These days, it seems the most romantic thing a person can do is to leave one’s betrothed on the day of the wedding -- or, better still, at the altar itself -- and sprint off with one’s true love, to live forever in the glow of undying love. You’ve seen it in many films: in Peter Chelsom’s romantic comedy Serendipity (2001), even Sam Raimi’s comic action film Spider-Man 2 (2004). The audience is supposed to applaud such a choice, and feel warm and fuzzy because another couple has found true love. Never mind the emotional carnage created by such acts; never mind that the jilted lover is humiliated before all his or her friends and relatives; never mind the parents who have wasted thousands of dollars on the big day. But in these love stories the jilted fiancés and fiancées are treated as mere props, not as real people with feelings and lives that go on long after the lovers have made their getaway. We never see their future failed relationships, the descent into alcoholism, the destroyed careers -- the many possible, even probable results of being crushed at one of life’s most important moments.

Knowing this sprint from the altar is now a well-established -- if not preferred -- ending for Hollywood love stories, your intrepid reviewer ventured forth once again into the world of romantic-comedy clichés, hoping to find an original story and, even more important, an original and perhaps touching ending.

Initially, the screenplay of Made of Honor -- by Adam Sztykiel, Deborah Kaplan, and Harry Elfont (based on his story) -- does not disappoint. Tom (Patrick Dempsey) and Hannah (Michelle Monaghan) meet at a drunken bash at a university, where Tom is a senior and Hannah a junior. Dressed in a Bill Clinton mask, Tom stumbles into the room of a girl he thinks is waiting for him with amorous intent. Instead he finds her roommate, Hannah, who rejects and berates him. Charmed by her brutal honesty, Tom persists, and the two become fast friends.

Ten years later, Tom and Hannah, who both now live in Manhattan, are still friends and closer than ever. They finish each other’s sentences, share food, tease each other, and confide in each other the details of their current romances. But when Hannah travels to Scotland on business for six weeks, Tom becomes desperately lonely. None of his dates -- each more beautiful than the next -- satisfies him in the ways Hannah does. He resolves to tell Hannah, on her return, that he loves her and wants to marry her.

To Tom’s horror, Hannah returns to New York with her new fiancé, Colin McMurray (Kevin McKidd), a rich Scot who had come to her rescue when she was stranded on a narrow country road. Hannah asks Tom to be her maid of honor. But after seeking advice from his friends, Tom resolves to win Hannah back by rejecting his womanizing ways and, as he helps her prepare for her wedding, being the perfect, mature gentleman.

At first, British director Paul Weiland (Sixty Six, Roseanna’s Grave) keeps things going at a fast, fun pace. Rupert Gregson-Williams’ musical score is lively and bouncy, and contributes to the atmosphere of optimism and excitement. New York City seems the perfect place for Tom and Hannah: Where else are there so many restaurants and coffee shops in which they can meet, and where Tom can pick up his next lover? Hannah has a chic job as a museum curator, and Tom -- well, we’re never told exactly what he does, but he’s inherited big bucks from his womanizing dad, Tom Sr. (Sydney Pollack). Tom Jr.’s interesting set of dating rules seem to ensure that, unlike Tom Sr., who’s been married five times, Junior will never be married -- or at least that he will remain free and available for Hannah.

Weiland isn’t quite able to maintain all this charm past the film’s first half hour. After he meets his rival, Colin, Tom becomes a klutz. In a restaurant, he wipes out a waiter twice -- a poor attempt at slapstick that doesn’t fit the tone established up to that point. When the setting moves to Scotland, where Colin and Hannah are to be wed, more slapstick ensues and the story turns a little silly. And you can guess the ending.

I like much of the story, and am glad that Colin proves a decent enough guy that I found myself rooting for him to win Hannah’s heart for good. Sydney Pollack is a nice addition as Tom Sr., giving his son great advice that he can’t follow himself. There’s also real chemistry between Dempsey and Monaghan. But despite having a great starting idea and a winning cast, after a strong beginning Made of Honor falters, then becomes predictable. If only Weiland and his writers had had the courage to strive for originality the whole way through.

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