The women dress in hyper-femme, bold, shiny looks when they’re being authentic to themselves, but even their conservative ‘businesswomen’ outfits – straight out of a 90s Versace catalogue – are glorious (Romy’s updo…).Get the picture? More than three decades after Hayley Mills wooed fans in 1961’s The Parent Trap, Disney reboot the classic and produced an equally as big box office hit. I wouldn’t be doing my job if I didn’t discuss the costuming, and Romy and Michele does not disappoint. The cast speaks for itself: Janeane Garofalo, 90s icon adored by gays and lesbians everywhere, and Alan Cumming, Scotland’s premier pansexual poster boy, are flawless in their roles as the women’s former classmates and bring an inexplicable queerness to the table. So what, then, made it such an impactful film for me and a generation of gay kids? It’s a jubilant celebration of female friendship, pure and simple. But maybe that’s where the beauty of the film lies: there is no suggestion that this is intended to be a thoughtful, brow-furrowing masterpiece. And you could argue there’s no real message to take away from the film.
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There is an enormous chunk of the movie that is revealed to be an extended dream sequence, which adult-me watching the film for the first time would find exceptionally irritating. However, as fiery as my passion for the film has burned for most of my life, I confidently admit the film is far from perfect. They’re a little more relatable, and their experience feels more authentic to that of the queer fans who adored it so passionately. Romy and Michele don’t have an ounce of Cher’s confidence or savvy gift of the gab. But as amazing as Clueless is, it feels ‘straight’ compared to Romy and Michele, maybe because our heroes are such outsiders, and Cher, while charmingly flawed, has her act together. One could lazily create a comparison with the similarly iconic 90s classic Clueless: a female-led, quotable time capsule adored by queer audiences 25 years after its release. Like, when you see her marching to places in her high heels, it shouldn’t ever look graceful.’ And I wanted her physicality to feel like a football player in drag.
So it made sense to have a more masculine tenor to her.
On how she created Romy’s voice, Sorvino told Vulture last year, ‘I just made it a little bit lower, because I felt that Romy is the guy in the relationship. Sorvino was inspired by her sister’s ‘pseudo-Valley Girl’ voice and spun it into comedy gold.
Special credit should also be reserved for Romy’s hilarious accent. The screenplay is hilarious and Kudrow and Sorvino have such impeccable timing that every scene feels iconic in its own way. ‘Remember when I had mono? That was such a great diet.’
‘Do you have some sort of businesswomen’s special?’ (in the grottiest of roadside diners) My favourite white lie – that they invented the Post-It, of course. So, they reinvent themselves in a desperate bid for acceptance from their former peers. However, they realise that they have accomplished very little since graduating and have nothing to showcase at the reunion – they were unpopular losers and have a lot to prove. One day, they bump into one of their pseudo-friends from high school, Heather (Janeane Garofalo), who informs Romy that their ten-year high school reunion is coming up. Romy works in a car dealership and Michele is unemployed, but they have each other, and enjoy an enviously indulgent lifestyle. Romy White and Michele Weinberger are living their best lives in L.A…. A handful of names came to mind, but reflecting on how fixated I was with this movie’s poster – two women in the girliest dresses, the chunkiest platform heels, lifting their feet, grinning at the camera – and how insanely enjoyable it has become as I have gotten older, there really was no option but to welcome Romy and Michele’s High School Reunion into our illustrious, exclusive movie club.