Michael Gordon
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Connections, in both directions
Their budding romance is propelled with some help from a montage of citywide cavorting, in which Burstein resurrects split-screen techniques that hark back to 1959's fluffy Pillow Talk.
One wouldn't necessarily put Peter Chelson's saccharine-coated flick "Serendipity" in the same company as the classic romantic romps of yesteryear (such as "Pillow Talk") or even in the category of contemporary ditties like "Manhattan", "Sleepless In Seattle", or "You Got Mail" for that matter.
Images of this boy's life and that girl's existence provide a smart riff on the split-screen moments Doris Day and Rock Hudson shared in the fluffy romance "Pillow Talk.
But directors Phil Lord and Christopher Miller — who did the last "Jump Street" movie, as well as the sublimely superior "The Lego Movie" — keep it moving and occasionally weird (with a giddy drug trip, and a split-screen idea that seems like a nod to, of all things, "Pillow Talk").
Gordon-Levitt’s maternal grandfather, as it happens, directed the Doris Day-Rock Hudson rom-com classic “Pillow Talk,’’ which in its way is as much a time capsule of its early ’60s era as “Don Jon’’ is of our own time.
For a brief moment, Strange New Worlds turns into Pillow Talk.
Seconds was seen as a significant acting departure for Hudson, whose career in the late 1960s was on a downward slide after successfully working in several of Douglas Sirk’s 1950s melodramas (including All That Heaven Allows and Written on the Wind) and a number of romantic comedies with Doris Day in the late ’50s and early ’60s (the most famous being Pillow Talk).
The frame fractures into an ultra-hyperactive version of the split-screen telephone scenes from Bye Bye Birdie and Pillow Talk.
Fans of Alex Ross Perry will point out that hostility is his natural terrain, that people in his films are born to bridle, and that, if you want niceness, you could always stay home and watch “Pillow Talk.”
This situation is not unlike that found in earlier movies without the “supernatural” trappings—think, for example, of “My Favorite Wife” (1940) and its remake, “Move Over, Darling” (1963), in which a supposedly dead wife returns to find her husband remarried, and he must make the choice between her and his second wife.