As a seasoned film enthusiast with over three decades of cinematic adventures under my belt, I must say that the revelation about the original ending of “50 First Dates” has left me both intrigued and somewhat relieved. The idea of a dramatic, open-ended finale for this heartwarming romantic comedy was an enticing prospect, to be sure. But as someone who’s seen their fair share of movie endings, I can’t help but feel that the original ending might have been a bit too heavy for the lighthearted tone of the film.
20 years ago, “50 First Dates” starring Drew Barrymore and Adam Sandler hit the big screen, and this year it’s marking its anniversary. On her talk show, Drew shared an unexpected detail about the film – the original ending of the 2004 romantic-comedy wasn’t intended to be a perfect, everlasting happy ending for characters Henry (played by Sandler) and Lucy (Barrymore).
“One scene that has stayed with me is the original finale of ’50 First Kisses,’ which was its title initially. It was a dramatic story set in Seattle. The initial ending had her telling him, ‘Go and live your life, for this isn’t living here.’ He then left as he often did, only to return later and casually say, ‘Hello, I’m Henry,’ bringing the movie to an end.”
Barrymore’s fellow host, Ross Matthews, responded to the disclosure by expressing gratitude: ” frankly, let me just say: thank you. Thank you for making a difference.”
“The movie ’50 First Dates’ revolves around the heartwarming tale of marine vet Henry (played by Sandler) and art instructor Lucy, who has anterograde amnesia, causing her to forget everything that happened since the last day. Each morning marks a new start for her, but she can’t remember falling in love with Henry. The movie concludes with them as a loving couple, embarking on a boat trip in Alaska alongside their daughter, where Henry continues his marine research.”
In 2019, director Peter Segal shared with Entertainment Weekly an alternative ending for the film “50 First Dates,” where character Henry performs a significant act to aid Lucy in recalling their shared history. This version of the movie concluded with Lucy waking up in bed and promptly gazing at a mural on the ceiling that depicted her accident and life’s journey since then.
“Instead of the mural in her father’s garage that they constantly repainted for her to start fresh, this one Henry left untouched. This allowed her to see a visual chronicle of her previous day each morning. As Segal explained, this mural served as a way for her to reacquaint herself with her life again, rather than starting anew as in the movie where she woke up confused and reacted negatively upon finding Henry beside her. This time, however, it was a peaceful reintroduction.”
Reflecting on my thoughts, I shared, “Initially, the conclusion appeared perfect for the couple, but then we shifted the narrative towards Henry pursuing his dream of studying walruses in their natural environment. The twist intrigued me – what if Lucy, her father, and their child were part of this journey too? It seemed thrilling and deeply emotional to me. In filmmaking, crafting a powerful beginning and end is crucial, and if you manage that, you’re on the right track. I believe that ending remains the best I’ve ever written for any movie.”
Segal oversaw Sandler’s work on multiple projects throughout his career, such as “Anger Management” (released in 2003) and “The Longest Yard” (which came out in 2005).
View this post on InstagramA post shared by The Drew Barrymore Show (@thedrewbarrymoreshow)
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2024-08-13 01:16