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It was a rainy day in March of Liz had just had another laser eye surgery and we were planning on going to Mohegan Sun. This movie is by far my most favorite movie. If I am bored, I will watch this film. I will watch it over and over on cable.SEE VIDEO BY TOPIC: I Love You, Man (1/9) Movie CLIP - A Girlfriend Guy (2009) HD
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Rob Huebel: Tevin Downey
Peter appears to be unable to fit in with members of his own sex. The fact that he needs to actively search for a friend is proof that he is not very comfortable around more stereotypical male characters, whose personalities are exaggerated in the film. As Peter interacts with these and others throughout the film, he is exposed to only the most extreme version of each male stereotype, demonstrating the idea that men fit into very specific categories. Different variations of exaggerated hegemonic masculinity are prevalent in almost every character other than Peter, who is used as a lens through which to view these archetypes for what they really are: individuals who are highly limited intellectually, socially, and emotionally.
It is not until Peter meets Sydney that the former is able to open up and find the confident and unselfconscious side of masculinity that is right for him. A number of characters in I Love You, Man exhibit unpleasantly stereotypical male behavior, yet these men do attain the male bonding that the film presents as essential for true masculinity.
Because he does not know exactly where to turn, he first attempts to befriend Barry, a most stereotypical masculine middle-aged guy, who is physically distinguished mainly by his beer belly, and psychologically by his interests, which revolve around sex, drinking and hanging out with his friends. Barry is mean to his wife, mean to Peter, and mean to most people he encounters.
Early on in the movie, the director makes it very clear that this kind of person is neither laudable nor likeable, which leads Peter to question the whole idea behind male friendship. When the two of them go to soccer game, Lonnie gets into a fight with another spectator, which seems strange for a character who embodies a number of traits traditionally associated with women. However, the man misinterprets the dinner as a date and kisses Peter, demonstrating how a homosexual man can appear no different from a straight man.
This character does defy the idea of masculinity and homosexuality as polar opposites, but the episode lacks conviction. Although the night is not a success for Peter, it does serve to establish the growing idea that the typical characteristics of hegemonic masculinity do not necessarily have to apply uniformly to all men.
By this point in the film, Peter has had interactions with men on both sides of the spectrum and discovered that the absence of extreme hegemonic manliness does not always mean that the individual is completely devoid of all typical masculinity.
Sydney is a typical man-child: a simple, messy, vulgar, brutally honest friend with no real responsibilities or worries. While this type of character is often portrayed as somewhat unintelligent, he carries an air of innocent curiosity and bluntness that is absent in the more emphatically dominant male characters with whom Peter has been socializing. Sydney, for all his simplicity and flaws, still has a native intelligence, if not an intellectual intelligence. Although Sydney is not very accomplished in the traditional sense, his openness and deviation from the image of a dominant man are quite admirable.
I like Cherry Soda! The bullying child-like qualities of Barry are thus replaced by the accepting child-like qualities of Sydney. This is not supposed to be a bad thing, for men who act like boys are often likeable and admirable characters. Even without being very tough, ambitious, aggressive, strong, or any other characteristic related to the hegemonic man, his sense of brotherhood that he shares with Peter defines him.
Being self-reliant, caring and confident is more practical and common among happy men. Ultimately, that is a stronger and more valuable masculinity than the overbearing nature of others. Barry is not alone in his overbearing efforts at over-compensation, for many characters in the film cannot help themselves from trying to cover their insecurities. As it turns out, the men who display the most typical male traits end up looking rather weak and desperate in the end.
In addition to typical business cards, this attention-starved man feels the need to splash his face across every billboard and park bench, as well as printing his face on urinal cakes. He tells Peter stories of how he is so recognizable that people approach him on the street to ask where they know him from. Even Lou Ferrigno, the owner of the house which Peter is trying to sell, falls under the alluring spell of hegemonic masculinity. Ferrigno embodies the image of a big, strong, tough, quintessentially masculine man.
He seeks continuing validation by displaying an 8-foot tall statue of himself to depict his former days of fame and glory. Thus, the arrogant men, who are the most concerned with maintaining an image of strength, in this movie are filled with barely hidden self-doubt. Despite their differences, all of the men portrayed in the movie have one thing in common, another remnant from childhood: no girls allowed. The seriousness of this kind of attitude becomes very real, as Zooey tags along with Peter to a Rush concert, only to get completely ignored the whole night.
When Zooey and her friend insist on playing golf with Peter and Sydney, the men are really uncomfortable, and the day is a disaster. This concept of men constantly trying to escape from women establishes that men like to be free and feel uninhibited, and that the very presence of women threatens this freedom.
The idea of brotherhood is very exclusive. Women understandably like to be included in things, but these men prefer to stick together. Not because they dislike women, but because the animal nature of men takes over and pack mentality becomes very strong; like women, the things they like to do most do not always make sense to the other sex.
A basic tenet of hegemonic masculinity is binary opposition, the sentiment that real men are the opposites of gay people and women.
According to this theory, the subordination of women goes hand-in-hand with alpha-male domination, which makes judging the male characters in this film very easy. The amount of fondness and empathy the viewer feels for a character directly correlates to the amount of respect which that character shows towards women, further illustrating the rejection of these stereotypical, contemptible masculine attributes. The film portrays this kind of relationship in a very negative light, using it as a tool to identify detestable characters.
His sense of humor and general disposition are correspondingly much more guarded than those of his male friends and coworkers. Peter recoils in horror from a nasty smut video, which Tevin watches with obvious glee, further feeding the image of men as dirty creatures with unrefined taste. This is in direct contrast with Peter. While he is meticulously clean, other men do not seem to care about hygiene. The general lack of embarrassment and candor, which men in the film demonstrate, serve to portray men as coarse and shameless.
It almost seems like a point of pride to speak in such vulgar ways. This aspect of the movie panders to its audience; it pretends to disparage coarse behavior, but it delivers coarse humor. Robbie displays many contradictory signs to traditional masculinity, because according to binary opposition, as a gay man he should be acting in a feminine manner. However, he actually embodies more hegemonically masculine traits than almost any other character.
As a personal trainer, he works out a lot so he is tough and strong, and he pairs these physical qualities with self-confidence. But his strongest hegemonic traits are ironically in his sex life: his aggressiveness and power over his sexual partners make his hookups seem effortless.
However, he does have trouble trying to explain the concept to Peter. Because Peter is so unused to this type of speaking and interacting, he sees masculinity in a much more clearly defined yet artificial way.
Masculinity may be something we subconsciously strive for as men, but men do not often consciously think of masculinity as something to be attained as though it were a tangible object. The reason that Peter has so much trouble finding his niche is that he is only exposed to the most extreme displays of masculinity, so he has a skewed view. He often goes to see his brother at the gym, and their conversations take place as other men lift lots of weights around them, while he shows a complete lack of interest in the typical male pastime.
In addition, images of buff men are seen throughout the film, as Peter and Sydney see Ferrigno and encounter another huge man whom they run from on the boardwalk. Men are heavily affected by those around them, whether they consciously realize it or not. Men can be just as self-conscious and jealous as women, and Peter is no exception. His ambition is perhaps his strongest tie to typical masculinity, and when he describes his plans he is enthusiastic and determined. As he loses his confidence and becomes more uncomfortable with his situation, his last shred of manhood is apparently lost.
The idea of building his new housing developments is almost never mentioned for the entirety of the movie after the opening scene, illustrating how Peter is unable to follow through with his plans once he loses his confidence. He seems to lack motivation when it comes to selling the Ferrigno house, prompting his more ambitious coworker Tevin to try and jump on the opportunity to get in on the deal. The implication of this downward spiral is that without confidence and assertiveness, a man is a lost cause.
The film hints as this aspect of traditional masculinity as positive and necessary, a trait that Peter needs to attain if he ever wants to succeed. He is surrounded by successful, happier men who are not as unsure of themselves. The most masculine characters are not necessarily admirable, yet the universal factor which they all share is confidence. When Peter embraces his own form of masculinity and begins to lose the very un-manly social awkwardness and self-doubt that has plagued him throughout the film, he finally finds success.
It is easy for Peter to lose his way once he becomes hesitant, because he has nobody to turn to; men need at least one friend to lean on in hard times, and for Peter that man is Sydney. The confidence which Peter gains from hanging out with Sydney ends up changing his entire worldview, and that is the push that Peter needs to find inspiration. You gotta scrap that word from your vocab. That simple concept of support starts to bring Peter back to a renewed sense of purpose.
In contrast, though the rest of the men that appear on screen may have their own groups, their relationships are portrayed as tenuous and casual. Clearly, he has a penchant for the graceless hero and not much love for classic male figures. His heroes, including Peter, face oppression from theoretically stronger men, until their helper gives them the necessary push to take action. In each case, the protagonist has someone to lean on throughout the story, someone who not only aids them in their task but gets them to cast off their armor of indecision and weakness.
Peter struggles throughout I Love You, Man until he manages to fight through his neuroticism and truly open up. A real man does not have to hide. Thus, the movie resolves what seems to be a paradox, i. For in I Love You, Man the stereotypical males are actually alone within their groups, while Peter finds true friendship with a single other person.
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The Last Boo But the idea that people can easily just stand up and say 'let's just build a fence' and be done with it and wipe our hands, and it's going to secure the border, that's not reality. I love you. Top Authors. Zooey, you are about to marry one of the most honest, kind and fun-loving people I've ever had the honor of knowing.
The film stars Paul Rudd as a friendless man looking for a best man for his upcoming wedding. However, his new best friend Jason Segel is straining his relationship with his bride Rashida Jones. The film was released theatrically in North America on March 20, , to mostly positive reviews. Peter seems to not have any close friends to share the good news with, only family and mainly female acquaintances.
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A comedy film directed by John Hamburg, the writer of Zoolander , as well as Meet the Parents , Meet the Fockers , and Little Fockers but don't hold that against him. Even his family can't seem to recall any. Soon, no one is sure who will be Peter's best man, or whether he will even have one. So he sets off on a quest to find a good male friend, by going on as many man-dates as he can. Hilarity Ensues. Just about everything in the movie is played for laughs, especially the subtle and not so subtle homosexual undertones that come out of using RomCom tropes to tell a movie about two straight dudes. It may in fact merit being categorized as a Bromantic Comedy , perhaps the first full-fledged member of the genre. Peter : I will see you there or I will see you on another time. Sydney : Beat That was very confusing. I don't know if you're gonna come or not.
Hegemonic Masculinity in “I Love You, Man”
Love ist eine US-amerikanische romantische Comedyserie, deren erste Staffel am The story revolves around a world-weary gangster as his love life intertwines with three others, and how the course of their lives changes entirely based on one moment of fevered passion. Part 2 of the trilogy will pick up where the first movie ended and continue from the best selling novel. New on DVD.
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Paul Rudd: Peter Klaven
The phenomenon is interesting enough to ensure the adjective "Apatovian" stays in use for some time. Following last year's Role Models , the second such beast -- I Love You, Man -- arrived in theaters on 's first day of spring. Both star Paul Rudd, a loyal supporting player in the Apatow troupe since 's Anchorman. Actually, although Rudd's protagonist Peter Klaven is pretty even-keeled, there's enough to distinguish him from standard everyman heroes.
Peter appears to be unable to fit in with members of his own sex. The fact that he needs to actively search for a friend is proof that he is not very comfortable around more stereotypical male characters, whose personalities are exaggerated in the film. As Peter interacts with these and others throughout the film, he is exposed to only the most extreme version of each male stereotype, demonstrating the idea that men fit into very specific categories. Different variations of exaggerated hegemonic masculinity are prevalent in almost every character other than Peter, who is used as a lens through which to view these archetypes for what they really are: individuals who are highly limited intellectually, socially, and emotionally. It is not until Peter meets Sydney that the former is able to open up and find the confident and unselfconscious side of masculinity that is right for him.
I LOVE YOU MAN TEVIN DOWNEY QUOTES
A comedy film directed by John Hamburg, the writer of Zoolander , as well as Meet the Parents , Meet the Fockers , and Little Fockers but don't hold that against him. Even his family can't seem to recall any. Soon, no one is sure who will be Peter's best man, or whether he will even have one. So he sets off on a quest to find a good male friend, by going on as many man-dates as he can. Hilarity Ensues. Just about everything in the movie is played for laughs, especially the subtle and not so subtle homosexual undertones that come out of using RomCom tropes to tell a movie about two straight dudes.
I Love You, Man Quotes
I Love You, Man