In 1999, big things were happening all around the globe. With the growing concern of the Y2K crisis and the impeachment trial of America’s former president, Bill Clinton, a light-hearted, golden-age rom-com was definitely in order. Now entering the scene, Notting Hill. The now-beloved classic film hit the movie theatres in May of 1999, and the world was never the same.
Coming off her previous successes of Pretty Woman (1990) and, later, My Best Friend’s Wedding (1997), Julia Roberts secured herself the title of rom-com royalty. Her co-star in the film was a young and relatively new-to-the-screen Hugh Grant. Now a household name, Hugh Grant spent over a decade working on underground films and experienced his breakout role as Charles when he acted opposite Andie McDowell in Four Weddings and a Funeral (1994).
After making newspaper headlines with an unfortunate police encounter in 1995, Hugh’s career was far from stunted, and his appearance in Notting Hill only made his name grow faster. But, regardless of the big names on the posters, what made this film so successful? Today, we’re going to take a closer look to really understand what created this massive success.
Everyone knows that actors and actresses play a big role at the box office. But beyond those on-screen faces, the behind-the-scenes workers determine the success or demise of a film. With the combined minds of the late Roger Mitchell (director and writer) and Richard Curtis (writer), Notting Hill was destined for success. In an article from the Guardian, it was said shortly after the film’s release,
“Richard Curtis, the painfully modest writer of Four Weddings and A Funeral and Bean, scored a half-trick of success yesterday when Notting Hill broke the $100M barrier in the United States, making it the most successful British film ever there.”
Roger Mitchell was no slouch himself, with directing credits on The Duke, Blackbird, and Venus, respectively. Not just in name, these men put their talents to good use by creating, in my opinion, the most beautifully directed rom-com in Hollywood history. This is illustrated in several scenes throughout the movie, but there are four in particular that caught my eye even after countless rewatches.
Paparazzi at the Door. During the mid-point of the film, Anna Scott (Julia Roberts) runs to William Thacker’s (Hugh Grant’s) quaint flat in London for solitude and escape after an unfortunate press leak from her past. The morning following, William hears a ring at the door and opens it to find a hoard of paparazzi filling the walkway. Peering over at a discombobulated face, Anna makes her way to see what the fuss is about and quickly finds her pleasant oasis to be compromised. In an interview with Vanity Fair, Hugh Grant commented on the scene by saying,
“There’s a scene in this film where she’s in my house and the paps come to the front door and ring the bell… I think I just let her go past me and open the door, and that’s awful… I’ve never had a girlfriend or indeed now wife who hasn’t said, ‘Why the hell didn’t you stop her, what’s wrong with you?’ And I don’t really have an answer to that…It was how it was written, and, and I think he’s despicable, really.”
When asked about the moment, a member of production told 10 News that the faux-press was rumored around set to have attracted the attention of real paps in London, and, therefore, it is possible that not all of those with cameras in that scene were hired actors. I personally find it funny that, years later, Grant would begin to spend a large portion of his time working with a campaign called Hacked Off- an organization that fights the abuse from the hands of the British press.
He has, however made it a point to say that they work to protect “normal people” and not the elite class. The pipeline from actor to politician, while somewhat untraditional, seemed to have worked out well for the Englishman.
Walking Through the Seasons. On the list of famous scenes from this movie, the “walking through the seasons” scene has got to be in the top 3. During every rewatch of this film, I snuggle into my chair at the old familiar sound of Bill Withers’s Ain’t No Sunshine. Inspired by the film Days of Wine and Rose, Bill wrote a theme song of sadness and heartache perfect for this moment, 28 years after the song’s inception in 1971.
In this famous scene, William is heartbroken over Anna and begins to go for a walk. During his strut down Notting Hill Street, William and the audience walk through the changing seasons and, for story-telling purposes, the passing of time. Shot in one day, but with four separate takes, the beautiful and seamless cinematic masterpiece showcases the wonderful world of 90s special effects. Even knowing some of how it was filmed, I am still enamored by the beauty of it every time.
Just a Girl. Not everyone might be as dazed by the editing masterpiece of the walking through the seasons scene as I am, however, you would be hard-pressed to find a soul who hasn’t yet heard the famous, trailer-worthy line, “I’m just a girl, standing in front of a boy, asking him to love her.” Are you crying yet?
The line, while good on its own, is made significantly better by the acting skills of Julia Roberts. Everything from her fidgeting hands to her heartbroken smile hits every note of the insecurity that comes with telling someone you love them and hoping the sentiment is returned. Not only do you find yourself tearing up over the regret dipped in hope plastered on her face, but the tears begin to flow harder when the camera turns around on Hugh Grant’s character. The feeling of wanting to love someone but not wanting to be hurt again resonates deeply with the film’s audience and adds incredible weight to the final scene’s conclusion.
“You are lovelier this morning than you have ever been.” (scene clip starts at 2:45). It is not common in Hollywood blockbuster films to find an intimacy scene as tasteful as the one in Notting Hill. At the beginning of the scene, Julia Robert’s character descends the stairs to find William attempting to fall asleep on the couch. Without verbal communication, Grant’s character gets up, stands momentarily, and then kisses her softly. The brilliance of the scene is in what’s not shown. The audience is allowed to see the initial embrace, a snapshot of them falling asleep, and their enamored reaction towards one another in the morning.
While Curtis had the opportunity to insert a steamy interaction, he knew the film’s tone and characters’ personalities lent towards sweetness and gentleness instead. In addition to the cleaver writing, Mitchell took the opportunity to play with light sources in this scene- allowing much of it to be in the dark with one source coming in over Grant’s head. When the camera pans to Julia, the left side of her face is illuminated, allowing the audience to understand her experience while keeping the privacy of the rest of the shot .
“Anna at the beginning of the intimacy scene,” Notting Hill, directed by Roger Mitchell, 1999.
When the camera flips around to Grant’s perspective, the right side of his face and the background are illuminated while the foreground remains dark.
Most other scene in the movie takes place in either the daytime or a well-lit room, so this directorial decision draws attention to the importance of the event even more.
“William at the beginning of the intimacy scene,” Notting Hill, directed by Roger Mitchell, 1999.
When picking apart the individual scenes, it is easy to see why this film is such a beloved classic. What might be a little harder for audiences to pick up on, however, are the slight nuances that make you feel cozy without even noticing it. In my opinion, Notting Hill relies heavily on the London-boy charm, but maybe not in a way you would expect.
Every scene of the movie has a muted color palette, and, when color is used (minus the punching shades of red), they are pastels. This will become important when we dissect the costuming of the film, but the backgrounds and sets do just as much to uphold the story-telling as anything. Not a moment in this movie feels overwhelming- minus the paps at the door- and I believe that is do to this decision. The intention of the movie was obviously to make abnormal feel normal. Mute the flashes and fan-fair of Hollywood to see the real story wizard behind the curtain- an act of true genius.
COSTUMING
When taking your eye off the camera and onto the actors, your first thought might not be about their clothing. Costume Designer, Shuna Harwood, used a whisper of subtlety to create a shout of impact on the screen. To understand the message of her work, let’s break down some of the wardrobes individually. It is worth noting that this is my interpretation of Harwood’s work and not directly from her. With that disclaimer out of the way, let’s start with Thacker himself.
WILLIAM THACKER
“Introduction sequence,” Notting Hill, directed by Roger Mitchell, 1999.
In his first appearance on screen, Hugh Grant is spotted in a blue button-up, black dress pants, and black dress shoes- the respectable wardrobe for a typical Englishman on his way to work. At least, I would assume. Throughout the film, Grant’s character is seen in multiple variations of this same look and almost nothing else. When I started looking for it, I noted Shuna’s adherence to keeping him in the colors blue, white, black, and blue-grey. This egregiously simplistic style of dressing lends credibility to his character’s main claim to fame- being inconceivably average.
“William talking to Spike,” Notting Hill, directed by Roger Mitchell, 1999.
“William in the bookshop,” Notting Hill, directed by Roger Mitchell, 1999.
“Dinner with friends,” Notting Hill, directed by Roger Mitchell, 1999.
White, blue, and blue-grey button-ups all paired with black or, if he’s feeling a little wild, kahaki dress pants. We do, however, get a mild break from the button-ups when Thacker joins a dinner party to commemorate the closing of his mate’s restaurant and chooses a nice knit sweater instead. At this point, Grant’s character proclaims that he has officially gotten past “the American,” and henceforward intend to be impressively happy. This point is silently contradicted by his sweater in question being the same sweater he seemed to have lent Anna last time they were together. It’s ok, Will. We’ve all been there.
“Dinner at the restaurant closing,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna running lines on the roof,” Notting Hill, directed by Roger Mitchell, 1999.
After watching over an hour’s worth of 50 Shades of Neutral, the audience is given a pleasant change of pace with Thacker sporting a lovely pink- eh hem, I mean salmon- button-up. You can take the blue out of the man, but, apparently, not the pressed cotton.
“William being set up on a dinner date,” Notting Hill, directed by Roger Mitchell, 1999.
But, “What?” you might be thinking. “That’s not Anna.” No, in this scene, William is attempting to make good on his promise of severance and proceed through the awful world of dating. The following morning, sporting the same pink/salmon shirt, Thacker is surprised when Anna Scott shows up to hand-deliver a special package in the oh-so-famous “Just a girl” scene.
“William in the Just a Girl scene,” Notting Hill, directed by Roger Mitchell, 1999.
After he broken-heartedly rejects Anna, Thacker totes his thick skull downtown to attempt at redemption. After a brief moment in a wedding tuxedo, Grant flashes on screen again to show off his blue-stained love affair. At least, for once, it’s not a button-up.
“Anna and William in the end sequence of the film,” Notting Hill, directed by Roger Mitchell, 1999.
Concluding the long journey through Thacker’s closet, it is time to take a look at Julia Robert’s objectively more fashion-forward character.
ANNA SCOTT
At the very beginning of the film, Shuna made history by introducing the iconic no paparazzi, please look of Ms. Scott. Sporting a white shirt, leather jacket, beret, platform vans, and mini sunglasses, Anna’s attempt at hiding in the bookshop is more or less successful.
“Anna first meeting William,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna walking down the stairs in William’s flat,” Notting Hill, directed by Roger Mitchell, 1999.
Unfortunately for everyone, minus the audience, this beautiful look is interrupted by a run-in with William and a glass of orange juice. Her outfit quickly said, “Oh, this? I just threw something on,” when she struts down the staircase in a cropped black top and skirt combo- ditching the beret in the process.
“Anna talking to William in his flat,” Notting Hill, directed by Roger Mitchell, 1999.
The next look we see is a jarring contradiction to the streetwear style she starts out with. Very quickly, Anna switches to movie-star professional and, in the process, lands on the power move of a black suit and purple tie. They will be a very happy dress-shirt couple indeed.
“Anna at the press event- first appearance,” Notting Hill, directed by Roger Mitchell, 1999.
Moments later, Thacker is invited back into the interview suit, and we get an even better, and more disheveled, view of this outfit.
“Anna at the press event- second appearance,” Notting Hill, directed by Roger Mitchell, 1999.
Thankfully, for dinner, Anna can metaphorically let down her hair as she becomes the best date in dinner history for William’s baby sister Honey’s birthday (played by Emma Chambers). Her look in this scene is the most casual in the entire movie.
“Anna and William entering Honey’s birthday celebration,” Notting Hill, directed by Roger Mitchell, 1999.
After the walk through the seasons scene, Grant’s character receives a knock on the highly-beloved blue door. When he opens the latch, he sees a defeated Anna, whom he welcomes happily into his home. During the night, Anna leaves the bedroom and finds the sleepless William downstairs in the flat- the beginning of the intimacy scene discussed earlier. In this scene, Shuna deepened the story by having Anna sport the same button-up Thacker wore when he went to visit her press event some time ago.
“Anna talking to William at night,” Notting Hill, directed by Roger Mitchell, 1999.
“William riding the trolly,” Notting Hill, directed by Roger Mitchell, 1999.
Unfortunately, just as the audience is settling into loving feelings for Julia and Hugh’s characters, another crisis breaks out, and her walls against love are, once again, fortified. Here, she is envisioned to be wearing a black top and dark jeans.
“Anna and William after the paps showed up,” Notting Hill, directed by Roger Mitchell, 1999.
Once again, a break in the story takes place as Thacker attempts to mend his broken heart- a noble yet wildly unsuccessful venture. When Anna returns to the scene, she is on the final day of filming for a Henry James film- a callback to an earlier conversation the two shared on the rooftop. Here, although in costume, Julia is once again in the feminine and powerful purple.
“Anna on the Henry James film set,” Notting Hill, directed by Roger Mitchell, 1999.
This interaction, while sweet momentarily, takes the path of all other meetings and finds favor in tragedy almost immediately. I am starting to question the compatibility of these two, but that is a minor issue for Hollywood that we will, collectively, be disregarding. In the “Just a Girl” scene that follows, Anna is sporting the charmingly simplistic and somewhat juvenile blue shirt, skirt, and cardigan combo made complete by a pair of springtime flip-flops.
Not only does the outfit work amazingly well for storytelling, but Julia Roberts admitted that she was the one to credit for this look- not the designer. After determining the original outfit to be inadequate for the scene, Julia sent out for an outfit directly from her at-home wardrobe. An iconic moment with an iconic outfit from an iconic actress. Chef’s kiss.
“Anna in the Just a Girl scene,” Notting Hill, directed by Roger Mitchell, 1999.
Before breaking down the importance of these looks, let’s take a beat to recognize two other fashion icons of the movie- Spike and Honey.
“Spike talking to William- 1,” Notting Hill, directed by Roger Mitchell, 1999.
“Spike talking to William- 2,” Notting Hill, directed by Roger Mitchell, 1999.
“Spike talking to William- 3,” Notting Hill, directed by Roger Mitchell, 1999.
Depending on your personality, you will most likely find Spike to be either endearing or, more likely, nightmare fuel. Regardless, it’s impossible to disregard the sheer confidence of a man who wears his flatmate’s wetsuit on a casual Monday afternoon.
Honey, while also entirely certifiable, is objectively more enjoyable to watch on screen. William’s disposition towards his younger sister reminds me fondly of how my brother has responded to my eccentricities over the years. Maybe this is the sign that there is a little more Honey in me than I would like to admit.
“Honey at her birthday party,” Notting Hill, directed by Roger Mitchell, 1999.
“Honey and Spike entering the bookshop,” Notting Hill, directed by Roger Mitchell, 1999.
“Honey and Spike dancing at the wedding,” Notting Hill, directed by Roger Mitchell, 1999.
Throughout the movie, both Honey and Spike are dressed in different shades of red, orange, and brown. As the movie progresses and they begin a relationship, Honey appears in pink, and later, at Will and Anna’s wedding, they are dressed in pink and blue, respectively.
Whether people are consciously aware of it or not, the way someone dresses speaks volumes about their personality. In a fictional story, costuming is utilized heavily to create a convincing world for both the viewer and the actor.
In my interpretation of the movie, Williams’ adherence to neutrals with a singular pop of color is two-fold. Not only does the color blue naturally complement Hugh Grant’s complexion by matching his eyes, but blue itself is seen as a color of happiness and optimism. Although Thacker is a character of simplicity and normalcy, he also starts the story in a place of needing hope. The opening voiceover introduces us to his character by saying,
“So this is where I spend my days and years… in this small village in the middle of a city… in a house with a blue door that my wife and I bought together… before she left me for a man who looked like Harrison Ford, only even handsomer… and where I now lead a strange half-life with a lodger called Spike…and so it was just another hopeless Wednesday, as I set off through the market to work… This is work, my little travel book shop… a small unpretentious store .. named, ‘The Travel Book Co.’ … which, well, sells travel books – – and, to be frank with you, doesn’t always sell many of those.”
The sheer implication that someone would leave 39-year-old Hugh Grant for “someone more handsome” is the most unrealistic notion in the entire film. Despite the rather shambled state of his life, Will appears to keep a temperament of at least partial optimism. The light-colored and reserved palette he sticks to exemplifies that his intent is not to impress or make a spectacle. We get the impression that William’s goal is just to live.
Anna, on the other hand, lives her life in the spotlight- always striving to be better. Her fashion-forward introduction onto the scene not only exemplifies her status as a celebrity- seen with the hat and sunglasses- but also provides a level of pessimism in the sea of black. After the orange juice incident, her punky cropped top shows off the sharp and guarded personality traits that make her character arch so endearing.
Looking into the differences between her all-black woman to be feared look at the beginning of the film juxtaposes beautifully against the monochromatic pastel blue towards the end of the film are a compass to that change. Every aspect of her personality is permitted to relax when she is with Will, and these looks make the audience believe it. It also allows the audience a look into the difference between Anna Scott, the movie star, and Anna Scott, the person- the same journey that William embarks on.
“Anna in William’s flat at the beginning of the movie,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna in the Just a Girl scene,” Notting Hill, directed by Roger Mitchell, 1999.
In the middle of the movie, when Anna is working, she is dressed in bold shades of purple- a color historically associated with power, money, and success. In the press event scene, the femininity of the color is directly contrasted by the masculinity of the suit. This may or may not have acted as a commentary on the struggle women face in male-dominated fields.
In the scene where the press finds her at Thacker’s flat, she is, once again, dressed in all black. A color fit to express the anger, frustration, and resentment that is building upon her character. In the scenes where Anna is exploring her personal life, namely her relationship with William, she is dressed in softer colors, silhouettes, and fabrics to showcase her ability to be normal.
In the conclusionary scene of the movie, where Anna accepts William’s apology, she is dressed in a beautiful powder-blue blazer- still womanly and respectable, but with a hint of gentleness. The beginning sequences of her character showcase her scared and protective nature. The end sequences exemplify a woman confident and comfortable in who she is.
“Anna at the final press event,” Notting Hill, directed by Roger Mitchell, 1999.
Throughout the film, blue is synonymous with Grant’s character, with even his beloved bookstore and world-famous door sharing the color. The women, contradictorily in this film are seen in purple and pink. This decision to focus on the stereotypical gender colors creates an interesting commentary later as we watch the romance unfold. Until the climactic moment of the film, the color-gender association is strictly followed. On the night that Will meets the woman in the black dress at dinner, he is wearing pink. A color representing hope and new beginnings. The following day, while in the same pink shirt, Anna walks into the shop wearing an entirely blue ensemble.
The swapping of palettes symbolizes the connection between the two characters. In the final sequence, Anna silently holds onto her connection to William by wearing the aforementioned blue blazer. In the final sequence of the movie, the couple returns to their roots with Anna in the feminine pink and William in the masculine blue, representing the finality and compatibility of the characters.
In several scenes of the film, Anna and Will are seen together in similar tones and styles. This may have been a production decision for coherency, however, my tendency is to believe this was a plot-driven decision to show the connectivity of the characters.
“Anna and William entering Honey’s birthday celebration,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna and William at dinner,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna and William after the paps showed up,” Notting Hill, directed by Roger Mitchell, 1999.
The only scene in which this explanation doesn’t entirely hold water is the scene at the kitchen table where Thacker is dressed in a dark blue-grey shirt, and Anna is wearing an oversized white tee, however, in the sequence following, they both acquire sweaters and, now, not only are their outfits complimentary, but we see that he is wearing white pants as he would have been in the scene prior. In my mind, the white pants/dark shirt and dark pants/white shirt combo complements just as the other looks do.
“Anna and William at breakfast,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna and William running lines together,” Notting Hill, directed by Roger Mitchell, 1999.
For the connection between Honey and Spike, their unlikely turned very likely pairing is teased in their shared color palette. At the end of the movie, echoing the storytelling of Will and Anna, Spike and Honey are seen wearing the patented blue-pink combo.
While an easily overlooked element, the costuming of a film is an integral part of building a world for an audience to fall into. Tasked with not distracting the eye, Shuna Harwood made her message known in the subtlest and softest ways.
MUSIC
While costuming is a visual element of storytelling, music design is the unseen, but very much heard, unsung hero of Hollywood. Assembled by Trevor Jones, the soundtrack of Notting Hill included a myriad of beautifully 90s hits such as I Do (Cherish You) by 98 Degree and You’ve Got A Way by Shania Twain, however, the most well known songs off this soundtrack include She by Elvis Castillo, When You Say Nothing At All by Ronan Keating, and Bill Withers’ Ain’t No Sunshine.
In the film, I Do (Cherish You), is heard playing on the radio in the bachelor’s flat- a relatively unnoticed detail unless you’re looking for it. Remixed by Olle Romo specifically for the film, You’ve Got A Way was the musical accompaniment for the rolling credits. The movie was beautifully bookended by a cover of She recorded by Elvis Costillo. The originator of this song, however, was not Costillo, but instead, Charles Aznavour. Written in 1974, She explores the idea of a woman so intoxicating that her lover is completely at the mercy of her actions. With famous lyrics such as
“She may be the face I can’t forget // A trace of pleasure or regret // May be my treasure or the price I have to pay… May be the famine or the feast // May turn each day into a Heaven or a Hell,”
I can’t help but wonder if Aznavour could have used an intervention. Regardless, the sentiment worked so well for the film that it was used as both the opening and closing sound.
Keating’s When You Say Nothing At All is most definitely the song that lodges into my brain when I watch the film as it is played through a montage-esque sequence of the couple’s early dates. Much like with She, Keating was not the original voice on this song, however. Coming onto the scene in 1985, When You Say Nothing At All was originally recorded by Keith Whitley, but later rerecorded for the film. The song’s message talks about the actions, and not the words, behind who someone is. “You say it best when you say nothing at all” is repeated time and time throughout the beat and perfectly matches the scenes it plays over.
As it fades into the movie, the family is goofily celebrating Honey’s birthday. The scene shows Anna’s longing reaction to the joy and camaraderie radiating from the bunch. Further into the sequence, we see Will and Anna joke and laugh at one another as their connection deepens. The words,
“The smile on your face lets me know that you need me // There’s a truth in your eyes saying you’ll never leave me,”
allows the audience to understand the love-struck headspace of our main characters.
THROUGHLINES
The smile-producing moments in any great film are often the small moments that tie into the beautiful conclusion. Notting Hill is no exception to this rule. Mitchell and Curtis perfectly tied two of the off-handed moments of the couple into the last 20 minutes of the film in an unforgettable way.
The Bench. In the scene following Honey’s birthday dinner, William and Anna walk towards the gardens of a gated community. After Thacker explains the gardens are to only be accessed by people in the community, Anna teases him into a mild trespassing stunt.
Once in the garden, the couple walks past a bench, and Anna invites Will to sit down with her. In the final scene of the movie, Will and Anna are shown thoroughly enjoying the community park and, once again, the bench, or in this case, a bench. While this is alluded to being the same bench as before, it is, in fact, not. The original bench had an inscription on it, whereas this one doesn’t. Regardless, the sentiment is conveyed.
“The park bench in the gated gardens,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna and William on the park bench at the end of the movie,” Notting Hill, directed by Roger Mitchell, 1999.
The Chagall. In the scene at the dining room table around halfway through the film, the couple begin the have a conversation regarding the painting on William’s wall. Anna starts the conversation with the sentiment…
“I can’t believe you have that picture on your wall.
You like Chagall?
It feels like how love should be. Floating through a dark blue sky.
With a goat playing a violin,
Yes- happiness wouldn’t be happiness without a violin-playing goat.”
Later, the painting comes back up in conversation when Anna brings him the real painting as an olive branch in the “Just a Girl” scene. It makes its final appearance on their wedding cake in the end sequence of the film.
“Anna and William talking about the Chagall,” Notting Hill, directed by Roger Mitchell, 1999.
“Anna and William in the Just a Girl scene,” Notting Hill, directed by Roger Mitchell, 1999.
“The wedding cake,” Notting Hill, directed by Roger Mitchell, 1999.
CONCLUSION
The question of why Notting Hill was the immediate success that it was could be simply answered by the 5-word phrase, “Julia Roberts and Hugh Grant.” However, the acting skills were only allowed to shine with the incredible production team backing them. It is hard to say when or if another classic like this will be produced, but I can say with confidence that the world was made better by the man in the house with the blue door.
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