You've Got Mail is a
This film provides examples of:
- Alliterative Name: Kathleen Kelly.
- Belligerent Sexual Tension: Although, unusually, the attraction predates the belligerence.
- Big Applesauce: The entire story takes place in the city.
- Black Best Friend: Dave Chappelle (who passed up playing Tom Hanks' best friend before, in Forrest Gump).
- Corrupt Corporate Executive: What Kathleen takes Joe to be. He turns out to be a nice person; although he does sometimes have an arrogant streak about his business (especially the first time he converses with Kathleen after she finds out he's of Fox Books), he is also aware enough to admit that it's something he doesn't like about himself.
- Chick Flick: Unashamedly so.
- Cool Old Guy: Joe's father lives on a boat, makes Manhattans and gives his son free relationship advice.
- Dating Service Disaster: A big part of the plot.
- Defrosting Ice Queen: Joe has to convince Kathleen he's not a horrible person offline.
- Drink Order: Joe Fox will have a Stoli; Kathleen Kelly will have white wine.
- Felony Misdemeanor: While Kathleen and Joe are having a tiff at a dinner party (shortly after Kathleen finds out he is the part of the Fox Books hierarchy), he nonchalantly scoops some caviar off a dessert plate onto his own. Kathleen is offended by that ("That caviar is a GARNISH!"), prompting Joe to look her in the eye and wordlessly put more caviar on his plate.
- Fictional Counterpart: Fox Books is clearly a stand-in for Barnes & Noble, and the way it forces Kathleen's bookshop out of business is based on the real-life 1996 closure of a small Upper West Side bookstore, Shakespeare & Co., following the opening of a B&N branch in the same neighborhood.
- Gag Echo: When Kathleen comes back to the bookstore after her failed meet, Christina, then George, then Birdie's first response to the news when they show up minutes apart is "He stood you up?"
- Genre Throwback: A wholly uncynical and innocent movie about romance. A throwback to Hollywood's Golden Age of fluffy romance films, featuring no villains, all nice people, witty dialogue and a lot of supporting roles, and the movie's conclusion is never in doubt. (Understandably, since Parfumerie — the play this movie is based on — was released in 1937.)
- Heel Realization: Joe has one after he's trapped in the elevator and spends the rest of the movie striving to make amends for some of the harm he's caused in the hopes Kathleen will forgive him.
- Held Gaze: Joe and Kathleen share one at the end that looks like it's going to become an Almost Kiss outside her house. At the end, another Held Gaze leads into The Big Damn Kiss.
- Hypocrite: Kathleen Kelly expects other people to patronize her small business, but goes to Starbucks for coffee early in the movie.
- Insufferable Genius: Frank Navasky has traces of this; he writes on fairly arcane political topics but is rather full of himself. May double as Small Name, Big Ego.
- Long Last Look: After selling off the stock and emptying her shop, Kathleen returns for one last look of the empty rooms and bookshelfs. For a moment she sees herself as a child, "twirling" with her mother. Then she picks up the doorbell, locks up and leaves.
- Love Before First Sight: The two fall in love through emails and online chat alone.
- Love Confession: Right before Kathleen goes to meet her online love, Joe admits his feelings for her and asks how she could forgive a guy she's never met for standing her up but not him for "this tiny thing of putting you out of business."
- Loves My Alter Ego: Joe, once he knows he's talking to Kathleen online. She loves him when they trade e-mails but understandably dislikes him in real life.
- Love Letter Lunacy: …Well, love email lunacy thanks to the Setting Update.
- Lucky Charms Title: "You've Got Matil"?
- Ludd Was Right: Frank is the Upper West Side version. Technical progress is okay up to a certain point — specifically the invention of the electric typewriter — but what goes beyond that is the work of the devil.
- Must Have Caffeine: Joe Fox explains his business plan: "we're going to sell them cheap books and legal addictive stimulants."
- Noodle Incident:Birdie: What are you girls talking about?
Birdie: I tried to have cybersex once, but I kept getting a busy signal.
Kathleen: He couldn't possibly be the Rooftop Killer!
- When Kathleen believes she been stood up, George sees an article about the arrest of the rooftop killer and he and Christina believe that it could be him:
Christina: Remember when you thought Frank might be the Unabomber?
Kathleen: Well, that was different.
- Nothing Personal: Kathleen emphatically rejects the trope after Fox Books ran her store into the ground:Joe: It wasn't personal.
Kathleen: What is that supposed to mean?! I am so sick of that. All it means is that it wasn't personal to you. But it was personal to me. It's personal to a lot of people. And what's so wrong with being personal anyway?
Joe: Uh, nothing.
Kathleen: Whatever else anything is, it ought to begin by being personal.
- Overly Narrow Superlative: It's mentioned a few times that Frank is "the greatest living expert on Julius and Ethel Rosenberg".
- Pair the Spares: Averted. Frank and Patricia get on with their lives, but they do not become a couple, and only Frank is confirmed to be dating someone else after the breakup with Kathleen. There's also not a trace of romance between George and Christina (Kathleen's younger employees).
- "Pan Up to the Sky" Ending: The movie pans up to a bright clear sky at the end.
- Pet the Dog: Both a figurative and literal example: Joe Fox has a dog and he meets Kathleen while walking it.
- Posthumous Character: Kathleen's mother, the original owner of the Shop Around the Corner who touched a lot of people's lives, including (fleetingly) that of Joe's grandfather. She was ... enchanting.
- Precision F-Strike: Joe goes on a tirade about how the news edited his interview rather unfavorably compared to Kathleen and shouts "Shit!" in the fitness club. Immediately following an assertion that "I was eloquent!"
- Predatory Business: Subverted. Even if Fox Books undercuts the prices of family bookstores like The Shop Around The Corner, it still serves the community for the better — when Kathleen is walking around the store, she sees groups of adults and children alike scattered around reading books and having fun. Even if the one employee didn't know about the "Shoe" books, there's no indication that they are selling shoddy material or using dirty business practices. As Joe Fox said, "I sell cheap books. Sue me."
Roger Ebert: The movie is sophisticated enough not to make the mega-store into the villain. Say what you will, those giant stores are fun to spend time in.
- Also subverted, possibly unintentionally, by Kathleen waging war on a giant chain that she blames for putting small independent stores out of business but when she wants a coffee she chooses Starbucks.
- Quote Mine: Joe's interview rebuttal to Kathleen's protest was a victim of this. He was quoted as saying "I sell cheap books. Sue me." The extended quote actually also mentioned that their bookstore was a place where people are welcome to come in, sit and enjoy the afternoon.
- The name of Kathleen Kelly's store, "The Shop Around The Corner", is a deliberate reference to the 1940 movie.
- Joe Fox/NY152 constantly refers to The Godfather as the I Ching of manly wisdom and quotes extensively from the film. He inadvertently teaches Kathleen the meaning of the phrase "Go to the mattresses" — go to war with your enemies — which she promptly uses to declare war on Joe's store chain.
- Another, more subtle shout-out is the Kathleen's statement that she loves Pride and Prejudice, which also features the "enemies becoming a couple" plot. It's also the book that she brings to their disastrous "first" meeting.
- Sophisticated as Hell: Joe's reaction to being Quote Mined in a TV interview: "I was eloquent! Shit!"
- Strange Minds Think Alike: After her conversation with Joe in which he suggest to "go to the mattresses" (and explains it's from The Godfather), Kathleen asks Frank to help her, who agrees even though he's only half-listening. When she tries to get his attention by asking if he knows what the phrase means, without missing a beat or looking up from his paper, he states, "From The Godfather."
- Sympathetic Adulterer:
- Joe and Kathleen are essentially carrying on an emotional online affair behind their respective partners' backs (the fact that each takes great pains to hide it implies that they know it's wrong on some level, so it just avoids Protagonist-Centered Morality), but this is treated as excusable since they're clearly unhappy in their respective relationships. Their paramours might be completely wrong for them, but they certainly don't seem to be bad people deserving of such treatment.
- Kathleen herself reacts with amusement rather than outrage when she sees Frank blatantly flirting with the journalist interviewing him on television. And when she finally breaks it off, Frank is relieved and they both have a laugh over saying "I'm not in love with you."
- Talking in Bed: Averted. A scene in which Tom Hanks and Meg Ryan are using their computers to chat was staged with them sitting on opposite sides of their beds, so that it could be shown in Split Screen as if they were on the same bed. The filmmakers opted to show them in alternating takes.
- Wealthy Yacht Owner: Not "yacht", per se, but Joe and his father are shown to own very nice boats big enough to serve as mini-apartments after they each breakup with their girlfriends.
- What the Hell, Hero?:
- Kathleen does one to herself. When she finally musters the confidence and the ability to zing and insult Joe at the coffee shop, she at first feels enlightened but later expresses regret and guilt about being "cruel" in an email to "NY152".
- Joe simultaneously goes through the same thing after realizing he stepped over the line by needling her while also not revealing himself as her pen-pal. In his e-mailed apology in response, he tells her not to feel too guilty because it was "provoked and maybe even deserved". This starts the turning point in both characters easing up on their hostility towards the other.