
The One and Only
1999

2002
Director
Simon Cellan Jones
Runtime
91 minutes
Average Rating
No ratings yetSynopsis
When Stevie meets Neil on the day he comes to deliver her brand new kitchen, it's already too late for love at first sight. Too late for both of them. Stevie is already five minutes pregnant by her Italian footballer husband. And too late for Neil too - his wife Jenny has already applied to adopt an African girl. But too late or otherwise, love at first sight is exactly what happens. How can Neil and Stevie get out of their mistaken marriages and into each others arms?
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film focuses entirely on heteronormative romantic structures. There is no presence of same-sex intimacy or non-cisnormative gender identities within the plot.
Gender Representation
The female protagonist shows proactive agency, though this is framed through psychological obsession. The male characters largely adhere to traditional masculine archetypes.
Racial & Ethnic Diversity
An African child is mentioned via an adoption plot point, but this serves as a device for marital conflict. The setting remains predominantly Western and Anglo-centric.
Religious & Cultural Diversity
The story prioritizes individual emotional arcs over cultural critique. Characters operate within established socioeconomic norms of contemporary London without exploring broader social systems.
Disability Representation
There is no visible or invisible disability portrayed with agency. Neurodivergence is not utilized as a central narrative element.
Strengths
Areas for Improvement
AI Analysis
The film is a conventional romantic comedy that prioritizes personal emotional journeys over social commentary. It operates within a traditional framework of marital entanglement and heteronormative pursuit. While the protagonist exhibits agency, the narrative does not challenge systemic hierarchies or provide meaningful intersectional representation. The inclusion of global elements, such as international adoption, remains a plot device rather than a way to provide depth to characters of color.

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