

6:51: Sally and Harry are arguing about the ending of Casablanca. Harry says that Humphrey Bogart’s character is the one who had the idea for Ingrid Bergman’s character to get on the plane and leave him. Sally argues the opposite. And I mention that to say two things here:

1. It’s really hard for characters in movies to talk about other characters in movies without it sounding forced and/or fake. Crystal and Ryan nail it perfectly here, though. It feels like a real conversation happening between two real people. And to that point…

2. Meg Ryan is so fucking good in this movie. You know how there are certain players who just fit right with a specific kind of coach? Michael Jordan was perfect for Phil Jackson; Tim Duncan was perfect for Gregg Popovich; A’ja Wilson is perfect for Becky Hammon; so on and so forth. That’s how Meg Ryan is with Nora Ephron’s writing. Ryan just has this electric rat-a-tat-iness to her delivery that goes perfectly with Ephron’s dialogue. She always sounds cool, but never like she’s trying to sound cool, you know what I mean? Right here, for example, when she’s making the case that Ingrid Bergman’s character had the idea to leave at the end of Casablanca, she says, “Women are very practical, even Ingrid Bergman, which is why she gets on the plane at the end of the movie.” It’d have been real easy to make a meal of that moment, but she just sort of breezes through it in a way that makes it feel like a genuine thought she’s in the middle of having. It’s wonderful. Meg Ryan was typically great in everything. But she’s all-caps EXCEPTIONAL in this.

8:24: Imagine your name is Sheldon and you took a woman on a date to see When Harry Met Sally opening weekend. You’re sitting there having a great time with your snacks wearing your nice pants and whatnot, and then all of a sudden you catch the most unexpected stray shot possible when you get to this part here where Sally tells Harry she once had really great sex with someone named Sheldon and Harry launches into a whole spiel about how it’s impossible for anyone named Sheldon to be good at sex because the name is just too dorky. It’d be like if you were Eric Benet in 2017 and you were riding around with your wife like, “Hey, let’s turn on Jay-Z’s new album and see if it’s any good.”

10:29: I actually originally had a note here about how I was disappointed that Sally only left a 15 percent tip on the bill (I personally believe a tip should be a minimum of 25 percent), but then Hannah pointed out that 15 percent was considered a lot in 1977 so I’ve changed my mind. Way to go, Sally. Great work. Being a good tipper is one of the best things you can be.

12:06: We get the central idea of the movie here, which, per Harry, is that it’s impossible for men and women to be friends. (Sally, once again, feels the opposite.) Their debate on the issue is the single most entertaining conversation that has ever occurred in a rom-com. Here’s the full transcript:

HARRY: Men and women can’t be friends because the sex part always gets in the way.
SALLY: That’s not true. I have a number of men friends and there is no sex involved.
HARRY: No, you don’t.
SALLY: Yes, I do.
HARRY: No, you don’t.
SALLY: Yes, I do.
HARRY: You only think you do.
SALLY: You’re saying I’m having sex with these men without my knowledge?
HARRY: No. What I’m saying is they all want to have sex with you.
SALLY: They do not.
HARRY: Do too.
SALLY: They do not.
HARRY: Do too.
SALLY: How do you know?
HARRY: Because no man can be friends with a woman that he finds attractive. He always wants to have sex with her.
SALLY: So you’re saying that a man can be friends with a woman he finds unattractive.
HARRY: No, you pretty much wanna nail them too.
SALLY: What if they don’t wanna have sex with you?
HARRY: Doesn’t matter, because the sex thing is already out there so the friendship is ultimately doomed and that is the end of the story.
SALLY: Well, I guess we’re not gonna be friends then.
HARRY: Guess not.
SALLY: That’s too bad. Because you were the only person that I knew in New York.

It’s perfect. It’s literally a perfect movie moment. The directing, the writing, the acting, all of it. You can put these 70 seconds up in competition against any 70 seconds from any movie ever, and it’s gonna be a good matchup.

14:27: The second interstitial. These two were high school sweethearts who were forced to break up after the guy’s family moved far away. They ran into each other three decades later and immediately fell in love all over again. They’re adorable. I bet they got names like “Grover” and “Ethel.”

15:16: One of the things I really like about When Harry Met Sally is all the counterweights placed throughout the movie. And what I mean is: The first time we see Harry, he’s kissing a woman he’s dating with before he heads off on his country-long trip with Sally. Here’s a screenshot from that moment:

Here, after a tidy little five-year time jump, the movie resets itself by opening with Sally kissing a man she’s dating before she heads off on a country-long trip with Harry:

Little parallels like that happen all throughout the movie. It makes for a very enjoyable rewatching experience because there’s always some new little counterweight to pick up on.

17:37: This is the most confusing guy in the movie. Because on the one hand, angling yourself like this toward the total stranger sitting next to you is psychotic. (Like, JUST FUCKING FACE FORWARD, dude.) But on the other hand, he does immediately offer Harry his seat so that Harry can sit next to Sally when he finds out that the two know each other. So, I mean, is he a good samaritan, or is he a serial killer? Those are the only two options at play here.

17:38: P.S. It should probably be said: I have a very strict Airplane Behavior Policy, so there’s a slight chance I’m overreacting to this guy angling himself like that. I’m not sure it’s a thing that would be bothersome to most people. (Sally, for example, is completely unfazed by it.)

17:39: P.P.S. My Airplane Behavior Policy is as such: I don’t eat anything, I don’t take my shoes off, I don’t put my feet anywhere other than on the floor directly in front of me, I don’t make any noise, I don’t try to start a conversation with anyone, I don’t recline my seat, and I don’t get up unless it’s absolutely necessary. I’m a plane ninja. My whole goal is for you to never even know that I’m there.

19:39: Two things to mention here as Harry and Sally chat each other up:

1. I love this line that Sally throws at Harry after he explains why he never drives anyone to the airport: “It’s amazing. You look like a normal person but actually you are the Angel of Death.” Just as, like, a writer nerd thing, I’m a big fan of placing the “actually” before the “you” in the sentence. Adverbs-before-nouns is cool to me.

2. They could release a 22-hour-long cut of this movie, and I would watch every second of it. Harry and Sally talking to each other is just so good. It’s like hand-to-hand combat. Every move is met with a counter, every defensive stop met an equally inventive offensive adjustment. I love it.

22:44: Another five-year time jump, which means we get another interstitial. These two were married for a few years, then got divorced, then the guy married several different women over a 35-year stretch, after which these two found their way back to each other and got remarried. (My guess for their names: Herman and Agnes. They look very much like a Herman and Agnes.)

23:35: It’s 1987 now, and Carrie Fisher is here. She plays Marie, Sally’s best friend. That’s how cool Sally is: She’s best friends with Princess fucking Leia. And compare that with…

26:00: Bruno Kirby is here. He plays Jess, Harry’s best friend. Sally’s best friend is the woman who heroically helped save the galaxy from destruction, and Harry’s best friend… is… the high school basketball coach pedophile from The Basketball Diaries who grabbed one of his players by the dick and offered to pay him for sex in the locker room.

28:39: Harry is telling Jess about how his wife (some unseen woman named Helen) left him for another man, leading Jess to offer a really astute observation (“Marriages don’t break up on account of infidelity. It’s just the symptom that something else is wrong”). Harry responds with a really wonderful joke (“Oh, really? Well, that symptom is fucking my wife”). Even if Nora Ephron had never written another movie after When Harry Met Sally, she’d still have been first-ballot lock for the Screenwriting Hall of Fame.

33:54: Four things to mention here:

1. The cinematographer on When Harry Met Sally was Barry Sonnenfeld (Big, Miller’s Crossing, Misery, etc). He’s always had such a great feel for lighting scenes naturally. It translates beautifully here—all the outdoor moments between Harry and Sally feel like memories unfolding in real time.

2. Harry ran into Sally in a bookstore. It’s the first time they’ve seen each other since their accidental shared plane ride. Now they’re on a lovely little Walk And Talk together. And to that point…

3. When Harry Met Sally is obviously one of the greatest ever rom-coms. But it’s also one of the greatest ever Walk And Talk movies. It’s up there with Midnight Cowboy (this is the one with Dustin Hoffman’s iconic “I’m walkin’ here!” moment), The Wizard of Oz (often regarded as the greatest ever Walk And Talk movie), and Before Sunset (my personal favorite in the genre).

4. This conversation here gives us Sally’s most incisive, insightful, OH SHE’S FOR SURE SMARTER THAN HARRY line. After Harry says that Sally liked him the first time they met but was just too rigid to realize it, she says, “I just didn’t wanna sleep with you, and you had to write it off as a character flaw instead of dealing with the possibility that it might have something to do with you.” It’s a fucking heater of a line; a 98-mile-per-hour brushback pitch.

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34:33: It’s hard to not just copy and paste every line from this movie with a comment like “Nora Ephron is so fucking good at this,” but, I mean, here’s how Ephron ends their conversation here:

HARRY: Are we becoming friends now?
SALLY: Well… yeah.
HARRY: Great. A woman friend. You know, you may be the first attractive woman I have not wanted to sleep with in my entire life.
SALLY: That’s wonderful, Harry.

Nora Ephron is so fucking good at this.

34:59: Another interstitial. We’re done with the five-year time jumps, though. From here on, Harry and Sally are close friends who are always in each other’s lives.

35:00: P.S. These two are my favorite. Their origin story is that they lived parallel lives (born in the same hospital in New York; lived in the same neighborhood; worked in the same building; etc) but didn’t actually meet each other until they both wandered onto the same elevator in Chicago. That’s a cool story to me. It’s like that internet thing from a few years ago where some married couple realized they were both in the same picture at Disneyland as children or whatever.

35:57: Shooting this scene as a split screen rather than cutting back and forth between the two is great. If scientists went in and put a section of this movie under the most powerful microscope on the planet, there wouldn’t even be a microscopic amount of fuck in it. I’m talking about there not even trace amounts of fuck. All the fuck; completely gone. Zero percent fuck. Because my boy Robby Reins directed the absolute fuck out of this thing.

35:58: P.S. Let’s do this scene for this week’s FOOTNOTES:

39:39: This is the all-caps SHOT OF THE MOVIE, which is also in contention for the all-caps SHOT OF THE ‘80s. It’s perfect. Every single part of it. Everybody was plugged into the universe while they were making this shit.

40:48: Right here—this exact moment, as Sally earnestly mimics a silly voice that Harry is doing—is the precise instant that Harry realizes he is accidentally falling in love with her. It’s such good acting from Meg Ryan (she has her charisma meter maxed out), and such good acting from Billy Crystal (the way he’s able to just say with his eyes what he’s feeling is so wonderful). I’m always a sucker for someone wordlessly falling in love in a movie. Let’s watch it happen:

🥹🥹🥹🥹🥹

42:11: I have only ever lived in Texas, so my experience with New York real estate prices has come strictly through internet posts and the reality show Owning Manhattan, but I assume the rent on an apartment like this is somewhere around $600,000 per month.

43:02: White people gotta start dressing like this again. Y’all were really onto something back then. You strayed from your game plan. You gotta get back to it.

44:50: Here it is. The “I’ll have what she’s having” scene. Can I admit something to you? This is dumb, and also much like the Eric Benet thing, a very specific someone is about to catch an unexpected stray shot here, but: Last year, Meg Ryan and Billy Crystal recreated this moment in a Super Bowl commercial that involved Meg Ryan putting some Helmann’s mayonnaise on her sandwich. (That’s what launched her into the moaning, not a conversation about the female orgasm.) It was great, the best moment of it being when Billy Crystal’s eyes get a little bit wide and he says, “Oh, this one’s real,” lol.

Anyway, in the movie version, the scene famously ends with an older woman at a nearby table telling a waiter, “I’ll have what she’s having.” In the commercial version, though, the line isn’t delivered by an older woman. It’s delivered, as it were, by Sydney Sweeney. And that’s where my admission comes in: I’ve realized over the past several months that I’m just not a Sydney Sweeney fan. I just don’t think she has the juice. I’ve never seen her in anything and thought, “Well, that’s obviously a movie star,” in the way that I have with, say, Zendaya, or Alana Haim. It might be me. I might be wrong. But that’s where I am right now.

50:31: Another interstitial. I know there are some people who don’t care for these, but I enjoy them a lot, this one especially because it has my favorite individual line in it. It comes when the woman is in the middle of telling a story about how they met after the guy walked from one side of the room to the other to talk to her during a dance. She says, “I thought he was coming to talk to my friend Maxine, ‘cause people were always crossing rooms to talk to Maxine… But he was coming to talk to me.” Saying that people were always crossing rooms to talk to someone is so delightfully great.

53:03: We’re fully into the Harry and Sally friendship now. So much so, in fact, that Harry is in the middle of trying to set Sally up with his best friend (Jess) and Sally is in the middle of trying to set Harry up with her best friend (Marie). What ends up happening, though, is Marie unintentionally quotes a line that Jess (a freelance culture writer) wrote in a recent essay, and he immediately falls in love with her. And let me tell you: If you ever wanna make a writer immediately fall in love with you, all you have to do is quote their work to a table of people. It’s that easy. You could get a writer to snap a bear trap closed on their own head if you said their work “moved” you first.

56:18: Another interstitial. Things are moving quickly now. (The story for this couple is that they were a sight-unseen arranged marriage, but the guy snuck over to get a look at her before the ceremony and fell in love with her from afar. ♥️♥️♥️) (This is the same origin story I have with Victor Wembanyama, by the way. I saw that one highlight of him dunking in the rebound off his own missed 3 during a game in Europe and was like, “I love this man more than I love air.”)

1:04:48: Harry and Sally are at a game night with a handful of other couples, except Harry’s with a woman who’s not Sally and Sally’s with a guy who’s not Harry. And I mention that right now because it gets us to this part…

1:06:13: As Harry and Jess discuss Sally’s date, Harry remarks that he has no interest in getting to know the guy because, “He’s too tall to talk to.” That’s a sentiment I strongly agree with. I don’t wanna be friends with anyone who is eight or more inches taller than me. We’re gonna look ridiculous walking around together. It’d be like one of them animal videos where a squirrel becomes best friends with a Great Dane or whatever. I don’t want that. Tall people should be friends with tall people, short people should be friends with short people, and never should the two mix. I’m a height racist.

1:08:23: Uh-oh. Sally called Harry over so she could have someone to cry to about how her ex-boyfriend (who refused to marry her) is getting married to someone else. Which means…

1:10:53: …Aaaaaaaaaaaaand Harry and Sally slept together. I know this face he’s making very well. It’s the WHY DID I DO THAT? face. It’s the same face I make every time I eat Arby’s. (Arby’s is so bad. Like, truly bad. And yet, here I sit, a man who has eaten Arby’s more times in the past month than I’ve eaten vegetables.)

1:14:08: Harry and Sally are each confiding in Jess and Marie that they slept with the other and are starting to feel like it was a mistake to do so. This scene is so well done. I can’t imagine how hard it was to time four separate people talking in two separate conversations in a way where nobody stepped on anyone else’s lines. Rob Reiner rules.

1:20:27: The only time in the movie where Harry gets tripped up in his own logic happens right here when he confronts Sally about how cold she’s been toward him (after their night together, Harry hurt her feelings, which prompted her to start ignoring his calls). He tells her that she needs to get over it and can’t carry it around forever. Sally points out that it’s only been three weeks since it happened, at which point he responds, “You know how a year to a person is like seven years to a dog?” and then tells her she’s the dog in this particular scenario. But the logic doesn’t track. He’s the one who’s acting like their night together happened a long time ago. That means time is moving faster for him, not for her. That means he’s the dog, not her. Right? Hannah, can you confirm?

Ed. note: Even if his logic tracked (and it doesn’t!), Harry would still be the dog here. —Hannah

1:24:31: Earlier in the movie, Harry told Jess that when his then-wife was in the middle of leaving him, she said that she wasn’t sure she’d ever loved him. Harry said it was a devastating thing to hear. But it’s a bag full of packing peanuts compared to Sally, who has been avoiding Harry’s calls for days, finally picking up the phone for him, then telling him, “I can’t do this anymore. I’m not your consolation prize. Goodbye,” and then hanging up. It’s the only time in the movie Harry isn’t able to summon any kind of witty retort. There are few things worse than a woman you love saying something that crushes you. (My version of this is the time I took Larami to see Mad Max: Fury Road, and after it was over she said she hated it.)

1:25:10: Three things to mention here:

1. Harry is staying in on New Year’s Eve. His night consists of lying in his bed, watching TV, eating cookies, and shooting a small basketball at a mini indoor hoop in his bedroom. This is supposed to be Harry at his lowest, but, honestly, it seems like a pretty fucking great time to me.

2. As Harry mopes, he tries to convince himself that things are going great by listing off all the good things he has going for him, the last of which is him saying, “And you’re about to give the Knicks their first championship since 1973,” then shooting at the mini hoop. Of course, he misses the shot, and so my sincerest hope when I laid out the editorial calendar for this month was that I’d be able to make a joke about how the Knicks weren’t gonna win a championship this year either. HOWEVER, as I type this out right now, they just swept the Sixers out of the second round of the playoffs, which means they’re headed into a conference finals matchup against either the Pistons (who they can probably beat) or the Cavaliers (who they can absolutely beat). The Knicks are probably gonna be in the Finals soon, which means they’re really only one or two sprained ankles away from winning a championship this year.

3. Billy Crystal is a huge basketball fan in real life. All things measured, I think he’d be a great dude to hang out with for a few hours in real life.

1:26:52: Here we go, baby. Harry’s wandering around New York on his own, replaying a bunch of memories from his friendship with Sally in his head. He knows he needs to be with her, which means it’s time for… A RUNNING MONTAGEEEEEEEEEEEEEE!!!!!

Incredible work here by Billy Crystal. Remember that Data Dump column I did a few weeks ago where I hired a professional researcher to do a deep dive into the number of questions each Christopher Nolan movie asked? I’m doing another Data Dump column next week, except this time I had the researcher dig into all the numbers associated with Harry’s iconic run toward Sally. And if that sounds like an exceptionally dorky way to spend several hundred words, that’s only because it is.

In the meantime…

“I’ve been doing a lot of thinking, and the thing is: I love you.”

1:29:07: He did it. Harry did it. He made it to the party before Sally left. It’s time for one of the greatest I LOVE YOU speeches ever.

1:30:02: “I love that you get cold when it’s 71 degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you’re looking at me like I’m nuts. I love that after I spend a day with you, I can still smell your perfume on my clothes, and I love that you are the last person I wanna talk to before I go to sleep at night. And it’s not because I’m lonely, and it’s not because it’s New Year’s Eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.”

Art. Absolute art. They should put a giant Nora Ephron statue in the Hollywood hills like that Christ the Redeemer statue in Rio de Janeiro.

😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭

God, I love this movie.

1:32:01: And here’s where having all the interstitials really pays off: You get so used to seeing couples who’ve been together for half a century or whatever talking about how they fell in love that when you see Harry and Sally recording one, it feels very clear that the movie is saying, “Here’s your confirmation that Harry and Sally are gonna be together forever.” It’s a very clever trick, one made all the more impactful when you read about how Rob Reiner and Nora Ephron originally ended the movie with Harry and Sally going their separate ways again. Rob asked Nora to change it because he met and fell in love with the woman he’d eventually marry while he was working on When Harry Met Sally. 🥹 🥹 🥹 🥹

1:32:14: The movie’s over. Good movie.

UNEXPECTED SIMILARITIES
Things that the most recent movie we covered (Mortal Kombat) has in common with this week’s movie

• Both movies have scenes where one character wants another one to get over to them. (Scorpion to Johnny Cage in Mortal Kombat, Harry to Sally in WHMS.)

• Both movies have endings in which a couple finds love. (Mortal Kombat ends with Liu Kang and Kitana dating.)

• Both movies have scenes where someone does something especially cold. (Sub-Zero freezes a guy to death in Mortal Kombat, and Harry’s wife schedules a moving company to come get all her stuff out of their apartment before she even leaves him in WHMS.)

• Both movies have scenes where someone wears a wig. (Raiden wears that ridiculous wig in Mortal Kombat, and Harry wears a different ridiculous wig when he’s supposed to be a college student.)

• Both movies have scenes where someone runs toward someone else. (Harry runs to Sally in WHMS, and Johnny Cage runs to Scorpion in Mortal Kombat.)

THE EXIT LIST
One final list

Rom-Com Couples I’d Like To Go To On A Double Date With

• Harry and Sally from When Harry Met Sally

• Monica and Q from Love & Basketball

• Erica and Harry from Something’s Gotta Give

• Vivian and Edward from Pretty Woman

• Kumail and Emily from The Big Sick

• Kathleen and Joe from You’ve Got Mail

• Andy and Benjamin from How to Lose a Guy in 10 Days

• Melvin and Carol from As Good As It Gets

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Next week’s movie is… Scarface

You can stream it on Amazon Prime.

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​​This essay was edited by Hannah Giorgis Yohannes. The FOOTNOTES video was produced by Richie Bozek. The header art was made by Jeffery Thompson.