[I hope you like graphs … ]
♪ Now everyone dreams of a love lasting and true, / But you and I know what this world can do. / So let’s make our steps clear, so the other may see./ I’ll wait for you, and should I fall behind, will you wait for me? ♪
— Bruce Springsteen & Patti Scialfa (“If I Should Fall Behind”)
“Contrary to what has been widely believed, long-term romantic love (with intensity, sexual interest, and engagement, but without the obsessive element common in new relationships), appears to be a real phenomenon that may be enhancing to individuals’ lives—positively associated with marital satisfaction, mental health, and overall well-being.”
— Bianca Acevedo and Arthur Aron (2009: 64)
In the 2013 film “Before Midnight,” we caught up with Celine and Jesse (played by Julie Delpy and Ethan Hawke) who had fallen in love during a chance, whirlwind evening in Vienna eighteen years earlier. After nine years apart between the first and second parts of the trilogy, they have been together for the last nine and are now in their early forties, and have twin girls together as well as a son from Jesse’s first marriage.
The first part of the trilogy, “Before Sunrise,” focused on Celine and Jesse’s incipient romantic connection as they explored the city, talking all night about a variety of topics before ultimately having to separate. In part two they reconnected. By the third film we see that there is still love, but with more complexity within their long-term relationship. We see themes of restlessness, resentments over suspected past infidelities, and the struggles that come with balancing parenting, career, sexual desire, domestic life, and having family spread out over long distances. They lament that passion (for all things) came easier to them when they were younger, and Jesse suggests that maybe “this is the natural human state – always a little dissatisfied, perpetually discontented.” We are left wondering if their relationship will survive.
The New York Times critic A.O. Scott reviewed “Before Midnight” jointly with the European film “Amour,” released the previous year. In that movie, we saw an elderly couple struggling with failing health. Scott pondered why such films, with their focus on a couple already-in-progress, were less common than ones centered around early romance. In his view, the reason is that unlike romantic comedies, marriage “has no story arc.”
“A marriage plot, which is to say a comedy, is a story with a wedding at the end. The exchange of vows provides a satisfying and efficient exit from an intricate story. After the chaos of misbehavior, misunderstanding and missed connection, order is restored, the curtain falls, and love’s essential labor is done. But if the story starts in the middle, sometime after the honeymoon, at the breakfast table or the parent-teacher conference, where then does it conclude? There are only two logical possibilities, both of them sad.”