Chasing Amy is a 1997 romantic comedy-drama written and directed by Kevin Smith. It is the third film in the View Askewniverse series. The movie contains frank sexual dialogue, and was originally inspired by a brief scene from an early movie by a friend of Smith's, Guin Turner's Go Fish, wherein one of the lesbian characters imagines her friends passing judgment on her for "selling out" by sleeping with a man. In real life, Kevin Smith was dating Joey Lauren Adams at the time he was writing the script, which was also partly inspired by her.The film focuses on Holden McNeil (Ben Affleck), an artist who works fairly successfully for his "Bluntman and Chronic" comic with his best friend Banky Edwards (Jason Lee). Holden meets a fellow comic artist Alyssa Jones (Joey Lauren Adams) through a mutual friend. After connecting on an intensely interpersonal level Holden finds himself greatly smitten, though before he can make a move he discovers that Alyssa is a lesbian. He is devastated by that information, but they still become incredibly close friends. There is one hitch, he is still in love with her.The film explores concepts of sexuality and love, how you can't necessarily just turn off your feelings and the social pressure you get. It won two awards at the 1998 Independent Spirit Awards (Best Screenplay for Smith and Best Supporting Actor for Jason Lee) and Joey Lauren Adams was nominated for a Golden Globe for Best Performance by an Actress in a Motion Picture - Comedy/Musical.Dave Pirner of Soul Asylum was the Musical Consultant/Producer on this film and wrote music for it.
This movie contains examples of:
Actor Allusion: In a manner of speaking, the whole plot. The story is inspired by Kevin Smith's relationship with star Joey Lauren Adams, and so in a sense she is "Amy."
Angry Black Man: Parodied by Hooper, who pretends to be an Angry Black Man to sell comics but is actually Flamboyant Gay. Also deconstructed, to some degree. It's definitely hinted that some of the rage he exhibits is real, but cloaked in irony. He also seems to be both angry at how black people are treated and, simultaneously, angry at the way the black community treats gay people. So it's complicated.
Banky: No, I'm serious. This is a serious exercise. It's like an SAT question. Which one is going to get to the hundred dollar bill first? The male-friendly lesbian, the man-hating dyke, Santa Claus, or the Easter Bunny?
Holden: The man-hating dyke.
Banky: Good. Why?
Holden: I don't know.
Banky: BECAUSE THE OTHER THREE ARE FIGMENTS OF YOUR FUCKING IMAGINATION!!!
Banky also didn't appreciate Hooper's theory that Archie was gay, and dragged Hooper to a comic book store to disprove it.
Betty and Veronica: Discussed, when two characters try to explain why it happens in Archie Comics. Hooper is convinced it's because Archie is Jughead's lover, and Banky is convinced its because Archie wants to bed both girls at once.
Bittersweet Ending: Everyone's able to move on with their lives and Holden in particular becomes a better person in the end, but neither his relationship with Alyssa nor his friendship with Banky survive. However, Banky and Holden do have a brief, silent reunion and it's very apparent how happy they are to see each other. Banky even wordlessly encourages Holden to go talk to Alyssa who's nearby.
Word of God suggests Holden and Alyssa may have gotten back together after the film ended, so it's arguably an open ending.
Alyssa explicitly mentions attending the funeral of Julie Dwyer—the same funeral is attended by Dante and Randal in Clerks, and the reasons for her death are stated in Mallrats, are revealed to be the protagonist's fault, and kick off the main plot.
Shortly after, Alyssa mentions that her best friend had sex with a dead man in the bathroom of Quick-Stop (the setting of Clerks). This happens to a character in the climax of that film.
Holden: You got a weird thing for Canadian melodrama.
Banky: I got a weird thing for girls who say, "Aboot".
Captain Ethnic: "My book, 'White Hating Coon', is a positive role model that a young black reader can look up to."
Chekhov's Gun: Two, but they don't go off until subsequent movies. Jay and Silent Bob's bus tickets to Illinois get them to the midwest in time for the plot of Dogma, and Banky and Holden's comic book (turned movie) becomes the major plot of Jay and Silent Bob Strike Back.
There's a third one: A blurb in one of the newspapers in the beginning reveals Brodie has quit his job as the host of the Tonight Show and opened up a comic book store, linking this movie to both Mallrats and Jay and Silent Bob Strike Back.
One of the newspapers also mentioned the character Mooby, whose chain of restaurants is featured prominently in Dogma and Clerks II.
Covers Always Lie: The Criterion Collection DVD cover◊ notably depicts Holden with no facial hair and Banky smiling. During the entire movie, Holden keeps his goatee, and Banky is not nearly cheerful enough to wear that grin. Jay and Silent Bob's presence on the cover also implies that they'll be there for more than one scene.
Darker and Edgier: In contrast to the Denser and WackierMallrats, the film places much of its emphasis on the emotions of the characters, and is at its core a love story with a heart, which more than makes up for the wacky nature of Kevin Smith's previous effort.
Dramatic Drop: Banky drops a bottle of milk when he walks into his and Holden's apartment to find Holden and Alyssa asleep naked on the couch.
Flat "What.": Banky's reaction when Holden accuses him of being in love with him.
Friendship Moment: Just because a friendship moment is selfless doesn't automatically make it a good idea.
Funny Background Event: When Alyssa and Holden are playing darts, people behind them can be seen repeatedly entering the opposite gender's bathroom. Though since it is a gay bar (and Holden doesn't know it at the time) this becomes a Meaningful Background Event.
Girl on Girl Is Hot: Hooper mentions the fact that lesbians are becoming far more accepted in society because of this trope, while a gay black man has several additional hurdles to jump through.
Heterosexual Life-Partners: Deconstructed between Holden and Banky, Holden eventually states out loud that Banky's opposition to Alyssa stems from his attraction to Holden in a non-homosexual way. The end of the movie has them as good friends but they needed space from each other to grow, as Banky became a successful artist on his own and gets past the stigma of being a tracer.
My Girl Is Not a Slut: Subverted and discussed at length. It's almost a deconstruction! After all, the guy loses the girl because he can't cope with her past. He feels inferior to her experience and wants to try something to make up the difference.
No Bisexuals: Despite Alyssa being a "lesbian" and then turning out to sleep with (and have previously slept with) men, the word bisexual is never mentioned once. Also the Unfortunate Implications of her lesbian friends disowning her from the group for sleeping with a guy.
Noodle Incident: Apparently as a child Banky made a nun so angry that she called him a "fucking cunt rag".
N-Word Privileges: In a deleted scene, Alyssa says she's offended by Banky using words like "faggot" and "dyke" carelessly and in anger. Holden retorts with why it's okay for her and Hooper X to use those words if they're so bad. Alyssa explains that they use those words in order to take the venom out of them, so when ignorant and hateful people say them, they won't be bothered as much.
Sequential Artist: Holden McNeil and Banky Edwards are writers/artists for Bluntman and Chronic comic, Alyssa Jones is writer/artist for Idiosyncratic Routine, and Hooper X produces the comic White Hatin' Coon.
Alyssa and Banky comparing lovemaking scars is nearly identical to the famous scene from Jaws.
Bizarrely enough, doubles with Actor Allusiontwice over. The scene where Alyssa's lesbian friends chastise her for "selling out" (her lesbianism by hooking up with Holden) mirrors a scene in Go Fish. The scene here features Guinevere Turner, who shares a name with Adams' character in Mallrats. Turner also wrote and appeared in Go Fish (although not in the scene in question).
Signature Style: Kevin Smith's writing and directorial style is on display here with all of its usual notes: Snarky banter, limited camera movement, frank discussions of comic book sex, copious Star Wars references, and ice hockey.
The Silent Bob: In some ways subverted for this movie, because Jay and Silent Bob are only in one scene and that one scene has Bob give a poignant monologue about "chasing Amy" he almost has as much dialogue as Jay.
Take That: Kevin Smith word-for-word quotes a negative review of Mallrats in a deleted scene in the form of two snooty comicbook salesmen dissing Bluntman & Chronic.
Take That Me: Jay complains about his portrayal in Bluntman & Chronic, specifically the phrase "snootchie-bootchies", which was first used in Mallrats.
There Is No Try: Silent Bob tries to quote this, but is violently interrupted by Jay.
What Could Have Been: The movie was apparently only two votes away from an Acadamy Award nomination for "Best Original Screenplay." One can only wonder what this would have done from both the film and Kevin Smith's reputation.