“Before Sunrise” belongs to a nostalgic, romanticized era of romantic comedies that includes films like “10 Things I Hate About You,” “27 Dresses” and “How to Lose a Guy in 10 Days.” Released in 1995, Richard Linklater’s film follows Jesse, played by Ethan Hawke, and Celine, played by Julie Delpy, two strangers who meet on a train and spend a night exploring Vienna together before going their separate ways.
It is a familiar romantic fantasy: fall in love with a stranger in a foreign country, get to know them in a whirlwind of chemistry and conversation and leave before reality has a chance to interfere. There is something appealing about a relationship that exists outside the ordinary responsibilities of life. You get the romance without the risk of discovering whether it would actually work.
The film’s biggest strength is also its biggest gamble. There is no elaborate plot to follow. Instead, the entire movie revolves around two people getting to know each other through conversations about philosophy, family, relationships and life itself. Without the constant distractions of smartphones, their attention remains on each other and the world around them.
If you enjoy the characters, this approach works remarkably well. If you do not, you are stuck with them for the next hour and a half.
Unfortunately, Jesse initially fell into the latter category for me. Hawke’s character comes across as a fake-deep, commitment-averse guy who has plenty of dreams but not much ambition to pursue them. His attempts to appear effortlessly cool were more irritating than charming, and I was not particularly sold on Hawke’s hairstyle or drab wardrobe, either.
However, as the night progresses, Jesse’s carefully constructed image begins to fade. Beneath the guy who acts like he does not care about anything is someone more vulnerable and sincere. I ended up liking him considerably more once he stopped trying so hard to seem interesting. Whether this was Linklater’s intention or not, the shift made their developing relationship more believable.
Delpy’s Celine, on the other hand, was immediately compelling. She occasionally resembles the manic pixie dream girl archetype, but with more grounding. She has a family she loves, attends school and thinks deeply about philosophy, mortality and the world around her. She is romantic without being entirely detached from reality, and she is willing to admit what she wants.
This becomes especially apparent when Jesse and Celine initially agree not to exchange contact information because doing so might ruin the magic of their night together. As their connection deepens, Celine admits she would like to see him again. Their relationship never quite reaches the certainty of love, but their growing affection feels genuine.
Vienna itself is practically another character. The cinematography lingers on waterways, historic architecture and winding alleyways, accompanied by romantic music and gentle lighting. The city feels less like a tourist destination and more like a place where something extraordinary could happen to anyone. Celine’s familiarity with Vienna also gives scenes like their visit to a cemetery a sense of history and personal meaning.
As someone who enjoys analyzing film, I also appreciated the small details. Celine’s outfit changes throughout the night while maintaining the same pieces of clothing, including her flannel, which shifts between being tied around her waist and worn normally. It is a subtle continuity choice that makes their wandering feel more natural.
Ultimately, “Before Sunrise” is less about falling in love than about the possibility of it. Its romance rests on the idea that one night, one stranger and one unfamiliar city can change how we see the world. Even if Jesse takes some time to grow on you, the film makes a convincing case for putting down your phone, getting lost somewhere new and seeing what happens.
