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When Harry Met Sally...

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Release Date - 1989
Average rating - 8,2 of 10
Romance

183009 votes
country - USA

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MR BEAN. I’m not a big fan of New Year’s Eve and all that it entails. I’d much rather snuggle up for the evening with the one I love most, with a big bowl of popcorn, and watch a classic movie, such as the one I share every year at this time. And, this year because I think we all need an extra hug, I’m including my absolute favorite version of Auld Lang Syne for your listening pleasure. Cheers! New Year’s Resolutions Having never been one to make New Year’s resolutions (I’ve always thought that if I’m going to do something important I better get to it, not wait for the New Year and then spend a year worrying if I’m living up to my self-made promises) I’m not about to start this year. When Harry Met Sally Instead, I started thinking about all things New Year’s Eve which led me to the movie “When Harry Met Sally” and that wonderful New Year’s Eve scene when Harry asks Sally about the meaning of Auld Lang Syne. It’s a classic scene and if you are among the few who have never seen the movie, I might suggest you spend your New Year’s Eve watching Harry and Sally bumble their way through finding each other. You won’t regret the time spent. To answer Harry’s question I did a little research and found the following. The traditional song for ringing in the New Year in almost every English speaking country in the world is Auld Lang Syne. This new year song is generally credited to Robert Burns, but earlier versions of this ballad precede his time. Burns combined a common Scottish folk song with his own lyrics to arrive at the version commonly sung on New Year’s Eve. Auld Lang Syne Take a moment to listen to this hauntingly beautiful version of Auld Lang Syne sung by Celtic Woman, Lisa Lambe. It touches my heart each and every time I listen to it. I hope you’ll enjoy it as well. So, what is the actual meaning of this New Year’s Eve Song? Auld Lang Syne is about old friends who have parted and meet again. To celebrate their long friendship, they share a drink together and reminisce of memories from long ago. The basic message is that we should not forget our old friends and should celebrate a reunion with them. Auld Lang Syne by Robert Burns Should auld acquaintance be forgot, And never brought to mind? Should auld acquaintance be forgot And auld lang syne? Chorus: For auld lang syne, my dear, For auld lang syne, We’ll tak a cup o’ kindness yet For auld lang syne! Translation: Should old acquaintances be forgotten, And days of long ago! For old long ago, my dear For old long ago, We will take a cup of kindness yet For old long ago. Pin it!

@ 22 I don't know how everyone on set didn't fall apart at, Won't you come home, Bill Baby? Crystal's scene partner did. And I can't tell if Bruno Kirby's head drop was legitimately trying to look like concentrating or if he was trying to keep from breaking. Free watch harry e sally: feitos um para o outro youtube.

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Free Watch Harry e Sally: Feitos um para o outros. Billy Crystal: I love how when its 71 degrees outside you get cold, I love how it takes you an hour and a half to order a sandwich, and I love it when you get a crinkle above your nose, when you are looking at me thinking that I am nuts, and I love how after spending the entire day with you, I can still smell your perfume on my clothes, and I love how before I go to bed at night you are the last person I want to talk to, its not because I am lonely, and not because it's New Year's Eve. I came here tonight because when you realize you want o spend the rest of your life when somebody, you want the rest of your life to start as soon as possible.

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When Harry Met Sally, probably Rob Reiner's most popular film to date (the other likely candidate for that title would be A Few Good Men), made the studios aware that, even during the cynical '90s, the romantic comedy could be a profitable genre. Released during the summer of 1989 as a form of "counter-programming" for those tired of the season's action blockbusters ( Batman, Indiana Jones and the Last Crusade), When Harry Met Sally surprised everyone (Columbia Pictures included) by amassing a gross approaching $100 million. Before this movie, dozens of years had passed since the adult romantic comedy was in vogue (primarily because of poor scripts and a lack of chemistry between leads), but When Harry Met Sally changed the trend. Due in large part to the success of Harry and the following year's Pretty Woman, the '90s have had more high-profile romantic comedies than any decade since the '50s. The thing that When Harry Met Sally does best is to keep the focus firmly on the relationship between the two title characters, never wandering off on unwelcome tangents. There are subplots, to be sure, but even those are crucial to the evolution of Harry and Sally's friendship. And the film is not hamstrung by a litany of familiar romantic comedy clichés. None of these are in evidence: bouts of jealousy caused by the return of an old flame, one character misunderstanding something the other does, or interference from manipulative friends who think the protagonists don't belong together. When Harry Met Sally offers an often humorous, occasionally poignant view of men, women, sex, love, and friendship. Casting is one of the film's strengths. It would be hard to imagine anyone other than Billy Crystal as the wisecracking, eternally pessimistic Harry. Crystal's dry style is perfect for this role; he makes Harry insufferable and likable at the same time. And, beneath it all, there beats the heart of a caring man. Likewise, Meg Ryan's effervescent personality infuses Sally with buoyancy, and, later in the film, she too shows a vulnerable side. When Harry Met Sally was Ryan's springboard to a series of romantic leading roles that paired her with Tom Hanks (three times), Andy Garcia, Matthew Broderick, Alec Baldwin, Kevin Kline, and Tim Robbins. Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack. The most famous line of dialogue (not counting Sally's fake orgasm, which is more a series of moans and screams than actual words), "Men and women can't be friends because the sex part always gets in the way, " became a frequent topic of talk show discussions, magazine articles, and dinner table conversations during 1989. After raising the issue, the film spends the rest of its running length challenging it, and it's up to the viewer to decide whether the premise is proven or disproven by events. After all, although Harry and Sally become fast friends, their relationship does not remain platonic. When Harry Burns and Sally Albright first meet, it's 1977. Both are leaving the University of Chicago for New York City (him to become a political consultant, her to become a journalist), and they share the drive. Along the way, they discover that they have little in common. At one point, Harry makes a pass at Sally, but she demurs, saying that they'll have to settle for being friends. That's when he makes his famous comment. They part in Manhattan, and it's five years before they bump into each other again, this time in an airport. By then, Harry is engaged to be married and Sally is in the midst of a serious relationship. They spend some time together on a plane, then separate amicably when they reach their destination. Their next encounter occurs in the late-'80s. They are both newly single (Harry's wife has recently left him and Sally has broken off a long-term, dead-end affair), and this mutual bond of loss draws them into a close friendship. When events push their relationship over the sexual line, things don't go smoothly. Although Harry and Sally dominate the film, they are not the only couples we meet. Woven into the story is the romance between Sally's best friend, Marie (Carrie Fisher, shedding the remnants of the Princess Leia image), and Harry's close chum, Jess (Bruno Kirby). To add a slightly different flavor to the movie, Reiner occasionally interrupts the proceedings with documentary-style clips from interviews with elderly husbands and wives, all fondly recalling how they met. The actors in these scenes are so credible that it's easy to be fooled into thinking they're real couples recounting genuine anecdotes, rather than performers working from a script. When Harry Met Sally is not a perfect film. In fact, one of the movie's most important scenes is marred by an "off" performance by Meg Ryan. It happens when Sally, distressed at learning that her previous boyfriend is getting married, breaks down in Harry's arms. While Crystal does a fine job of underplaying the moment, Ryan is glaringly over-the-top, and it gives the scene an awkward feel. This may be the only instance during the picture when Reiner is unable to effectively balance comedy and drama. Ultimately, When Harry Met Sally works because it dares to be slightly different from most romantic comedies. While there's nothing radical in the trajectory of Harry and Sally's romance, it's not entirely conventional, either. The two main characters are well-written, with both easily transcending the level of stereotyping they could have easily fallen into. The dialogue is smart and witty, offering numerous quotable passages. However, although the film poses some intriguing questions about the nature of male/female relationships, it never really answers them, instead using this material as little more than a jumping-off point for the interaction between Harry and Sally. For those who appreciate romantic comedies for both aspects of the genre (the "romance" and the "comedy"), When Harry Met Sally is a treat. The film was good to nearly everyone involved, elevating the careers of Crystal and Reiner (both of whom were already well-established), transforming Ryan into a bankable leading lady, and boosting screenwriter Nora Ephron's star (she went on to script and direct the popular and profitable Sleepless in Seattle, with Ryan and Tom Hanks). Nearly ten years after first reaching American screens, When Harry Met Sally still holds up remarkably well. That really shouldn't be a surprise, however, since a good romance is timeless. When Harry Met Sally (United States, 1989) Ranked #107 in Berardinelli's Top 100.

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Free watch harry e sally 3a feitos um para o outro lyrics. When Harry Met Sally... is a 1989 film about love and friendship, and the question of whether men and women can be friends. Directed by Rob Reiner. Written by Nora Ephron. Can two friends sleep together and still love each other in the morning? taglines Dialogue [ edit] Harry: When I buy a new book, I always read the last page first. That way, in case I die before I finish, I know how it ends. That, my friend, is a dark side. Sally: That doesn't mean you're deep or anything. I mean, yes, basically I'm a happy person... Harry: So am I. Sally:.. I don't see that there's anything wrong with that. Harry: Of course not. You're too busy being happy. Do you ever think about death? Sally: Yes. Harry: Sure you do. A fleeting thought that drifts in and out of the transom of your mind. I spend hours, I spend days... Sally: - and you think this makes you a better person? Harry: Look, when the shit comes down, I'm gonna be prepared and you're not, that's all I'm saying. Sally: And in the meantime, you're gonna ruin your whole life waiting for it. Harry: You realize, of course, that we can never be friends. Sally: Why not? Harry: What I'm saying is — and this is not a come-on in any way, shape or form — is that 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: You only think you do. Sally: You say 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: 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 want to nail 'em too. Sally: What if they don't want to 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 going to be friends then. Harry: Guess not. Sally: That's too bad. You were the only person that I knew in New York. Harry: You know you just get to a certain point where you get tired of the whole thing. Sally: What "whole thing"? Harry: The whole life-of-a-single-guy thing. You meet someone, you have the safe lunch, you decide you like each other enough to move on to dinner. You go dancing, you do the white-man's over-bite, go back to her place, you have sex and the minute you're finished you know what goes through your mind? How long do I have to lie here and hold her before I can get up and go home. Is thirty seconds enough? Sally: That's what you're thinking? Is that true? Harry: Sure! All men think that. How long do you want to be held afterwards? All night, right? See there's your problem, somewhere between thirty seconds and all night is your problem. Sally: I don't have a problem! Harry: Yeah you do. Harry: Would you like to have dinner?.. friends. Sally: I thought you didn't believe men and women could be friends. Harry: When did I say that? Sally: On the ride to New York. Harry: No, no, no, no, I never said that... Yes, that's right, they can't be both of them are involved with other people. Then they can. This is an amendment to the earlier rule. If the two people are in relationships, the pressure of possible involvement is lifted. That doesn't work either. Because what happens then is the person you're involved with can't understand why you need to be friends with the person you're just friends with, like it means something is missing from the relationship and wanted to go outside to get it. Then when you say, 'No, no, no, no, it's not true, nothing is missing from the relationship, ' the person you're involved with then accuses you of being secretly attracted to the person you're just friends with, which you probably are - I mean, come on, who the hell are we kidding, let's face it - which brings us back to the earlier rule before the amendment, which is men and women can't be friends. So where does it leave us? Sally: Goodbye Harry. Harry: I knew the whole time that even though we were happy, it was just an illusion and that one day she would kick the shit out of me. Jess: Marriages don't break up on account of infidelity - it's just a symptom that something else is wrong. Harry: Oh really? Well, that symptom is fucking my wife. Harry: You know, the first time we met, I really didn't like you that much - Sally: I didn't like you. Harry: Yeah you did. You were just so uptight then. You're much softer now. Sally: You know, I hate that kind of remark. It sounds like a compliment, but really it's an insult. Harry: OK, you're still as hard as nails. Sally: I just didn't want to 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. Harry: What's the statute of limitations on apologies? Sally: Ten years. Harry: Ooh. I can just get it in under the wire. Sally: Harry, would you like to have dinner with me sometime? Harry: Great. A woman friend. You know, you may be the first attractive woman I've not wanted to sleep with in my entire life. Sally: That's great, Harry. Jess: I don't understand this relationship. Harry: What do you mean? Jess: You enjoy being with her? Harry: Yeah. Jess: You find her attractive? Jess: And you're not sleeping with her. Harry: No. Jess: You're afraid to let yourself be happy. Harry: Why can't you give me credit for this? This is a big thing for me. I never had a relationship with a woman that didn't involve sex. I feel like I'm growing.... Harry: It's very freeing. I can say anything to her. Jess: Are you saying you can say things to her you can't say to me? Harry: Nah, it's just different. It's a whole new perspective. I get the woman's point of view on things. She tells me about the men she goes out with and I can talk to her about the women that I see. Jess: You tell her about other women. Harry: Yeah. Like the other night. I made love to this woman, and it was so incredible, I took her to a place that wasn't human, she actually meowed. Jess: You made a woman meow? Harry: Yeah. That's the point, I can say these things to her. And the great thing is, I don't have to lie because I'm not always thinking about how to get her into bed. I can just be myself. Harry: [while watching Casablanca] There are two kinds of women: high maintenance and low maintenance. Sally: And Ingrid Bergman is low maintenance? Harry: An L. M. Definitely. Sally: Which one am I? Harry: You're the worst kind; you're high maintenance but you think you're low maintenance. Sally: I don't see that. Harry: You don't see that? Waiter, I'll begin with a house salad, but I don't want the regular dressing. I'll have the balsamic vinegar and oil, but on the side. And then the salmon with the mustard sauce, but I want the mustard sauce on the side. "On the side" is a very big thing for you. Sally: Well, I just want it the way I want it. Harry: I know; high maintenance. Sally: You know, I am so glad I never got involved with you. I just would have ended up being some woman you had to get up out of bed and leave at three o'clock in the morning and go clean your andirons. And you don't even have a fireplace. Harry: Why are you getting so upset about this? Sally: You are a human affront to all women. And I am a woman. Harry: I think they have an OK time. Harry: What do you mean how do I know? I know. Sally: Because they... Harry: Yes, because they... Sally: And how do you know that they really... Harry: What are you saying, that they fake orgasm? Sally: It's possible. Harry: Get outta here! Sally: Why? Most women at one time or another have faked it. Harry: Well they haven't faked it with me. Harry: Because I know. Sally: Oh, right, that's right, I forgot, you're a man. Harry: What is that supposed to mean? Sally: Nothing. It's just that all men are sure it never happened to them and that most women at one time or another have done it so you do the math. Harry: You don't think that I could tell the difference? Sally: No. Harry: Get outta here. [Sally begins to fake an orgasm] Harry: Are you OK? [Sally continues very audibly, attracting the attention of nearly every customer in the cafe. Afterwards, she returns to eating her dessert] Older Woman Customer: [to waiter] I'll have what she's having. Note: the bolded line is ranked #33 in the American Film Institute's list of the top 100 movie quotations in American cinema. Sally: I don't have to take this crap from you. Harry: If you're so over Joe, why aren't you seeing anyone? Sally: I see people. Harry: See people? Have you slept with one person since you broke up with Joe? Sally: What the hell does that have to do with anything? That will prove I'm over Joe? Because I fuck somebody? Harry, you're gonna have to move back to New Jersey because you've slept with everybody in New York and I don't see that turning Helen into a faint memory for you. Besides, I will make love to somebody when it is making love. Not the way you do it like you're out for revenge or something. Harry: Are you finished now? Harry: Can I say something? Harry: I'm sorry. I'm sorry. Sally: [Crying hysterically] And I'm going to be forty! Harry: When? Sally: Someday! Harry: In eight years! Sally: But it's there! It's like a big dead end! And it's not the same for men -- Charlie Chaplin had kids in his 70's! Harry: Yeah, but he was too old to pick them up. Harry: Why can't we get past this? I mean, are we gonna carry this thing around forever? Sally: Forever? It just happened! Harry: It happened three weeks ago. You know how a year to a person is like seven years to a dog? Sally: Yes. Is one of us supposed to be a dog in this scenario? Harry: Yes. Sally: Who is the dog? Harry: You are. Sally: I am? I am the dog? I am the dog? Harry: Um-hmm. Sally: I am the dog. I-I don't see that, Harry. If anybody is the dog, you are the dog. You want to act like what happened didn't mean anything. Harry: I'm not saying it didn't mean anything. I am saying why does it have to mean everything? Sally: Because it does! And you should know that better than anybody because the minute that it happens, you walk right out the door. Harry: I didn't walk out. Sally: No, sprinted is more like it. Harry: We both agreed it was a mistake. Sally: The worst mistake I ever made. Harry: What do you want from me? Sally: I don't want anything from you! Harry: Fine. Fine, but let's just get one thing straight. I did not go over there that night to make love to you, that is not why I went there. But you looked up at me with these big weepy eyes, don't go home night Harry, hold me a little longer Harry. What was I supposed to do? Sally: What are you saying, you took pity on me? Harry: No, I was... Sally: Fuck you! [slaps Harry] Harry: I've been doing a lot of thinking, and the thing is, I love you. Sally: What? Harry: I love you. Sally: How do you expect me to respond to this? Harry: How about, you love me too? Sally: How about, I'm leaving? Harry: Doesn't what I said mean anything to you? Sally: I'm sorry, Harry. I know it's New Year's Eve. I know you're feeling lonely, but you just can't show up here, tell me you love me, and expect that to make everything all right. It doesn't work this way. Harry: Well, how does it work? Sally: I don't know, but not this way. Harry: How about this way? 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 the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to 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. Sally: You see? That is just like you, Harry. You say things like that, and you make it impossible for me to hate you, and I hate you, Harry. I really hate you. I hate you. [They kiss] Taglines [ edit] Can two friends sleep together and still love each other in the morning? Can men and women be friends or does sex always get in the way? Cast [ edit] Billy Crystal — Harry Burns Meg Ryan — Sally Albright Bruno Kirby — Jess Carrie Fisher — Marie Steven Ford — Joe Lisa Jane Persky — Alice Harley Jane Kozak — Helen Helson External links [ edit] When Harry Met Sally... quotes at the Internet Movie Database When Harry Met Sally... at Rotten Tomatoes When Harry Met Sally... at.

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Free watch harry e sally: feitos um para o outro word. I really shouldn't be watching this as many times as I am. Free Watch Harry e Sally: Feitos um para o outra voz. Free watch harry e sally: feitos um para o outro 10. Free watch harry e sally: feitos um para o outro maker. Love doesn't come in a minute,
Sometimes it doesn't come at all
I only know that when I'm in it
It isn't silly, no, it isn't silly, love isn't silly at all.
These words, from Paul McCartney's 'Silly Love Songs' seem to me to be a very accurate description of the theme of 'When Harry Met Sally. This iconic romantic comedy, written by Nora Ephron, is, for me, one of the most insightful comments on the place of love in the post-60s world. It charts the way that acquaintance can turn into friendship and then into love.
Harry (Billy Crystal) encounters Sally (Meg Ryan) on a long car journey during which they both seem to decide that the other is obnoxious in one way or another. Their path to love is funny, totally engaging and ultimately unforgettable.
One of the greatest - no THE greatest - characteristic of the cinema is its ability to access our deepest emotions. How many times do we weep cathartically in our normal lives - most of us, not many. Yet there are dozens of films that induce just this kind of reaction. How many times do we laugh so much that we ache - very rarely outside a cinema, but often within. How many times are we so scared that we cannot move - almost never in life, but often in the cinema. And these emotions cannot be accessed in the same way through any other art.
And there are laughs and tears galore in 'When Harry Met Sally. Why? Because we really *care* for these kooky characters, and the love that they find has a kind of purity that our loves struggle to emulate.
For some people (and I feel sorry for them) films that induce a warm feeling of pleasure are sentimental and worthless. They should avoid this film as it might undermine their sterile cynicism. But if you trust your emotions and regard them as your greatest asset, When Harry Met Sally' will be one of the most worthwhile films of the modern era.

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