Devastated Peter takes a Hawaiian vacation in order to deal with the recent break-up with his TV star girlfriend, Sarah. Little does he know, Sarah's traveling to the same resort as her ex - and she's bringing along her new boyfriend.
Friendless Peter Klaven goes on a series of man-dates to find a Best Man for his wedding. But, when his insta-bond with his new B.F.F. puts a strain on his relationship with his fiancée, can the trio learn to live happily ever after?
John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.
Peter is a composer and a likable sad sack who's devastated when his girlfriend of five years, Sarah Marshall, the star of a cheesy CSI-style crime show, dumps him. He weeps, he rails, he mopes. Finally, his step-brother Brian suggests Hawaii, so Peter heads for a resort on Oahu where, as he's checking in, he sees Sarah and her new beau, Aldous, a polymorphously perverse English rocker. The weeping and moping start again, until Peter is rescued by Rachel, a thoughtful hotel clerk who invites him to a luau and to hang out. Although he constantly runs into Sarah and Aldous, Peter starts to come alive again. Will Sarah realize what she's lost, and what about Rachel?Written by
Based upon script-writer Jason Segel's experience of dealing with his break-up from Linda Cardellini, as well as three other relationships and breakups (with unspecified women) besides Cardellini. Segel has stated that the 'naked breakup' did not involve Cardellini and that she was a great girlfriend. See more »
When Peter gets out of Rachel's car after trying to kiss her, Rachel's body is turned in her seat and she is facing him. In the shot where Peter is walking away, she is turned and facing the windshield. When the shot returns to a close-up of her in the car, she is in the same position as when Peter was in the car with her, then she turns to face the windshield and drives away. See more »
[from DVD gag reel]
[scene where Aldous is about to leave the hotel]
I would rather have my testicles spread out like a wafer and then have them covered in a layer of honey and then have wasps come and sting me and then have them covered in another layer of vinegar and then have it worn as a swimming cap by a Nazi. I'd rather have that than spend another second with her.
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Shortly after the end credits start, there is an advertisement for Sarah Marshall's new NBC crime drama, "Animal Instincts" in which her costar is Jason Bateman. See more »
I normally do not go out for sappy, romantic roller coaster romantic fare; and Forgetting Sarah Marshall (FSM) pretty much falls under the romantic "date flick" rubric.
And I can't, for the life of me, quite figure out why I liked this so much. I guess the filmmakers succeed in making the welter of comic bits, scenes, and images come across like genuine romantic sweet chaos. How they succeeded is beyond my comprehension.
And maybe that's the point. Some films are good, some are bad, and some are sort of like miracles. Their power is inexplicable; and that's how FSM felt to me.
It was boffo, a bit over-the-top, a tad muddled, a mix of character study, revelation, and farce. And, as things unfolded, by dint of pacing and sheer comic/character acting power, I came to really care about the characters; and I loved it! I glowed through most of FSM.
Here's a way of looking at it: FSM was sort of like Shakespearean romantic farce. Maybe that explains why I liked it; because my mind already has a little engine for processing this kind of narrative stuff, built up from past experiences watching Shakespeare In The Park!
It also comes down to artistic sincerity. Most romance flicks are a little insulting because they're not sincere. There was something, in the end, believable and therefore redeeming about the characters and their silly little Hawaiian comedy of errors and feints.
And that's a miracle, in my book! This is not an ordinary date flick.
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