It’s springtime again in New York City, which makes me think of You’ve Got Mail. “You don’t want to miss New York in the spring,” Joe Fox (Tom Hanks) advises Kathleen Kelly (Meg Ryan) late in the movie, and you don’t, it’s true.
Making good on its advice, the film’s third act captures the Upper West Side’s bustling farmer’s markets and the flowering gardens of Riverside Park, radiant in the glorious sunshine and lively breezes of spring. You also don’t want to miss New York in the fall, when, the film shows, it is full of stoop pumpkins and small street fairs. Joe says fall in New York makes him “want to buy school supplies” (in lieu of flowers, he wishes to send “bouquet[s] of newly sharpened pencils”) and how could it not? The world is quaint and crisp. And you don’t, by the way, want to miss New York in the winter, either. The film lingers on shop windows garlanded with twinkle lights and places its characters in snug cafes to drink tea and read books.
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You’ve Got Mail is meticulous in its rendering of the many shifting scenes of New York City, specifically the Upper West Side of New York City—representing this setting throughout its seasonal shifts as cozy, local, and familiar, not at all as chaotic or impersonal as the city’s reputation might have us believe.
But the first shot of New York City in You’ve Got Mail is not of one of these idyllic quarters, one of these provincial and folksy avenues dotted with decorative gourds or blooming flower boxes, persistent details of a district so charming and precious that it might have been embroidered rather than built. The first shot is a stark computerized rendering of the city, not at all like the real thing.