The little deaths and the big ones
Apr 12 '06 (Updated Apr 24 '09)
The Bottom Line Parting is such sweet sorrow? Well maybe sometimes...
For a long time, I've been meaning to supplement my lists of romances with happy endings (that is, the lovers together at the end) and romances in which the lover or beloved is lost to something other than death with one in which the lover or beloved is lost to death. I thought I would have it ready to post by Valentine's Day, but failed. The Liebestod is not really a popular Valentine's Day soundtrack anyway, so later may be better than on schedule, not just better than never.
I looked at the AFI list of 100 best American romance movies. Although my memory is fallible, I think that 24 of them end with one or both lovers dead, which is a substantial percentage, though far from being the outcome of a majority of (American) romance favorites.
Instead of rank-ordering my list, I am beginning my English-language list with adaptations of literature, and listing movies in other languages separately (with a bit of topical ordering rather than rank-ordering).
I don't think that anyone regards Romeo and Juliet as the greatest play by William Shakespeare, though it is probably the most popular. The 1968 Franco Zeffirelli version entranced me as a teen-ager (already identifying with Mercutio). The 1936 MGM movie is a disaster with stars far too old for the parts of the young lovers, and one (Norma Shearer) not up to delivering blank verse. I like the razzle-dazzle of Baz Luhrman's Romeo Juliet, but also find its Juliet (Claire Danes) not up to the demands of the role. And in the adaptation of "West Side Story," Richard Beymer is too nebbish and Natalie Wood too unbelievable as a Puerto Rican not to be overshadowed by the supporting players: Rita Moreno (who really is Puerto Rican), George Chakiris (Greek-American but looking the Tybalt part), and Russ Tamblyn (in the Mercutio part). John Leguizamo is a very satisfactory Tybalt and Harold Perrineau a satisfactory Mercutio in Luhrman's version. In Zeffirelli's Leonard Whiting and Olivia Hussey looked the parts and had a chemistry Beymer and Wood (and di Caprio and Danes) lacked. Michael York provided a lively Tybalt and John McEnery was poignant as the first lover slain (Mercutio, that is). (And what a dolt Friar Laurence is, though without his stupidity the tragedy would not exist—like the redemption in the blood of the Crucified One without Judas). (About the Zeffirelli version, see Paramendra's review at http://www.epinions.com/mvie-review-15F2-52F6480-39382AB4-prod4. On Luhrman's see Guildencrantz's at http://www.epinions.com/mvie-review-4F41-910308D-39DE1B3C-prod1.)
Shakespeare's "Antony and Cleopatra" is one of the greatest love tragedies. As in "Romeo and Juliet," by the end both lovers are dead. Vivien Leigh played Cleopatra to Claude Rains's Julis Caesar in a 1945 film of George Bernard Shaw's "Ceasar and Cleopatra" that I'd really like to see, and I wish I could see her as Cleopatra at the end of her rope (or the end of her asp?), unable to expect any kindness of strangers of Octavian's army. I thought that Richard Burton was an excellent defeated Antony, but Elizabeth Taylor was much better as Cleopatra in the first half of the epic brought in by Joseph L, Mankewicz playing with Rex Harrison's Julius Caesar than with her offscreen inamorata and future husband. Similarly, Claudette Colbert was better as the flirtatious young Cleopatra than as the defeated queen who follows Antony to Hades in Cecil B. de Mille's 1934 version. (Henry Wilcoxon was a wooden Marc Antony, Warren William a sly, entertaining playmate Julius Caesar). Great story, great play, but yet to be turned into a great movie. (There was a 1983 tv movie of "Antony and Cleopatra," which I have not seen. I can't imagine Timothy Dalton and Lynne Redgrave in the title roles!)
Die Nibelungen, showing the Norse legend of Siegfried (Paul Richter) being murdered and his widow, Kriemhilde (Margarete Schön), wreaking revenge was .a great movie with indelible images, including the awkward 1924 dragon, Siegfried bathing in the dragon's blood, riding his white steed through a forest of concret trees, and naked children dancing around a tree as the Hun army passes behind them. The two-part silent movie directed by Fritz Lang has possibly the most implacable avenger ever as Kriehmhild weds Attila the Hun to lay waste to the kingdom of her natal family (Worms). (The movie is German, but being silent, the intertitles are in English.)
Another screen adaptation of a major liteary "property" that includes a tragic death of the beloved (Kirstin Scott-Thomas) and the despair of the lover (Ralph Fiennes) is Anthony Minghella's multi-Oscar-winning 1996 movie that he adaptatied from Michael Ondajtee's Booker Prize-winning novel The English Patient (1996). It also contains a less star-crossed but still doomed love between the nurse played by Juliette Binoche and the Indian sapper played by Naveen Andrews. Though I think that too much of the latter character was jettisoned in the adaptation, the scene in which he shows Binoche the murals in a church is rapturous, as are the scenes of flying over the Tunisian desert sands. (Metalluk makes the case for this movie at http://www.epinions.com/content_210225041028. Telynor wisely cautions that the movie—or at least the first romance—is unlikely to be appreciated or understood by the young, though there is still a lot to look at, and the mystery plot.)
I consider Annie Proulx's 1997 story Brokeback Mountain one of the most powerful compact works in American literature. The movie (directed by Ang Lee, 2005) is much more novelistic (I have dared to say diluted and somewhat diffuse in the middle), with scenarists Diana Ossana and Larry McMurty elaborating the collateral damage of homophobia and the prescription to "cure" homosexual desires of marrying and procreating that is still being vigorously peddled. To say that Ennis (Heath Ledger) is inarticulate and unintrospective would be quite an understatment. His acknowledgment that Jack Twist (Jake Gyllenhaall) is the love of his life is very difficult for him and tragic for most everyone, starting with the wives who are well-played by Michelle Williams and Anne Hathaway. (BTW, I think that Gyllenhaal, Hathaway, and Kate Mara[Alma Jr.] have been overshadowed by the praise given Ledger and Williams.) And it has great cinematography by Rodrigo Prieto (Amores Perros) and DVDextras. (BTW, milk and water mix smoothly and totally.)
A Place in the Sun (1951) was a second screen version of Theodore Dreiser's powerful but sprawling novel An American Tragedy, which was based on a true story of an upwardly mobile young man drowning the fellow working-class woman he had impregnated. The young Elizabeth Taylor has not only her great beauty but the advantage of a wealthy family and it is difficult not to sympathize with Montgomery Clift's desperation to unburden himself of Shelly Winters's and reach for the heavens. Although I think the movie might have been more interesting if Taylor and Winters had switched roles, the Taylor-Clift bond is incandescent. Offscreen he was gay. Offscreen as on, she was in love with him (in an increasingly maternal way). And onscreen the pairing seems not merely "natural," but fated... and fated to be cut off by a murder trial, conviction, and execution. The movie had one of the two most famous kisses of the 1950s (the other was Deborah Kerr and Burt Lancaster on a beach as a wave crashes onto them in "From Here to Eternity") in what was then unusual closeup. It also has unusual double-exposure dissolves and is a "classic" that sill packs punches. (See Cripper's review at http://www.epinions.com/content_163351268996.)
The Red Shoes (1948, directed by "the Archers," that is, Michael Powell and Emeric Pressburg from a story by Hans Christian Anderson and a strong Ballet Russes overlay) is generally conceived to be a movie about dancing and commitment to art... and a triumph of art direction and color cinematography. However, there is an aim-inhibited romance between the Diaghelef figure (Anton Walbrook) and his prime dancer (the Nijinski figure transformed into Moira Shearer) and one ending in tragedy (Shearer in the ballet that Marius Goring's Julian wrote for her).(Macresarf1 is a far more passionate enthusiast for the work of the Archers than I am and for this movie in particular. See his review at http://www.epinions.com/mvie-review-6FFA-8A3D9A5-389B6CC3-prod1.)
The 1954 George Cukor version of A Star Is Born, starring James Mason as Norman Maine, the alcoholic falling star who discovers, promotes, and weds the rising star Vickie Lesterplayed by Judy Garland in her greatest performance. She would nurse him, but he gets out of the way, and she reminds the world that she is "Mrs. Norman Maine" in an emotional recognition of her debt (and undying love). (In the real world, Mason went on long after Garland burned out.) (There are no adequate epinions of this glossy MGM musical with a strong storyline, though we used to have a movie reviewer who took the screen name MrsNormanMaine, but who did not review this movie.)
Much in Moulin Rouge (directed by Baz Luhrman, 2002) is incredibly romantic (e.g., climbing the elephant and the dueling song fragment exchange that follows), though I almost didn't make it through the first half hour when I first saw the movie. Satine (Nicole Kidman) gives up Christian (Ewan McGregor) to save him, but he very dramatically returns... and she dies in his arms after a major production number (she who is about to die of tuberculosis singing to the edge of the grave...). (The hundreds of epinions, including some harshly dismissive ones by epinionators I greatly admire; for a sage appreciation of the dizzingly overdrive movie, see Psychovant's review at http://www.epinions.com/content_25261543044.)
In Vertigo (directed by Alfred Hitchcock, 1958), Scottie (James Stewart at his most obsessive) "loses" the object of his obsession twice. The first time, it is snatched away as part of a nefarious plot. The second time, he more or less throws real love away after refashioning Judy (Kim Novak) in Madeleine's (Kim Novak) image and then forcing her to admit that he was not her first Pygmalion. Obsession drives him metaphorically over the edge and her literally over the edge. (Although there are a few impatient detractors of this masterpiece, "Vertigo" is well established in the canon now, and has a soundtrack by Bernard Hermann that shows how to heighten tension with music. See Macresarf1's review at http://www.epinions.com/mvie-review-7EAA-CF91DAC-388256AE-bd1 for a lot of contextual information)
Films in languages other than English
The Apu trilogy is one of the most wrenching masterpieces of world cinema. It is in "Apur Sansar" (The World of Apu, directed by Satyajit Ray from a novel by Bibhutibhushan Bandyopadhyay 1959) that the unemployed would-be writer Apu (Soumitra Chatterjee) is talked into going with a friend (Swapan Mukherjee) into the countryside to attend a wedding. The bridegroom is crazy and Apu ends up taking his place. He surprises himself by falling very much in love with his beautiful wife, Aparna (Sharmila Tagore), and they are happy together in Calcutta. Aparna dies giving birth to a son, Kajal, whom Apu gives to her parents. He is overcome with grief and blames the infant for Aparna's death. His grief is as great as King Lear's but more turned inward. The previous movies in the trilogy show Apu's childood (Pather Panchali, 1955) and adolescence (Aparajito, 1957). "Apur Sansar can stand on its own, but anyone who has not seen the whole trilogy should see all three! (See Metalluk's review at http://www.epinions.com/content_137107705476.)
Casque d'or (Helmet of Gold, directed by Jacques Becker, 1952) ends with Simone Signoret watching the love of her life go to the guillotine. Signoret suffered for/from love a lot in such movies as Thérèse Raquin, La Ronde, and Room at the Top. She is far less melancholic through most of "Casque d'or." Indeed, she is self-confident in taking on a new lover (Serge Reggiani), dumping the dangerous old one (Raymond Bussières), and resisting the blandishments of a gang leader with police connections (Claude Dauphin). As I said in my review, this movie shows how much "palette" there can be in black-and white. The Criterion edition has a superbly remastered print.
"Wo hu cang long" (Crouching Tiger, Hidden Dragon, directed by Ang Lee, 2000) has a poignant never-consumated love between the senior pair (Chow Yun-Fat and Michelle Yeoh) and a passionate consumated one between the junior pair (Cheng Chang Zhang Yiyi). It is open to interpretation whether both love stories end with the death of one of the lovers. One of my Chinese friends contends that it is very romantic of me to believe that Zhang Yiyi does not leap to her death, but I insist that she has learned sufficient magic that she can fly off to Mongolia, where she found love. (1) More than a few warriors, female even more frequently than male, fly in Chinese martial arts movies and (2) the movie does not show her as hitting the ground, nor is her body shown on the ground, like Moira Shearer's at the end of "The Red Shoes."
Tom Tykwer's Heaven (2002) ends with the lovers disappearing into the sky, though carried by a helicopter rather than by wuxia magic. As Philippa, Cate Blanchett is as intense as was Frake Potente in Tykwer's "Run, Lola, Run" (at a far more stately pace than that frenetic film, and looking more like Potente's blonde incarnation in "/content_148272680580"). The adoration of Turin police interpreter/stenographer Filippo (Giovanni Ribisi) is credible to me, and I think that Philippa is grateful for his help and reluctant to doom him, though they mate (in silhouette) after both their heads are shaven. Despite the eventually shared look, the similar character names, and shared birthdates (and him being born during her first communion...), I do not see them as twins or of him as her soul-mate. Her soul-mate is dead before the movie starts (cf. "Ghost" and "Truly, Madly, Deeply") and no one could relieve her guilt, whereas he is young (baby-faced even) and pure of heart, though not lacking in craftiness at hiding. Tykwer freely admits to loving helicopter shots (a DVD extra includes some more that he reluctantly cut) and Frank Griebe provided superb cinematography.
"Ba wang bie ji" (Farewell, My Concubine, directed by Chen Kaige, 1993) with self-annihilating life and art finally merging after a sweep across the catastrophes of 20th-century China. Life later imitated art with Leslie Cheung's suicide. Zhang Fengyi, who played the onstage Emperor and offstage lover of Cheung's Dieyi in a stylized Peking Opera) production also titled "Farewell, My Concubine" and eventually there is a role engulfment similar to that of Ronald Colman as Othello in George Cukor's A Double Life, though Dieyi's despair is considerably exacerbated by the suppression and persecutions of the "Great Proletarian Cultural Revolution."
"Ye ben" (Fleeing by Night, co-directed by Hsu Li-Kong and Yin Chi, 2000) also has catastrophes of 20th-century Chinese history interfering with the lives and loves of the characters (along with a major assist by the US INS). Rene Liu, Huang Lei, Yin Chao-Te, Tai Li-Jen are also superb with connections woefully too late or not occurring at all. Huang Lei plays Shaodong, a Kun opera star (whose greatest role is in the opera "Fleeing by Night") and Yin Chao-Te plays Shaodong, a cellist from a rich mecrantile family (and engaged to Liu's Wei Ying-Er, only child of another rich merchant family). (Yin was heart-broken and heartbreaking as the young blind musician in Chen Kaige's 1991 Life on a String.) As in "Farewell, My Concubine" the much-admired opera star enacts his signature role offstage as well, that is, he flees by night, when Shaodong has a confused moment of flinching. This is a major tear-jerker that is, so far, unreviewed here.
Eytan Fox's Yossi and Jagger is a love story, with the love between two front-line Israeli army officers garrisoning a desolate border outpost ((the burly Ohad Knoller and the long-eyelashed Yehuda Levi. It starts as a droll military comedy in the vicinity of "M*A*S*H." What makes it, in my opinion, a great movie is the final scene. I also really like the music video of (more than from), "In Your Soul," performed by Ivri Lider, aka Rita.
Zhang Yimou's House of Flying Daggers (2004, the Chinese title, "Shi mian mai fu" means "ten-sided ambush" in the sense of being beleaguered from all sides) has incredibly gorgeous cinematography, more advanced (if overused) CGI than his previous international success "Hero," some amazing choreography (human, stone, and bamboo) and a politically complicated romantic triangle of Zhang Ziyi, Kaneshiro Takeshi, and Andy Lau. Zhang Ziyi seems to be in every Chinese movie that makes it out of the PRC these days, Lau is a famous Cantonese pop singer, and Kaneshiro Takeshi is a multilingual Taiwanese heart-throb (whose father was Japanese), who did more yearning in the 2003 Taiwanese romantic comedy "Turn Left, Turn Right." and in Wong Kar-Wai's Chungking Express. I think that his character is still alive at the end, after Zhang Ziyi's saves it with a mighty spurt of her own blood.
La Reine Margot (Queen Margot, 1994, directed by Patrice Chéreau from a novel by Alexandre Dumas) is easily the bloodiest movie on my list (and the one with the most nudity, though much of it involves corpses). It centers on the 1572 St. Bartholomew's Day (Night) Massacre. The romance in the marriage between the Hugenout Henri de Navarre (Daniel Auteui) and Isabelle Adjani's Margot de Valois (sister of the Catholic King Charles IX) blooms very late and saves Henri. The passion in the movie is between Margot and the very handsome Protestant Count de la Mole (Vincent Perez, who had played Christian in "Cyrano de Bergerac"). The scene of Margot and de la Mole watching a sunrise is particularly memorable (even more than Virna Lisi's choleric Catherine de Medici that won a best actress award at Cannes and the viciousness of Pascal Greggory’s Anjou). (I have to admit that though de la Mole rises from the dead once, I can't remember if he is alive at the end of the movie, but the movie is so romantic that it has to go on one of my lists!) (See Heidifromoz's review at http://www.epinions.com/content_101338353284.)
Nagisa Oshima's notorious (X-rated) "Ai no corrida" (In the Realm of the Senses, 1976) has to be on any list of most torrid love affairs on film with writing in blood, strangulation games, and the culminating love suicide. Brothel owner Fuji Tatsuya's obsession for his servant (Matsuda Eiko) makes "Fatal Attraction" seem like a Walt Disney cartoon, and even makes Oshima's later films (including Merry Christmas, Mr. Lawrence' and Gohatto) which otherwise might be considered "extreme" seem at least somewhat tame. The very controversial film was based on a true story that reached its climax in 1936. (The movie's look seems to derive from an earlier era, the woodblocks of Utamaro in particular). As Trust1234 says in his review at http://www.epinions.com/content_78081724036, Oshima "explores sexual subject matter with rare intelligence and feeling.... The scenes are conveyed with such pathos and a lurking sense of doom, that we cannot watch merely as impassive, prurient voyeurs." Shinoda Masahiro's "Shinjû: Ten no amijima" (Double Suicide,1969) is very highly stylized, proceeding without the repetition of graphic sex of "Ai no corrida." (There is one scene of simulated sex.) It is based on a Chikamatsu play that is very famous in Japan, but at least to me it seems that the love in the movie is the wife's for her straying husband, not for the pair that dies togehter.
The gruesome, extremely unerotic suicides in Kobayashi Masaki's "Seppuku"(Harakiri, based on a novel by Takiguchi Yasuhiko, 1962) are motivated by parental and uxorial love (and the samurai honor code). If I had not been thinking of suicides in Japanese movies, it would not have occurred me to include this film on a list of screen romances. The first suicide (with a bamboo sword, a scene that made a number of those in the audience of the film's première at Cannes faint) stems from a desperate father (Motome portrayed by Ishihama Akira),trying to feed his sick wife and child. This story is told in flashback by the great Nakadai Tatsuya, as Tsugomo, a ronin who spends most of the movie immobile kneeling in the center of the same courtyard, seething with bitterness and guilt and discomfiting Iyi Clan elder, Kageyu Saito (Rentaro Mikuni). After telling Motome's story and his relationship(s) to Motome, Tsugomo takes many Iyi retainers with him. (See Danielpar's review at http://www.epinions.com/content_162731167364, which contends this is the greatest of all samurai films. It is definitely a stunningly acted and photographed film with Takemitsu Tori's first soundtrack (a very innovative one), bravura cinematography by Kobayahi regular Miyajima Yoshio, and one of many mesmerizing performances by Nakadai, who also carried Kobayashi's The Human Condition trilogy and played a key role in another Kobayashi masteriece, Samurai Rebellion, as well as in many Kurosawa masterpieces, culminating in Kagemusha and "Ran".) I would add that there is now a superbly remastered Criterion edition, with a second disc that includes interviews with Kobayashi (by Shinoda), Nakadai, and screenwriter Shinobu Hashimoto . "Seppuku" is a great movie, even though it is not primarily a romance.
Some Other Contenders
I considered including Billy Wilder's "Sunset Blvd. "(1950) and "Double Indemnity " (1944). Gloria Swanson's cynical boy-toy William Holden, who narrates the former, is floating dead in the swimming pool at the start, and the torrid affair between Barbara Stanwyck and Fred MacMurray in the latter leads them first to kill her husband (ostensibly for the insurance money, but also to be together) and eventually each other. Both are great noirs with radically different femmes fatales and similarly corruptible males. In a less-good movie in which another adulterous pair offs the husband and don't live to enjoy their ill-got gains, "The Postman Always Rings Twice " (1946), Lana Turner and John Garfield have considerable chemistry. Garfield cannot resist Turner, but resists her nefarious plans to unburden herself of her sweet husband (Cecil Kellaway—who could murder him?!). James Cain's novel was also filmed in Italy during World War II by the young Luchino Visconti. After the war and the return of international copyright protection, prints were supposed to be destroyed, but, luckily, not all were, so we can see a grittier version, titled Ossessione . (There was also a remake with Jessica Lange and Jack Nicholson that was less censor-interfered-with than the Turner-Garfield one.) I can't remember who is dead by the end of Jaques Tourneur's great noir "Out of the Past " (1946)with the very fatale femme fatale Jane Greer or in "Gilda " with the somewhat more vulnerable Rita Hayworth taking off her gloves.
"HE Who Gets Slapped " (directed by Victor Sjöström from Leonid Andreyev's play, 1924) is on my other doomed romance list. Though Lon Chaney's clown dies in the end, his love (for Norma Shearer) is never requited and her regret is not that of one mourning a lost love.
"Camille " (directed by George Cukor,1937) has the vamp turned tragic heroine character than Greta Garbo specialized in at its most heart-wringing with the callow and beautiful Robert Taylor attending her. Another beautiful death by tuberculosis without shortness of breath. (And based on another Dumas novel). "Consumption," as tuberculosis was called in the 19th century, was romanticized, as Susan Sontag cogently discussed in Illness as Metaphor. I prefer Garbo bravely going to the firing squad (leaving Ramon Novarro behind) as the spy Mata Hari (1931), and Marlene Dietrich in the same role in Josef von Sternberg's "Dishonored " from the same year.
Fred Zinnemann's much-lauded From Here to Eternity ends with two de facto widows (Donna Reed and Deborah Kerr), neither of whom was married to their lovers (Montgomery Clift and Burt Lancaster—and only the former is dead on the 7 Dec. 1941—from friendly fire and officially sanctioned persecution). The movie seems more to belong on my "loved and lost" list. (it has to be on one or another list of screen romances for the writhing on the beach scene, a triumph of showing without showing,
Although Cyrano de Bergerac is dead at the end, it is the missed opportunity for love rather than the death of a beloved that is central and got versions of it on my lost love list.
And I at least thought about
King Kong (1933)
Truly Madly Deeply (1991)
Shadowlands (1993)
The Ballad of Cable Hogue (1970)
Once Upon a Time in the West (1968)
Cold Mountain (2003)
Out of Africa (1985)
Mayerling (1936)
La bête humaine (1938)
Anna Karenina (the 1935 Garbo version and the 1948 Vivien Leigh one)
various incarnations of Madame Bovary and Othello
Wuthering Heights (1939)
Dark Victory (1939)
High Sierra (1941)
Bonnie and Clyde (1967)
Badlands (1973)
Ghost (1990)
and even (gag) Titanic (1997) and (double gag) Love Story (1970).
and some in which the beloved is gone, gone, gone, including the one from which I borrowed that, Porgy and Bess (1959)
plus Gone With the Wind (1939) and
Jezebel (1938)
Broken Blossoms (1919; I don't remember how "Way Down East" ends after Lillian Gish is rescued from the ice floes)
and Body Heat (1981) (though I'm not sure about how it ends, either)
Room at the Top (1959) in which Simone Signoret suffers abandonment by the consumate heel, Laurence Harvey
(Looking over my list, it seems more resonant of Easter than of Valentine's Day. There are at least three films listed in which one or more of the lovers "rises from the dead" (Romeo and Juliet, Queen Margot, Vertigo) and Tsugomo sort of brings back and Motome and revises the viewer's estimation of Motome in "Harakiri." "Fleeing by Night" also sort of resurrects Shaodong; Zhang Ziyi comes back from seeming to be dead; Apu is sort of reborn... though none redeems humankind.)
I'm sure I have failed to think of some other movies in which one or both lovers are dead by the end that I would want to include, so suggestions are welcome.
©2006, Stephen O. Murray
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I've also posted listed of
the ten best movies ever,
my favorite films,
and,
best non-English-language movies by country,
best noirs,
best French organized crime movies,
best English organized crime movies,
best westerns not set in the American west,
best romantic movies with happy endings,
best romantic movies in which the lovers do not end up together for reasons other than the death of one or both of them,
best religious movies celebrating a religious figure,
best movies portraying the dark side of religion,
best holidaze (Christmas and Thanksgiving) movies,
best rock-n-roll movies,
best musicals,
best gay feature film,
best gay documentary film,
best cult movies,
best black comedies,
best World War II movies,
best post-WWII German films,
best epics,
and best anti-epics,
best movies of the 1940s, the 1970s, the 1980s,
1939, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006,
and 2007.
and my favorite tearjerker songs.
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