When Harry Met Sally... (1989)

R | 96 mins | Romantic comedy | 12 July 1989

Director:

Rob Reiner

Writer:

Nora Ephron

Cinematographer:

Barry Sonnenfeld

Editor:

Robert Leighton

Production Designer:

Jane Musky
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HISTORY

Documentary-style interviews with fictitious older couples are interspersed throughout the film. The couples talk about how they met and the nature of love. “Harry Burns” and “Sally Albright” appear in the final interview, discussing their slow-to-start relationship and wedding.
       Video Images’ Greg McMurry’s name is misspelled “Greg McMurray” onscreen. End credits include the following statements: “Clip from Casablanca provided by Turner Entertainment Co.; Dick Clark New Year’s Rockin’ Eve courtesy of Dick Clark Media Archives”; “Air transportation and landing footage provided by United Airlines”; “Filmed at Silvercup Studios, New York City and Hollywood Centre Studios, Hollywood, California”; and, “Producers wish to thank: Tina Nielsen and Jay Cooper; The University of Chicago; The Buffalo Bill Football Organization; NFL Films; CD BANZAI! LOS ANGELES; Ronnie Davis and The Washington Street Cafe Caterers; and the New York City Mayor’s Office of Film, Theatre & Broadcasting for their support in making this film.”
       End credits also include “A special thanks to Sol Horn for his inspiration.” Sol Horn, as noted in a 9 Jul 1989 NYT article, was the father of Alan Horn, Rob Reiner’s partner at Castle Rock Entertainment. Sol Horn’s anecdote about spotting his wife of fifty years across the room at a restaurant and declaring that he would marry her before they met was used in the screenplay. Likening his own story to Sol Horn’s, Reiner stated that director of photography Barry Sonnenfeld introduced him to his second wife, photographer Michele Singer, on the set of When Harry Met Sally… Before making the introduction, Sonnenfeld predicted Reiner and Singer would get married.
       Working titles included Boy Meets Girl; ... More Less

Documentary-style interviews with fictitious older couples are interspersed throughout the film. The couples talk about how they met and the nature of love. “Harry Burns” and “Sally Albright” appear in the final interview, discussing their slow-to-start relationship and wedding.
       Video Images’ Greg McMurry’s name is misspelled “Greg McMurray” onscreen. End credits include the following statements: “Clip from Casablanca provided by Turner Entertainment Co.; Dick Clark New Year’s Rockin’ Eve courtesy of Dick Clark Media Archives”; “Air transportation and landing footage provided by United Airlines”; “Filmed at Silvercup Studios, New York City and Hollywood Centre Studios, Hollywood, California”; and, “Producers wish to thank: Tina Nielsen and Jay Cooper; The University of Chicago; The Buffalo Bill Football Organization; NFL Films; CD BANZAI! LOS ANGELES; Ronnie Davis and The Washington Street Cafe Caterers; and the New York City Mayor’s Office of Film, Theatre & Broadcasting for their support in making this film.”
       End credits also include “A special thanks to Sol Horn for his inspiration.” Sol Horn, as noted in a 9 Jul 1989 NYT article, was the father of Alan Horn, Rob Reiner’s partner at Castle Rock Entertainment. Sol Horn’s anecdote about spotting his wife of fifty years across the room at a restaurant and declaring that he would marry her before they met was used in the screenplay. Likening his own story to Sol Horn’s, Reiner stated that director of photography Barry Sonnenfeld introduced him to his second wife, photographer Michele Singer, on the set of When Harry Met Sally… Before making the introduction, Sonnenfeld predicted Reiner and Singer would get married.
       Working titles included Boy Meets Girl; Harry, This Is Sally; and It Had To Be You, as noted in various contemporary sources including the 28 Apr 1988 DV, 20 Jul 1988 Var, and 20 Mar 1989 HR, which stated that the title It Had To Be You was already taken by an upcoming release starring Joe Bologna (1989, see entry).
       The film marked Reiner’s fifth directorial effort and the first to be produced by his recently launched production company, Castle Rock Entertainment. The idea originated during a lunch between writer Nora Ephron, Reiner, and producer Andrew Scheinman in 1985, when the three exchanged stories about their dating lives. As stated in a 16 Jul 1989 LAT article, Reiner, who had been divorced from actress-director Penny Marshall for several years, expressed his theory that sexuality inevitably complicated friendships between women and men, and Ephron agreed. Ephron mined Reiner’s personal anecdotes as well as her own and based the characters Harry Burns and Sally Abright on Reiner and herself, rendering the film “autobiographical in spirit if not in fact.” A 25 Jul 1989 Austin American Statesman article described the script as a collaboration between Reiner, Scheinman, and Ephron, although Ephron receives sole credit.
       Although Reiner’s longtime friend, Billy Crystal, provided feedback on the script, Reiner first offered the role of Harry Burns to Tom Hanks, Richard Dreyfuss, and Albert Brooks, according to a 24 Jul 1989 People item. When Crystal was finally offered the part, he said yes without conferring with his agents or managers – a first for the actor-comedian. Crystal’s contributions to the script included the scene in which Harry runs into his ex-wife, “Helen Hillson,” and the line, “I’ll have what she’s having,” delivered by Rob Reiner’s mother, actress and jazz singer Estelle Reiner. The line became a trademark for the film and inspired the song, “I’ll Have What She’s Having,” written by Leonard Feather for Estelle Reiner, which she included in her nightclub act, as noted in a 5 Mar 1990 People item.
       The budget was cited as $14-16 million in the 26 Jun 1989 HR, 16 Jul 1989 LAT, and 2 Aug 1989 Var. Principal photography began 29 Aug 1988, as noted in a 20 Jul 1988 Var production chart. New York locations included Central Park and the Loeb Boathouse, where Sally’s lunch with “Marie” and “Alice” was filmed; the Puck Building, which served as the locale for two New Year’s Eve parties and Marie and “Jess’s” wedding; Giants Stadium; a loft in SoHo, which stood in for Harry’s apartment; and Katz’s Deli on the Lower East Side, where the scene in which Sally fakes an orgasm was filmed. According to a 29 Sep 2004 The Times (London) article, Katz’s Deli became a draw for tourists after the film’s release, and a sign was hung from the ceiling pointing to the table where Meg Ryan and Crystal sat. Filming also took place in Los Angeles, CA.
       According to a 4 Aug 1989 LAT brief, Meg Ryan tested over 600 pairs of eyeglasses at Starry Eyes in Burbank, CA, before choosing a vintage Robert La Roche pair worn by shop owner Cheryl Shuman, for her character. After the film’s release, Shuman received hundreds of requests for the glasses from film fans.
       The first test screening took place 31 Mar 1989 in Pasadena, CA, as noted in the 16 Jul 1989 LAT. A one-scene trailer for the film, showing Sally’s fake orgasm scene, earned an R-rating, according to a 5 Aug 1989 LAT item.
       As stated in a 17 Jul 1989 LAT news item, the Los Angeles premiere took place at the Academy of Motion Picture Arts and Sciences in Beverly Hills, followed by a party at the Beverly Hilton Hotel. $42,000 was raised for Comic Relief, which the charity planned to allocate to the L.A. Homeless Healthcare Project. A Royal premiere in London, England, took place 30 Nov 1989, according a 27 Nov 1989 DV item, and raised £50,000 for Turning Point, Inc., a drug rehabilitation program.
       The film grossed $1.1 million in its opening weekend at forty-one theaters in New York; Los Angeles; Toronto, Ontario; Seattle, WA; Denver, CO; Boston, MA; Chicago, IL; Dallas and Houston, TX; and Washington, D.C, according to a 19 Jul 1989 HR “Hollywood Report” column. The release was set to expand to 800 theaters the following weekend, and 1,200 screens on 4 Aug 1989. When Harry Met Sally… was the first to receive an A+ CinemaScore rating since that polling service’s 1979 inception, with 99.6% of opening-day pollees predicting other viewers would like the film.
       The 27 Nov 1989 DV reported total box-office earnings as $90 million, to that time, with an estimated $50 million or more expected from foreign territories. The film ultimately took in $93 million in domestic box-office receipts, and $100 million overseas, as stated in a 15 Feb 1991 DV brief, which announced that Castle Rock was sending out its first profit participation checks on the film.
       Critical reception was largely positive, although some reviewers criticized the film for mimicking the style of Woody Allen. Nora Ephron won a British Academy of Film and Television Arts (BAFTA) Award for Original Screenplay, and was nominated for an Academy Award for Writing (Screenplay Written Directly for the Screen); a Golden Globe Award for Best Screenplay – Motion Picture; and a Writer’s Guild of America (WGA) Award for Best Screenplay Written Directly for the Screen.
       A 14 Jul 1989 LAHExam item noted that distributor Columbia Pictures and Castle Rock Entertainment paid $40,000 to use Frank Sinatra’s “It Had To Be You” in the film. However, the song was not included in the movie’s soundtrack album, as soundtrack rights would have cost another $40,000.
       A stage adaptation debuted 20 Feb 2004 at the Theater Royal in London, England, as stated in a 26 Feb 2004 DV review. Luke Perry and Alyson Hannigan starred as Harry and Sally, but after lackluster critical reception, the roles were re-cast in summer 2004, with Michael Landes and Molly Ringwald in the leading roles, according to a 12-18 Jul 2004 Var article.
       When Harry Met Sally… was ranked #6 on AFI’s 2008 list of the Top 10 Romantic Comedies; #23 on AFI’s 2000 list, 100 Years...100 Laughs; #25 on AFI’s 2002 list, 100 Years...100 Passions; #33 on AFI’s 2005 list, 100 Years...100 Movie Quotes, for the line, “I’ll have what she’s having”; and “It Had To Be You,” as performed by Harry Connick, Jr., was named #60 on AFI’s 2004 list, 100 Years...100 Songs. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Austin American Statesman
25 Jul 1989
Section B, p. 12.
Daily Variety
28 Apr 1988.
---
Daily Variety
27 Nov 1989
p. 3.
Daily Variety
15 Feb 1991.
---
Daily Variety
26 Feb 2004
p. 14.
Hollywood Reporter
20 Mar 1989.
---
Hollywood Reporter
26 Jun 1989.
---
Hollywood Reporter
7 Jul 1989
p. 4, 62.
Hollywood Reporter
19 Jul 1989.
---
Hollywood Reporter
26 Jul 1989.
---
Hollywood Reporter
26 Mar 1990
p. 9, 14.
LAHExam
14 Jul 1989.
---
LAHExam
8 Sep 1989.
---
Los Angeles Times
14 Jul 1989
Calendar, p. 1.
Los Angeles Times
16 Jul 1989
Calendar, p. 3.
Los Angeles Times
17 Jul 1989
Section V, p. 2.
Los Angeles Times
4 Aug 1989
Section V, p. 7.
Los Angeles Times
5 Aug 1989
Calendar, p. 1.
Los Angeles Times
26 Sep 1989
Calendar, p. 2.
Los Angeles Times
16 Feb 2001
Calendar, p. 10.
New York Times
9 Jul 1989
Section A, p. 11.
New York Times
12 Jul 1989
p. 15.
New Yorker
7 Aug 1989.
---
People
24 Jul 1989.
---
People
5 Mar 1990.
---
Times (London)
29 Sep 2004
Arts, p. 21.
Variety
20 Jul 1988.
---
Variety
12 Jul 1989
p. 24.
Variety
2 Aug 1989
p. 9, 16.
Variety
13 Dec 1989.
---
Variety
12-18 Jul 2004
p. 36, 38.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
Castle Rock Entertainment
in association with Nelson Entertainment present
A Rob Reiner Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
Unit mgr
Addl 2d asst dir
Addl 2d asst dir
Addl 2d asst dir
PRODUCERS
Prod
Co-prod
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Cam op
Asst cam
Asst cam
Asst cam
Gaffer
Key grip
Still photog
Still photog
Video by
Video by, Video Image
Cranes and dollys by
Lighting and grip equip supplied by
Photog equip by
ART DIRECTORS
Prod des
Art dept coord
FILM EDITORS
Film ed
Asst ed
Asst ed
Negative cutting
SET DECORATORS
Scenic artist
Prop master
Prop master
Const coord
COSTUMES
Cost des
MUSIC
Mus adpt and arr by
Spec mus performances and arr by
Mus supv
Mus scoring mixer
Orch
SOUND
Sd mixer
Boom op
Boom op
Re-rec mixer
Re-rec mixer
Re-rec mixer
Supv sd ed
Supv sd ed
Sd ed
Sd ed
Sd ed
Asst sd ed
Supv ADR ed
Asst ADR ed
Dubbing rec
Foley mixer
VISUAL EFFECTS
Titles & opticals
MAKEUP
Meg Ryan's make-up
Meg Ryan's make-up
Billy Crystal's make-up
Billy Crystal's make-up
Hairstylist
Hairstylist
PRODUCTION MISC
Casting
Loc mgr
Loc mgr
Transportation coord
Transportation coord
Mr. Reiner's asst
Prod coord
Prod coord
Prod coord
Prod accountant
Asst accountant
Asst accountant
Asst accountant
Casting assoc
Casting assoc
Prod secy
Prod secy
Prod secy
Prod secy
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Legal services provided by
COLOR PERSONNEL
Col by
New York City
SOURCES
SONGS
"It Had To Be You," written by Isham Jones and Gus Kahn, published by Gilbert Keys Music Co., Bantam Music Co. and Warner Bros. Inc., performed by Frank Sinatra, courtesy of Reprise Records, by arrangement with Warner Special Products, performed by Harry Connick, Jr. Trio
"Our Love Is Here To Stay," written by George Gershwin and Ira Gershwin, published by Chappell & Co., performed by Louis Armstrong and Ella Fitzgerald, courtesy of PolyGram Special Products, a Division of PolyGram Records Inc., performed by Harry Connick, Jr., courtesy of CBS Records, by arrangement with CBS Records Music Licensing Department
"Don't Pull Your Love," written by Brian Potter and Dennis Lambert, published by Duchess Music Corporation, performed by Hamilton, Joe Frank & Reynolds, courtesy of MCA Records
+
SONGS
"It Had To Be You," written by Isham Jones and Gus Kahn, published by Gilbert Keys Music Co., Bantam Music Co. and Warner Bros. Inc., performed by Frank Sinatra, courtesy of Reprise Records, by arrangement with Warner Special Products, performed by Harry Connick, Jr. Trio
"Our Love Is Here To Stay," written by George Gershwin and Ira Gershwin, published by Chappell & Co., performed by Louis Armstrong and Ella Fitzgerald, courtesy of PolyGram Special Products, a Division of PolyGram Records Inc., performed by Harry Connick, Jr., courtesy of CBS Records, by arrangement with CBS Records Music Licensing Department
"Don't Pull Your Love," written by Brian Potter and Dennis Lambert, published by Duchess Music Corporation, performed by Hamilton, Joe Frank & Reynolds, courtesy of MCA Records
"Ramblin' Man," written by Forrest Richard Betts, published by Unichappell Music, Inc. and No Exit Music, performed by Allman Brothers, courtesy of PolyGram Special Products, a Division of PolyGram Records, Inc.
"Right Time Of The Night," written by Peter McCan, published by MCA Music Publishing, a Division of MCA Inc., performed by Jennifer Warnes, courtesy of Arista Records, Inc.
"Let's Call The Whole Thing Off," written by George Gershwin and Ira Gershwin, published by Chappell & Co., performed by Louis Armstrong and Ella Fitzgerald, courtesy of PolyGram Special Products, a Division of PolyGram Records, Inc., performed by Harry Connick, Jr. Trio
"Where Or When," written by Lorenz Hart and Richard Rodgers, published by Chappell & Co., performed by Ella Fitzgerald, courtesy of PolyGram Special Products, a Division of PolyGram Records Inc.
"Lady's Lunch," written by Marc Shaiman
"The Tables Have Turned," written by Laura Kenyon, Marc Shaiman and Scott Wittman, published by Winding Brook Way Music (ASCAP)
"But Not For Me," written by George Gershwin and Ira Gershwin, published by WB Music Corp., performed by Harry Connick, Jr.
"Plane Cue and La Marseillaise" from Casablanca, written by Max Steiner, published by Warner Bros. Inc.
"Autumn In New York," written by Vernon Duke, published by Warner Bros. Inc., performed by Harry Connick, Jr. Trio
"Winter Wonderland," written by Felix Bernard and Dick Smith, published by WB Music Corp., performed by Ray Charles, courtesy of CBS Records, by arrangement with CBS Records Music Licensing Department
"I Could Write A Book," written by Lorenz Hart and Richard Rodgers, published by Chappell & Co., vocal by Harry Connick, Jr.
"The Surrey With The Fringe On Top," written by Richard Rodgers and Oscar Hammerstein II, published by Williamson Music Co.
"Say It Isn't So," written by Irving Berlin, published by Irving Berlin Music Corporation
"Stompin' At The Savoy," written by Benny Goodman, Chick Webb, Edgar Sampson and Andy Razaf, published by SBK Robbins Catalog Inc. and Rytvoc, Inc., performed by Harry Connick, Jr. Trio
"Mozart String Quintet" E Flat Major, written by Wolfgang Amadeus Mozart
"Don't Be That Way," written by Edgar Sampson, Benny Goodman and Mitchell Parish, published by SBK Robbins Catalog Inc.
"Have Yourself A Merry Little Christmas," written by Ralph Blane and Hugh Martin, published by SBK Feist Catalog Inc., performed by Bing Crosby, (Licensor - CEMA Special Markets) Capitol Records, Inc.
"Call Me," written by Tony Hatch, published by Duchess Music Corporation, ATV Music and SBK Songs Ltd.
"Don't Get Around Much Anymore," written by Duke Ellington and Bob Russell, published by SBK Robbins Catalog Inc. and Harrison Music Corp., vocal by Harry Connick, Jr.
"Isn't It Romantic," written by Lorenz Hart and Richard Rodgers, published by Famous Music Corporation. Harry Connick, Jr. Trio: Harry Connick, Jr., Ben Wolfe and Ralph Penland.
+
DETAILS
Alternate Titles:
Boy Meets Girl
Harry, This Is Sally
It Had To Be You
Release Date:
12 July 1989
Premiere Information:
New York opening: 12 July 1989
Los Angeles opening: 14 July 1989
Production Date:
began 29 August 1988
Copyright Claimant:
Castle Rock Entertainment
Copyright Date:
21 August 1989
Copyright Number:
PA423275
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Prints
Prints by Deluxe®
Duration(in mins):
96
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
29800
Passed by NBR:
No
SYNOPSIS

In 1977, University of Chicago students Sally Albright and Harry Burns arrange to share a ride to New York City, where Sally plans to study journalism and Harry will attend law school. While Sally waits impatiently in her car, Harry and his girl friend, Amanda Reese, engage in a prolonged goodbye kiss. Harry finally gets into Sally’s car and begins to snack on grapes. He mistakenly assumes the window is rolled down, spits out a grape seed, and it hits the glass. Disgusted, Sally refuses his offer of a grape, explaining that she does not eat between meals. As they get to know each other, Harry reveals his dark outlook on life, and they disagree over the ending of the film Casablanca. Sally insists that Ingrid Bergman’s character made the right choice by leaving Casablanca at the end of the movie, asserting that all women prefer stability over romance. The two stop for dinner, and Harry is amused by Sally’s picky way of ordering food. He compliments her on her good looks, but she takes offense, reminding him that he is dating her friend, Amanda. Returning to the car, Sally suggests that she and Harry become friends. However, Harry does not believe men and women can be friends, as “the sex part always gets in the way.” Sally laments that Harry was the only person she would have known in New York, and shakes his hand when they part ways in the city. Five years later, Sally kisses her boyfriend, Joe, at the airport. Harry interrupts, recognizing Joe from law school, but he cannot place ... +


In 1977, University of Chicago students Sally Albright and Harry Burns arrange to share a ride to New York City, where Sally plans to study journalism and Harry will attend law school. While Sally waits impatiently in her car, Harry and his girl friend, Amanda Reese, engage in a prolonged goodbye kiss. Harry finally gets into Sally’s car and begins to snack on grapes. He mistakenly assumes the window is rolled down, spits out a grape seed, and it hits the glass. Disgusted, Sally refuses his offer of a grape, explaining that she does not eat between meals. As they get to know each other, Harry reveals his dark outlook on life, and they disagree over the ending of the film Casablanca. Sally insists that Ingrid Bergman’s character made the right choice by leaving Casablanca at the end of the movie, asserting that all women prefer stability over romance. The two stop for dinner, and Harry is amused by Sally’s picky way of ordering food. He compliments her on her good looks, but she takes offense, reminding him that he is dating her friend, Amanda. Returning to the car, Sally suggests that she and Harry become friends. However, Harry does not believe men and women can be friends, as “the sex part always gets in the way.” Sally laments that Harry was the only person she would have known in New York, and shakes his hand when they part ways in the city. Five years later, Sally kisses her boyfriend, Joe, at the airport. Harry interrupts, recognizing Joe from law school, but he cannot place Sally. She and Harry board the same flight, and he finagles the seat beside her after finally remembering her from the University of Chicago. Harry guesses that Sally and her boyfriend, Joe, are at an early stage in their relationship, and claims he would never take a girl friend to the airport to avoid setting a precedent. Sally is surprised to hear that Harry is engaged to a lawyer named Helen Hillson, with whom he claims to be madly in love. When they land, Harry invites Sally to dinner, but she reminds him of his theory that men and women cannot be friends. Harry argues that a friendship would work since they are both involved with other people, but contradicts himself by predicting their significant others would become jealous. The two part ways. Five years later, Sally meets her friends Marie and Alice for lunch and announces that she and Joe have broken up. The women are impressed by how well Sally is handling the heartbreak, but when Marie suggests setting her up on a date, Sally refuses. Elsewhere, at a football stadium, Harry tells his friend, Jess, that his wife, Helen, just left him for another man. Harry runs into Sally at a bookstore, and the two commiserate over their breakups. Sally asks him to dinner, and he asks, “Are we becoming friends now?” Soon, Harry and Sally’s friendship blossoms, and they begin to rely on each other for emotional support. When discussing their dating lives, Harry reveals that he sleeps with women even if he dislikes them, and Sally is appalled. At a batting cage, Harry’s friend, Jess, asks if he is attracted to Sally and likes to spend time with her, and Harry says yes. Jess does not understand why Harry refuses to become romantically involved with Sally, but Harry claims the friendship is helping his personal growth. At a delicatessen, Sally criticizes Harry’s casual approach to sex. He responds that the women he sleeps with have a good time, implying that they achieve orgasms when they are with him. Sally counters that women fake orgasms all the time, and when he does not believe her, she pretends to have one at the table. Moaning, shouting, and pounding on the tabletop, Sally draws everyone’s attention and prompts an older female patron to order whatever Sally is having. On New Year’s Eve, Harry and Sally go to a party, and Harry vows that if they are still single next year, he will be her date again. At midnight, they watch other couples kiss and give each other an awkward peck on the lips. Later, Harry and Sally set each other up with Marie and Jess on a double blind date. However, Marie prefers Jess over Harry, and vice versa, and the two hop into a cab together after dinner, leaving Harry and Sally alone. Four months later, while shopping for a housewarming gift for Marie and Jess, Harry and Sally run into Harry’s ex-wife, Helen. Upset by the encounter, Harry takes out his anger on Marie and Jess as they bicker over a coffee table in their new apartment. Sally leads Harry outside and discourages him from expressing every emotion he feels whenever he feels it. Harry accuses Sally of burying her emotions and reminds her that she has not slept with anyone since her ex-boyfriend, Joe. Hurt by the accusations, Sally tells Harry he sleeps with too many women, and he quickly apologizes, offering her a hug. Sometime later, Sally calls Harry in tears, relaying the news that Joe is getting married. Harry rushes over to Sally’s apartment. She cries on his shoulder, and he gives her a friendly kiss. She kisses him back, and the two make love. Afterward, Sally nuzzles Harry, while he lies nervously in her bed. In the morning, she wakes up to find him getting dressed. Before hurrying out, Harry asks Sally to dinner that night. The two spend the day fretting over what happened, and Sally announces at dinner that they made a mistake sleeping together. Harry is relieved. Later, Harry tells Jess that he and Sally must have passed a point in their relationship when it became too late to have sex. Weeks pass, and Harry and Sally are reunited at Marie and Jess’s wedding. Harry attempts to apologize, telling Sally he did not plan to make love to her when he went to her apartment, but he did not know how else to comfort her. She shouts at him for suggesting that he took pity on her and slaps him. Over Christmas, Sally ignores Harry’s phone calls. One day, he sings a song on her answering machine and she picks up. Harry apologizes, but Sally refuses to be his “consolation prize” when he asks her to be his date for New Year’s Eve. Sally goes to the New Year’s Eve party with Marie and Jess, but she cannot face the idea of being alone at midnight and decides to leave the party early. Meanwhile, Harry walks around the city, ruminating over his relationship with Sally. He runs to the party and finds Sally on her way out. Harry tells Sally he loves her, but she assumes he is only saying it because he is lonely. Harry lists off the personality traits that have endeared him to Sally and tells her that he wants to spend the rest of his life with her. Sally shouts that she hates Harry, then kisses him. Sometime later, Harry and Sally discuss their wedding, which took place three months later, and recall the coconut wedding cake served with chocolate sauce on the side, per Sally’s instructions. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.