Has our culture truly forgotten the classic, epic, trope-defying love story from Grease 2? We must not forget prissy, sheltered Maxwell Caulfield deciding to rough himself up to fulfill skanky Pink Lady Michelle Pfeiffer’s fantasy of a “Cool Rider, a cool cool cool cool rider” and “a rider that’s cool!” (damn those lyrics were like Cole Porter come to life!).
But more seriously, there’s Pretty in Pink and Mystic Pizza (Julia Roberts again) for two more examples. And Working Girl, where admittedly Harrison Ford’s character isn’t all that uptight, but he’s definitely loosened up a bit by Melanie Griffith’s Tess.
(Yeesh, am I giving away my '80s teen years or what?)
Class differences weren’t exactly at the heart of this, but the female side of the triangle in The Sound of Music consisted of the wealthy snob Elsa vs. the humble but free-spirited Maria, so I’d say wealthy Georg/Maria could be included here.
Surely if we’re offering Owl and the Pussycat (kinda nice to see someone remembers that, it was a cute if not brilliant comedy), The Way We Were deserves a mention. Redford’s Hubbell came from money, didn’t he? Whereas Streisand’s Katie was surely not far removed from the Lower East Side.
…Which reminds me of Carrie/Big in Sex and the City (only because in one nauseating episode, Carrie likened herself to Katie, and Big to Hubbell). Damn, I really know some hifalutin’ cultural references, don’t I?
But Rilchiam, it’s funny you should mention this because recently I’ve been searching for ballet- or dance-based films, and to my annoyance so many of them involve a prim ballerina being captivated by a guy who’s more of a “street” dancer, and my guess is that most of them involve the gal learning how to dance hip-hop rather than the guy donning tights by the end. So it’s a similar vibe.
Hmmm, speaking of showbiz films. I wonder if this sorta counts? Victor/Victoria? I know wealthy King Marchand (James Garner) isn’t exactly a tight-ass (he is a gangster, or as he would put it, a businessman who does business with gangsters), and poor Victoria Grant (Julie Andrews) isn’t a manic pixie. But sexually, Victoria has no problems with cross-dressing (and cross-cross-dressing!) or being BFFs with Robert Preston’s awesome Toddy. Whereas Marchand certainly starts out being close-minded and… well, I can’t say old-fashioned since the film takes place in the '30s, and male discomfort at being thought gay was the vast majority back then. But at least he loosens up enough to go to a gay club with “Victor.” So… kinda?
That’s all I got right now. At least, without going into soap operas, where instances are rife of poor, scruffy girl who’s hiding a skanky past during her romance with a upper-crust guy.