If you had to make a list of Meg Ryan movies that someone should watch as a primer for Ryan appreciation; which would you choose? Drawing up a shortlist, leaving aside the popular films she made with Billy Crystal and Tom Hanks is difficult. But after careful consideration, these are the six Meg Ryan performances I’d prescribe as an antidote to Pfeiffer mania.
Sally Albright in When Harry Met Sally and Alice Green in When a Man Loves a Woman are arguably her two most acclaimed performances. Both occurred in relatively weak years in The Academy’s Best Actress race, sadly neither gained Meg the nomination she deserved.
Addicted to Love (1997)
Addicted To Love was a polar opposite of movies like French Kiss and I.Q. and it was a typically bold move by the erstwhile queen of rom-com, to ditch her cute schtick persona to play the character of Maggie. Meg Ryan shamelessly flirts with the camera, looking incredibly sexy in biking leathers, boots and tie-dye dress, and she also adds a hard edge to her voice, that she uses to marvellous effect. My only complaint about the film is that director Griffin Dunne felt the need to smooth out some of Maggie’s rough edges in time for Addicted to Love’s predictably happy ending.
Joe Versus The Volcano (1990)
Three years before Sleepless in Seattle Tom Hanks and Meg Ryan co-starred in Joe Versus the Volcano, a film where Meg plays three distinctly different characters. Ryan distinguishes her trio of personalities using only wigs and good old-fashioned acting, even with the film on mute it’s quite clear which Meg Ryan is which. Safe to say, it’s the familiar Meg Ryan blonde that Tom falls in love with at the end.
Prelude to a Kiss (1991)
A film featuring the transmigration of souls between a young woman and a dying old man was never going to be a hit with cinema audiences, but whenever I watch Prelude To A Kiss it still seems as enchanting and original as ever. Meg Ryan effectively plays two roles, but the real draw of the film is the wonderful, surprising romance between Meg and Alec Baldwin. They’re a great looking couple and the chemistry between them is beautiful.
Flesh and Bone (1993)
Steve Kloves’ Flesh and Bone is a gothic Texas parable that opens with a horrific multiple murder; concludes with another murder, and in between examines the bond between an evil father and his conscience-laden son.
Of course, Kloves was the director of The Fabulous Baker Boys, a film where Michelle Pfeiffer burnt a hole right through the screen with her Susie Diamond, and his second film features another memorable female character, in the dark and complex figure of Kay Davies. 
Meg Ryan plays Kay, who’s been an orphan since before her first birthday. She’s wayward and unhappily married, and is in the process of leaving her low-life husband. When her money is stolen as she sleeps aboard a Greyhound bus, she is forced to take a job as a cake dancer, an event that brings her into contact with another lost soul, Arlis Sweeney (Dennis Quaid). Arlis and Kay are instantly drawn to each other and soon become intimate, little realising their prospects of a future together are doomed. By the shadow of a dark event from thirty years before. 
Flesh And Bone is every inch a film noir, but Kay is far too vulnerable to qualify as a classic femme fatale, although Arlis finds her so alluring he’s prepared to kill his own father in order to protect her. Femme fatale or not, I can’t think of another character in the career of Meg Ryan who provides such a plethora of memorable moments as Kay Davies. Drinking whisky from the bottle before for her ill-fated dancing debut. A bizarre and very funny wake up scene; where she tries to rationalise a motel room filled with painted chickens, blue dimes and boxes of condoms. Shooting up her house after being punched in the face by her husband, and a tear inducing monologue about ‘the people in the picture’, being four of many. 
Meg Ryan subtly subverts her innate cuteness during the course of the film to dovetail beautifully with the arc of her character, and she delivers in spades during the hard-hitting, emotional scenes in Flesh and Bone’s third act. No matter how many times I’ve watched this film, I always find myself hoping for a different ending; but it’s the tragedy of Kay that makes her so memorable, and her plight is so compelling, she doesn’t just tug at my heartstrings, she tears them asunder.
When her desperately sad life comes to an end she’s destined to haunt those West Texas plains and my dreams for eternity. The wind gently teasing her mane of long blonde hair.
Good list. I wasn’t as big of a fan of Addicted to Love as you were, so I might sub in Sleepless or City of Angels to represent some more of her mainstream work.
If I could only pick 2, they would be When Harry Met Sally and Joe Vs. the Volcano. If those two don’t win you over, nothing will. Although admittedly, they don’t showcase her range very well.
When Harry met Sally was the film that won me over, and even twenty three years after the event, for me, there’s only one actress who could (or maybe should) have beaten Meg to an Oscar statue that year!
P.S. Good call on City of Angels.
I still like Meg, I think as an actress she’s well above average. For her top perfs, I’d have said When Harry Met Sally, You’ve Got Mail, In the Cut, Hurlyburly, and Addicted to Love. I love her embellishing gesture in the latter when she decides to buy an entire “area” of a florist’s shop. I actually think Sleepless is one of her least impressive perfs, and by all accounts, Meg agrees.
Her cameo role in Hurlyburly is definitely worth an honorable mention. Meg’s character Bonnie is so interesting, you find yourself wishing she was in the film for longer than thirty minutes.
Dear Paul, I havent read this post…I will get back to it …because right now I’m about to click on the play button of my Flesh and Bone download.
I’m so so so so so excited…thinking about seeing a new Meg movie is making me happy ..
A first viewing of a Meg movie is always a special event!
I can’t wait for the Christmas holidays so I can watch Flesh and Bone. Everything you’ve written about it is very intriguing.
Great post!
Hope you’re doing well!
I know it’s a busy time of year but try and watch The Fabulous Baker Boys as well, if you get chance.
Merry Christmas!
Darn, are you sure you’re not in my head? Those are the exact 6 I would’ve picked out too. Although, I’d say Alice made a much stronger impression on me than Kay. As usual, thanks for the Meg Ryan posts, I love reading them.
As always I got totally carried away when I started writing about Kay.
I am sitting here with my notes, and every line I’ve written about Flesh and Bone is a reference to a particular nuance or detail in Meg’s performance. I could go on listing them for hours.
I think the ending of Flesh and Bone is the main reason I prefer Kay to Alice Green, although I’d say the role of Alice was more of a stretch, and Meg was unfairly snubbed regarding the awards that year.
Some of her scenes in When a Man Loves a Woman were very powerful, but I like the fact that Meg didn’t overplay the role; and her body language was brilliant.
Thanks for the visit and the kind words. It’s good to know we’re on the same wavelength.
Paul:
Thanks for the Meg Ryan primer. It was a bit of an undertaking and I very much appreciate it. I will work on it in earnest after the holidays. As I mentioned, I am familiar with most of Meg’s romcom movies and I find Meg to be killler cute and endearing. I did take a misstep, however. One night recently I was alone at dinner, was channel surfing, and I came upon “Against the Ropes.” I watched it. I came away with a poor impression of the movie. To better appreciate it, I need to read more about that era in Meg’s professional life to learn something about the context. In my mind I started to compare it to Charlize Theron’s “Monster” because the movie is a major change from what I have learned to expect from Meg. In “Monster” Theron could hide behind a weight gain and make-up. Meg, in the role of Jackie Kallen, was fully exposed. Meg’s appearance and demeanor are so anti-Meg. The storyline in “Monster” is not a cliche, but “Against the Ropes” suffers from the old “boxer who triumphs over adversity theme.” However, It is helped considerably by the injection of Jackie’s personal strength at the end of the movie. I do think that Meg Ryan did a very competent job of portraying Jackie Kallen, but I didn’t find the movie itself to be engaging.
I did learn something about dynamics of type-casting, and perhaps this movie will help me begin to appreciate Meg’s range as I explore the movies that you have suggested.
My best for the holiday season,
Alan
Alan you’re very welcome. I enjoyed compiling the list, although I do feel a little apprehensive. I really hope you’ll find some interest and enjoyment in those Meg Ryan movies.
I’m not surprised you felt like you’d misstepped when you came across Against the Ropes. Even though I’ve had a life long interest in boxing, it isn’t a film that I care for, although I do agree that Meg did a competent job as Jackie Kallen.
Against the Ropes marked an important milestone in Meg’s career because it was the last film she appeared in before what was almost an enforced three year sabbatical (2004-2007). I’m sure she hoped the role of Jackie Kallen would do for her career, what Erin Brockovich did for Julia Roberts’. Sadly it went the other way, and the critical and commercial failure of Against the Ropes coming a year after the backlash against In the Cut was the final nail in the coffin of Meg’s career as an A-list actress.
It’s interesting that you mention type-casting because prior to the release of In the Cut an article on the Australian web site urbancinefile talked about Jane Campion “freeing Meg Ryan from the cage of typecasting”.
When Sandra Seacat, the guru drama coach at The Actors Studio had suggested to Campion that she ask Ryan to audition for the role of Frannie, Campion’s jaw had dropped.
And even after Meg was cast Campion still didn’t think Ryan was the character, “but then she thought, what about that old fashioned idea of acting?” Campion laughed at herself. “Maybe she could act the character!?” she laughed again; yeah, how about that! Acting!”
I wish you all the best for the holiday season.
Paul
Paul S,
In Meg we have an eternal A list actress, Michelle also.
Your site is like a shrine to these two and I love it, but ya gotta soften up on language like “former” and “nail in the coffin.” it breaks my heart a little hearing how they have fallen. I know you have a critic’s sensibility and I really enjoy your comparisons and analysis. Whatever you can do here would be appreciated.
All the best,
RidicuRyder
RidicuRyder,
Thanks for the interest and the feedback, especially the kind words about my site. It’s very much appreciated.
I’m glad to hear you enjoy the comparisons and analysis and I take on board your point about some of the language I use. I do tend to post spontaneously, hence the use of the language you highlighted, but I can assure you when I stop and think about the decline of Meg Ryan’s career it absolutely cuts me to the bone.
To be honest I do try not to mention the years post 2000; and I often worry that I’m too effusive in my admiration for Meg and her movies.
I have nothing but good feelings, good memories and good vibrations associated with the films of Meg Ryan and Michelle Pfeiffer; so you can rest assured any future posts about our “Eternal A-list actresses” will be 100% positive.
Best Wishes,
Paul S
“When a Man Loves a Woman” revealed to me that Meg is not just a beautiful face. She embodies her character and I couldn’t find a weak spot in her portrayal of a complex character in a complex film. Powerful and Wow! More after the holidays,
My best for the New Year,
Alan
Alan, I’m delighted to hear that you appreciated Meg’s performance in When a Man Loves a Woman. “Powerful and Wow!” indeed.
Happy New Year, and thank you for the interest you’ve shown and the insight you’ve shared recently.
Your contributions are very much appreciated.
Paul
I must suggest Innerspace because she really was an “ultimate badass” in that movie. She was tailing the bad guys on her own, seducing the Cowboy, standing up to the creepy Mr. Igoe (although her efforts to subdue him came to Martin Short’s despair), and she was always confident and in control of the situation. It’s also possible that she just seemed much more badass simply because Short played such a weak man but that shouldn’t take anything away from her. I couldn’t really call myself a real Meg Ryan fan because she worked primarily in a genre that’s not really for me but I thought she was great in this movie so figured I should make my pitch.
Welcome Ryan and thank you for the pitch.
I’d actually forgotten how confident and feisty Meg’s character Lydia was in Innerspace. She certainly wasn’t afraid to use her Tazer gun as Jack Putter found out to his cost!
“Addicted to Love:”
OK – Meg “had me” at that moment when she kisses Matthew Broderick and she flashes her wonderful expression of incredulity: one that I have seen in her movies before. She expresses amazement at what she is feeling but cannot commit at this point , or the circumstances have not led to the emotion, or she is overwhelmed by the revelation and cannot deal with it in that juncture of the story. Regardless, the expression keeps me interested in the movie or sets me up to accept the usual happy conclusion. Her expression is remarkably skilful and captivates me in its cuteness. Broderick is good in this movie. Just as he resurrected “Ladyhawke” from its weirdness for Pfeiffer, he keeps “Addicted to Love” grounded. Meg doesn’t totally infest my heart in this film but she inhabits a chamber nonetheless.
Thanks for coming back with such a great comment Alan!
An actress’ true essence is in her expression of emotion. The way she portrays the feelings of a character by a movement or a facial expression. The art of letting the audience feel the emotion without words.
Meg Ryan proved to be a master of this in many films, and I do love the way the camera lingers on her face at that moment of realization you describe so perfectly.
To me Meg was beyond compelling, beyond fun, beyond good acting. She had an intangible quality that I can’t quite put my finger on. It’s a magic that shined throughout the peak years of her career; and even if it only inhabits a chamber of your heart, that’s enough!
I ran across another Meg movie while surfing the movie offerings through my cable service. I used the movie as background noise while doing calculations for a project related to my job. The film is “Serious Moonlight” (2009). My calculations were more interesting to me than the movie.
This movie and “Against the Ropes” have demonstrated to me that it is difficult for an actress to get back into the acting game after a lengthy hiatus. The roles that are offered do not match the acting skills of the veteran actress. Pfeiffer faces the same problem.
I will stick to the primer that you skilfully constructed. No more missteps.
I do have Serious Moonlight on DVD, the fact I’ve never managed to watch it to its conclusion says everything.
Alan you’re spot on that it’s very difficulty for an actress to try and get back into the game after a lengthy hiatus, and Meg has found that out to her cost, and her fans’ loss.
Some of her recent roles really don’t do her justice, because Meg was always a mercurial performer capable of morphing through emotions very quickly, changing on a dime. Using mainly her eyes, but sometimes her whole face.
Misstep over, I hope you enjoy the rest of the primer.
Hi Paul, I don’t think there is a movie that has not been all the better for having been blessed with her being in it. She never fails to bring a special spark whether it be to bring a tear,a pull to our heartstrings, a laugh or break us out in song with each and every movie.
But I must say I loved her in You’ve Got Mail above all.
Paul:
While channel surfing last night I ran across “:When a Man Loves a Woman.” I watched it a second time. For me, it passes the Derek Malcom test. Paul, since I gather that you are British and well read, you are well aware of the test. Nonetheless, it appears below for the uninitiated.
Derek Malcolm Test: “A great movie is a movie I cannot bear the thought of never seeing again.”
Warm regards,
Alan
Alan,
I’ve just returned to The UK, and my computer, after a week in Italy, and I’m delighted to read that When a Man Loves a Woman passed the Derek Malcolm test for you.
I know the late Roger Ebert was an advocate of the test, and if I applied it to the movies of Meg Ryan several from her heyday would pass especially When a Man Loves a Woman, Flesh and Bone and Prelude to a Kiss. As always it’s been a pleasure to hear from you.
This post makes me so happy and so sad at the same time. I always think of Meg Ryan as one of the most underrated actors of the 90s.
I think her best comic work is in ‘Joe vs. the Volcano’, particularly as the second of her three characters – really funny, stylised stuff. And I think she’s really interesting in ‘In the Cut’ and ‘In the Land of Women’, where there was such a quiet sadness in her character.
I really hope she has a hit and comes back, she made me laugh and cry so many times during her heyday!
I think I know why Joe Versus The Volcano and Dee Dee and Angelica stand out, because even though like everyone else, I was first enraptured with Meg Ryan in When Harry Met Sally, it says a lot when a beautiful actress can still be amazing sans her trademark hair color and not feel like she was still herself (I think of Hayworth going blonde in The Lady from Shanghai).