Chapter 1 in Wes D. Gehring’s Romantic vs. Screwball Comedy presents a clear and well delineated introduction to the five main differences between both genres. Moreover, the chapter outlines the historical circumstances that shaped the two genres. It ends with a description of the post-Depression developments of both genres.

The first main difference that Gehring describes is the emphasis on love vs. comedy. Screwball comedies place its emphasis on “funny” as opposed to romantic comedy which “accents love.” This represents the America’s “take on farce,” with its desire to see physical comedy and absurd events. This is in contrast to romantic comedy which grounds itself in reality. The second difference is the depiction of the love process. Screwball spoofs such romance, while romantic comedy keeps the process visible, consciously highlighting it. The third difference Gehring describes involves basic character development. Screwball comedy uses an eccentric main cast, with an equally satiric support cast. Romantic comedy uses a less controlling and more serious heroine and the supporting characters tend to be “more funny than flaky.” The fourth difference is the “dating ritual.” In screwball, the heroine often finds herself in a “triangle” with her desire and his fiancée and the heroine’s role is to separate the serious (and boring) fiancée and to then capture his heart. In romantic comedy, the tension often lies in character differences, as opposed to another character itself. The fifth difference is plot pacing. Screwballs escalate near the end, while romantic comedy drags the tension throughout the end.

Next, Gehring discusses “Depression-Era Developments.” The first point Gehring presents the emergence of the “anti-hero” in 1920’s film. The second point is the fascination of the population with the upper classes. The third development is the implementation of the Production Code in 1934. The fourth “period factor” was the film industry’s growing use of sound technology. The fifth discussion point was the influence of “manic comedy of teams.”

The chapter then discusses key pictures. My Man Godfrey is described and analyzed throughout this part of the chapter. Analysis of the connection between Marx Brother’s comeback film’s (A Night at the Opera) success and that of Godfrey. It is described as “a surreal lead-in.” Gehring argues that Morrie Ryskind aided in this success as he was the co-writer of both films.

The chapter ends with a presentation of “Post-Depression Developments of Both Genres.” There is focus on WWII as a reason for the dwindling demand for screwball comedy. Moreover, a slew of poor remakes is argued as tainting the screwball genre. Gehring then charts screwballs re-emergence in the 1960s and then a “mini re-emergence” in the 1980s.