The internet is rightfully obsessing over James Marsden again, which means it’s a perfect time to revisit Anne Fletcher’s 27 Dresses and discuss how it features not only one of the best rom-com pairings but the best epilogue ending, too. There are countless, utterly brilliant films out there that don’t get the recognition they deserve, though we aren’t here to talk about that, but they’re often the ones that leave us grinning from ear-to-ear.
27 Dresses effectively deconstructs a pivotal point in a woman’s life while simultaneously breaking down facets of the marriage market. It brings to our screens fascinating conversations about romance, marriage, and the whole ordeal without ever being preachy but rather by making it a conversation about the people whose days we’re celebrating. And so, with a movie like this, it’s inevitable that it’d have a moment to highlight the best parts of a wedding in such a heartfelt way that it’s the one thing that’s always stayed with me. It also helps that it’s a film written and directed by women, underscoring so much of our pain and underlying feelings of longing with subtle remarks that hit in spades.
The setup is a winner from the beginning, but everything locks into place when Kevin (Marsden) and Jane (Katherine Heigl) are stranded at a dingy bar after a bad storm. Between their flashy and infectiously joyous rendition of Elton John’s “Bennie and the Jets” (after which I, too, started purposely singing “electric boobs”) and the understanding that they’re kindred spirits in how they view weddings, the relationship becomes—well, electric. Their deep connection is transparent in Kevin’s confession that he not only sobbed at the Keller wedding (Jane’s favorite column), proving to her and us that he is indeed a massive sap, but the soulmatism starts to glimmer when he states that when everyone’s looking over at the bride, he turns to look at the groom.
What makes the statement so fascinating and so deeply in-tuned with the fact that feminism is for everybody is that we often neglect the groom at weddings. It’s not just about the one walking down the aisle but the one waiting, too. (We can also take a great note from the Schitt’s Creek wedding because both David and Patrick’s expressions are everything.) This beat from the film then moves the plot to its glowing, swoony epilogue, where Kevin asks if their wedding is everything she hoped for, with Jane declaring that it’s more.
The epilogue wedding declarations and the astounding performances with actors fully leaning into the romance and the comedy wraps up the entire film with the kind of bow that feels earned. We know what they’re both looking for in a partner, and the serendipitous way they come together ensures that the narrative flows seamlessly from point A to B while still being wholly ridiculous. There are enough stakes between them and their personal dilemmas, as well as everything that occurs during the third act (which is managed to fit the characters and the plot), but it’s about seeds within the film that continue to grow. Aline Brosh McKenna’s screenplay feels organic, with easy strives that push the characters toward this lush, comforting ending that hits all the right marks.
In many ways, an epilogue makes or breaks the piece of fiction. While some people will argue the first line matters most, I’ll always propose that we look at the last one more closely because it indicates whether the journey feels earned, not by checking boxes, but by honoring natural growth points. In short, 27 Dresses surprisingly holds up and proves that we should be casting James Marsden in more romantic comedies. After all, every line delivery and the adorable, sincere smiles throughout the movie make it the gem that it is.