Females have a distinct communication style that varies indefinitely from men. In the movie He’s just not that into you, females and males are depicted in relationships with one another and are continuously battling it out to keep in or survive through those relationships. The communicative ways of the females in the movie are shown through various communication styles such as the desire for intimacy, private speaking, listening and handling conflicts. These styles are incorporated in the characters and their interplay in the movie with other characters as the story unfolds. These communication styles are also helpful in proving the differences between men and women when they interact with and respond to one another.
Taking a look at the first communication style, the desire for intimacy in present throughout various parts in the movie. Most of the women in the movie are busy finding love and craving for their partners to like them back and reciprocate in the manner they want. For example, the story of Ben and Janine is an apt example because the only reason they both are married is because Janine gave him an ultimatum that either they would get married or would have to break up (Rodrigues). It is Janine’s fear of losing Ben to others if he is not married to her which makes her marry him and the marriage is based upon this need for intimacy that they have for each other. At the same time, Beth and Neil are staying together for 7 years, but they are not getting married because Neil doesn’t believe in marriage (Rodrigues). Still, Beth stays with him because it is her want for intimacy that carries on the relation. Similarly, Anna’s example is also clear because she knows Ben is married but she still wants to get intimate with him because he acknowledges her and her singing talent and they both feel closer to one another as they spend more time together (Rodrigues).
Private speaking is shown by the interactions between Gigi and her efforts in meeting men, but she is too cautious and looks at the interests of the other men before she pursues any further (Rodrigues). Her friends Janine and Beth share their secrets with her in order to encourage her as she seems to be in trouble while finding a suitable match for her. They also tell how to make excuses to men and tell them about women who were happily married to men who did not seem to be interested in the marriage at first (Rodrigues). This is done to convince Gigi that she might need to loosen up and give a chance to men who might not be clearly interested in her (Rodrigues).
The next communication style in the move is listening. The female characters listen to one another and even to the males who suggest and confront them. For example, when Gigi is interested in Connor but Connor is interested in Anna, Connor’s friend Alex tells Gigi to let him go because he will only come to her if he is interested in her otherwise he will not get involved without any reason (Rodrigues). He also tells her about women who think that men will get involved with them even if they are not interested are only an exception, but for Gigi, this is a rule. Similarly, when it comes to Anna and Ben, at first, Ben clearly tells her that he cannot cheat on his wife (Rodrigues).
Handling conflicts are done in a very typically female manner in the movie. (Rodrigues). The women are not very upfront about saying things as they happen rather they fumble for ways to prove them. For example, Gigi will never straight up and ask a man if he is interested in her or that she is interested in him, rather she is always looking for the signs to reveal things for her (Rodrigues). Also, the part where Janine is suspicious of Ben’s smoking, she refuses to talk to him about this, and when she does discover about the cigarettes, she is furious and files for a divorce. So instead of facing up to the conflicts, the women handle them covertly and reach their decisions in a secretive manner (Rodrigues).
Work cited
Rodrigues, Monique. “He’s just not that into you.” Online video. Youtube. Youtube. 26 Dec,
2009. Web. 7 April 2016.
