Because media is subjective, there are few indisputable statements -- but it's an established fact Keanu Reeves can do no wrong. He redefined the modern American action hero multiple times with a filmography impressive enough to make any cinephile quake with awe. There's his extraordinary commitment to authentic fight choreography and his notoriously kind reputation (an amusing contrast; the man contains multitudes), and his current fictional avatar avenges puppies. Little exists in the visual realm that Reeves can't achieve, and that includes romantic comedies. His turn in Nancy Meyer's 2003 rom-com Something's Gotta Give undoubtedly caused a surge in hospitalizations from swooning as he conducted an orchestra comprised of audience heartstrings. Reeves captured the gracious, wholesome, smitten boyfriend while simultaneously humanizing the very same archetype. Behold: the secret rom-com king.
Keanu Reeves Always Had Unutilized Rom-Com Potential
By this point in his career, Reeves had already reached international superstardom with the three The Matrix films plus '90s classics like Point Break and Speed. Joining Something's Gotta Give's main quartet of actors, while different, wasn't out of character; Reeves diversified his body of work from the beginning. Take Bram Stoker's Dracula (let's let the accent discourse die), The Devil's Advocate, and Much Ado About Nothing all before 2003. After, he headlined Constantine, A Scanner Darkly, and The Day the Earth Stood Still. Reeves had even dipped his toe into romantic dramas already with A Walk in the Clouds (1995) and Sweet November (2001). His potential as a rom-com leading man always existed: a chance for something quieter, more charming, and more keenly approachable than The One, but that potential had gone too long untapped.
Something's Gotta Give is an altogether different story. Reeves's character, Julian Mercer, is literally perfect; I looked up the definition in the dictionary. Before dissecting Reeves's performance, credit must be paid where credit is due in this regard, and the wisdom of expert filmmaker Nancy Meyers plays no small part. The writer-director behind Father of the Bride, The Parent Trap, It's Complicated, and The Holiday (everyone's favorite excuse for why they booked an English cabin in winter), Meyers was a force to be reckoned with as a commercially successful and critically acclaimed woman in Hollywood. Something's Gotta Give crystallizes her recurring thematic traits into an earnest, snappy, saucy celebration of middle-aged women's intellectual worth, while also championing their sexual desires (and desirability). Meyers draws flawlessly naturalistic moments from her actors: the little details they reveal or conceal through expressions and dialogue beats say everything. And when it came to Reeves's appeal, Meyers understood the assignment and weaponized his underutilized strengths into a heat-seeking missile.
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Reeves Embodies a Romantic Leading Man in 'Something's Gotta Give'
Julian is the attending doctor when Harry Sanborn (Jack Nicholson) is rushed to the hospital for a heart attack. Julian is a competent and calm physician with an underlying streak of humor once he's assessed that Harry's situation, while serious, isn't an emergency. He reassures concerned patients and likewise puts viewers at ease. Just the way his dark hair flops over his forehead deserves a standing ovation, but the true highlight evinces when protagonist Erica Barry (Diane Keaton) shares her name as part of an ongoing conversation. Julian's expression slides from professional politeness to stunned, delighted surprise. As rom-com fate would have it, Julian adores Erica's work as a playwright. The combination of his respect and her unexpected presence renders him temporarily speechless; he stares at Erica for a moment in half-dazed amazement before forcing himself to move along.
Julian then buys Erica, her daughter Marin (Amanda Peet), and her sister Zoe (Frances McDormand) hospital coffees. Marin stares at him dreamily, Zoe exaggerates her "thank you" with fluttering eyelashes, and Erica acts like a normal human being who isn't bowled over by Keanu Reeves's attentive proximity. Rather, Julian's the one bowled over. Without crossing a professional line or veering into creep-town, he fanboys over Erica's plays. He's certain he's seen every one, and her last work two separate times. As he leaves, he can't shake his grin or half-skipping demeanor. It's three scenes total, and Reeves has already sold us on his sincere interest in Erica and the undeniable rush he felt. He only had eyes for her in a room of three women, which Marin and Zoe snicker about and the 56-year-old Erica dismisses.
Julian is the Perfect Rom-Com Boyfriend, and Here's Why
Because Harry's staying at Erica's through a series of coincidences and conveniences (chief among them being the sixty-something playboy dating Marin), Julian visits his patient as he convalesces but takes the time to ask Erica how she's feeling. It's obvious the man is besotted. He's playfully flirtatious without violating social boundaries. He's engaged, listening, and practically sporting anime heart eyes. When Erica's on the phone laughing and Julian sneaks a stolen glance, his wondrous expression shifts into something deeper. The giant "my week is made" smile lessens in size but takes on poignancy as Julian realizes how far he's already fallen. So, he goes for it. He pointedly slides Erica a note asking her to dinner. Even the assurance behind his unanswered "pick you up around seven?" question-not-question is playful and eager, a contrast to Harry's philandering arrogance. Reeves doesn't need to soliloquy about his interest becoming a meaningful pursuit. In perfect rom-com tradition, his longing eyes convey that emotion. Unlike Harry, Julian needed no convincing of Erica's brilliance, caliber, and attractiveness.
Julian spends the entirety of their fancy dinner with open body language, leaning toward Erica closer than necessary for a first date (she does the same). He delivers lines like "I've never been married, I'm a doctor; you wouldn't believe what catnip that is to some women" with straight-faced conviction save for the glint in his eye. He pauses halfway through admitting that his sudden, intense feelings for Erica are new not because of her age (she has twenty years on him) but because he hasn't felt anything like this spark before. He briefly stumbles for words, glancing down as if too bashful to admit he has to search for the right ones.
But his confidence in his feelings belies any momentary shyness. There's a pointedly placed hand on the back of Erica's chair when he says that men her age who don't find her attractive must be "stupid." Then he leans in to smell, and kiss, her neck. It's a move to put the audience on their collective floors and is earned by Reeves's unwavering gentleness. He's charming without being a jerk, full of intent without acting predatory, which is a delicate line for a romance to walk. Rather than wear her down as a conquest, Julian has to prove his sincerity because Erica couldn't fathom that a successful, younger man adored her sincerely. He had to nudge her into acceptance or refusal, and Reeves never once indicated hostility. In short, Julian's perfect.
Reeves's Performances Makes it Impossible Not to Root for Him
Erica and Harry are the love story of Something's Gotta Give, and they sport the classic enemies-to-lovers screwball comedy journey. But Erica lights up under Julian's attention. She completes a new play. They become a happy, devoted couple once Harry leaves New York. Appropriately, running into Harry during Erica's birthday dinner (a classy restaurant in Paris, because why would Julian do anything less?) is also what ends their courtship. Julian belongs in a museum with his black turtleneck sweater and how he kisses his and Erica's entwined fingers, but silent comprehension dawns as he watches the unspoken interplay lying between Erica and Harry's words. The radiant comfort he arrived with retreats thanks to a few carefully placed glances, withdrawn gazes, and the heartbroken (if perhaps not surprised) set of his mouth.
To make matters as painful as possible, Julian steps aside like a gallant gentleman so Erica and Harry can be together. He wants, and prioritizes, Erica's happiness above his own. Something's Gotta Give is practically perfect in every way under Meyers' hand, and centering a middle-aged romance with actual middle-aged actors is beyond refreshing. But despite examining the playboy-to-monogamous trope with Harry's intentional redemption, and the important role Julian serves in Erica's life, it's impossible to avoid rooting for Julian and Erica to make it instead. Don't go for the reformed jerk, Erica! Floppy-haired Keanu is right there and kissing the ground you walk on!
It's Past Time for More Rom-Com Reeves
Now that Reeves once again owns a slice of world domination thanks to the success of the John Wick franchise, maybe he can lead his own middle-aged romantic comedy and secure that happily ever after endgame. Something's Gotta Give illustrated how he could make the stereotype shine; twenty years later, that energy still sits underutilized. Get this king another rom-com, stat.