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Husbands and Wives
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Genre | Drama, Comedy |
Format | NTSC, Multiple Formats, Closed-captioned, Dubbed, Color, Subtitled, Widescreen |
Contributor | Juliette Lewis, Ilene Blackman, Timothy Jerome, Liam Neeson, Lysette Anthony, John Doumanian, Rigsby, Gordon, Woody Allen, Blythe Danner, Ron Rifkin, Jeffrey Kurland, Judy Davis, Schmidt, Benno, Sydney Pollack, Rebecca Glenn, Nick Metropolis, Cristi Conaway, Mia Farrow See more |
Language | English |
Runtime | 1 hour and 48 minutes |
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Product Description
A tale of two married couples confronted with change who are forced to re-evaluate universal questions about marriage, fidelity, romance, trust and love. Blending his comedic and dramatic styles, Woody Allen revisits themes from his past films--relationships, commitment, and the complexities of thehuman heart.
Product details
- Aspect Ratio : 1.33:1, 1.85:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 7.75 x 5.5 x 0.5 inches; 2.4 ounces
- Item model number : 2227746
- Director : Woody Allen
- Media Format : NTSC, Multiple Formats, Closed-captioned, Dubbed, Color, Subtitled, Widescreen
- Run time : 1 hour and 48 minutes
- Release date : January 1, 2002
- Actors : Woody Allen, Blythe Danner, Judy Davis, Mia Farrow, Juliette Lewis
- Dubbed: : French
- Subtitles: : English, Portuguese, Spanish, French
- Studio : Sony Pictures Home Entertainment
- ASIN : B000062XE6
- Number of discs : 1
- Best Sellers Rank: #94,560 in Movies & TV (See Top 100 in Movies & TV)
- #10,985 in Comedy (Movies & TV)
- #15,881 in Drama DVDs
- Customer Reviews:
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Top reviews from the United States
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Was pleasantly surprised.
I saw this movie soon after it was released in 1992 and I have not looked forward to viewing it again in order to give a review of this DVD edition. The movie is probably not one of Allen's very best among his later comedies such as `Crimes and Misdemeanors', `Bullets over Broadway', and `Mighty Aphrodite', but it includes what may be some of his most disturbing scenes since `Interiors'. One scene in particular between costar Sydney Pollack and Lysette Anthony is about as emotionally disturbing as all the murder victim scenes from an entire season of CSI rolled into one. This scene really shows off Allen's writing talent. A physically brief scuffle between a middle-aged intellectual and his intellectually lightweight young paramour, becomes a viscerally painful image of a breakdown of relations between two people. Allen's talent is even plainer when we see the girl trapped in the situation where she must stay with the man until he deigns to take her home from a party probably in the darkest Hamptons, far from home base in Manhattan.
Allen has never been the most polished technician with his filmmaking, but he almost always has a major talent behind the camera. In this case, it is Carlo Di Palma. In spite of this, the coordination between the actors business and the camera's point of view is remarkably like a series of `Candid Camera' shots. I almost looked for a credit for the person responsible for being sure there was a lampshade obscuring part of the camera's view in all interior shots. The editing was also explicitly done in a somewhat choppy manner, giving some sense of a documentary style. It was quite clearly not done as a `Documentary' in the same style as `Zelig', but all the technical aspects of editing and cinematography were distinctly raw. Since I have seen enough Allen movies to know this must have been intentional and not due to a lack of skill, I have mixed feelings over whether this choppyness contributes anything to the experience of the story. I am quite certain that unlike the documentary feel of some parts of `Bananas', it does nothing to add any humor to the story. If anything, it heightens the feeling of awkwardness surrounding the principal characters' actions.
As usual, I find myself disagreeing with Peter Travers' blurb from his review in `Rolling Stone' where he uses the phrase `Fiercely funny' in describing the film. In fact, I did not once break out into a laugh as I watched this movie, although the fact that I was watching it alone may have had a lot to do with that fact. But, I have been known to giggle or laugh at least four or five times in the course of an average `The West Wing' episode, even those I may have seen two or three times. (And who said politics isn't funny.)
In more ways than one, this film seems to hark back to the days when Allen split his time between film making and writing short stories for `The New Yorker'. Allen's character is a professor of writing and literature at Columbia, and is credited with having several short stories published in that very same `New Yorker' magazine. Allen's character is also biographical in many other ways, not the least of which was the quip that he probably could not survive for more than 48 hours off the island of Manhattan. (I did crack a smile at this line.)
As usual, Manhattan street scenes and apartments are the primary venues for almost all the shots in the movie. There is a short detour to a middle class home in Brooklyn, but most scenes are in what are probably very expensive apartments on the Upper East Side.
This film is definitely not as interesting or as funny as, for example, `Crimes and Misdemeanors', and yet it is possibly even more powerful emotionally, in spite of the fact that the other movie had a homicide and this film only has bruised emotions. This is even less a comedy than the intentionally seriocomic `Melinda and Melinda'.
I would not recommend this movie to a non-Woody Allen fan, but for people who like and respect his work, this may be one of his most important films.
This is not a film for those who stopped watching Allen after 'Hannah and Her Sisters' or who think the 70s was his best decade. This is for the mature Allen fan who can appreciate his bitter wit as well as some very fine acting by Judy Davis (one of Allen's three favorite actresses of all time), and Sydney Pollack. For once Mia shows the audience some true rage as parts of this film were acted the same week that she found out about Allen's affair with Soon-Yi.
I recently saw a documentary interviewing Allen on PBS and he said that he views 'Husbands and Wives' as one of his top five most successful films. That's coming from the horse's mouth.
For those who complain about the hand-held nature of shots, etc. keep in mind that he did all of this to disorient the viewer, just as the couples are disoriented about the nature of their relationships.
I love the fact that he exploits such clichés as the older man-younger woman relationship and turns it on its head. This is a masterpiece for those who are ready to explore the 'darker side of the spectrum' of his films. Once you get to like it though, it will become a part of you as none of his others films could. Also, love the title song, 'What is this thing called love' by Leo Reisman & his Orchestra (from one of Woody's own records).
Enjoy!
Top reviews from other countries
Il est certain aussi qu'Allen acteur apportait beaucoup de caractère aux films d'Allen réalisateur !
Le scénario est prodigieusement bien fait : c'est construit avec un soin maniaque et minutieusement agencé .
C 'est filmé en souplesse , les enchainements sont fluides , les séquences sont montées comme une mécanique de haute précision .
L 'idée des interviews croisées , qui se répondent , fonctionne merveilleusement bien et enrichit en permanence les personnages.
Les dialogues sont brillants mais , surtout , explorent , avec la plus grande finesse et la plus grande lucidité , les ambiguités des humains , leurs erreurs et revirements , leurs ridicules , leur aveuglement , leurs frustrations , leur progression douloureuse dans la voie d'une meilleure compréhension mais aussi d'une plus grande générosité , dans les rapports de couple , entre femmes et hommes .
Ce film n'est pas seulement celui d'un cinéaste virtuose et très intelligent , c'est aussi une oeuvre pleine de compassion pour nous autres pauvres humains , si profonde et grave , sous le vernis du brio social et intellectuel .
Je pense sincèrement que des couples enfoncés dans leur crise pourraient regarder ce film , qui suggère les voies de possibles issues et est aussi une leçon de tolérance .
Allen , le Maître .
With a wonderful script Pollack, Davis, Farrow and Woody all play flawlessly - their characters coming across as fully-rounded, believably vulnerable and touchingly complex. The warmth is extended to other characters who gate-crash and divide the attentions of our central quartet - Rain (Juliette Lewis), a precocious student who seduces her literature professor Gabe, and then Michael (Liam Neeson) a romantic magazine editor who Judy introduces to Sally. The only character who doesn't seem to get Woody the director's approval is Sam (Lysette Anthony), a young aerobics instructor who diverts Jack. Her ditziness might be funny, but it is condescending humour coming from a writer/director who seems to accept those in his own upper middle class and no others. Where Rain and Michael get scenes which firmly establish their characters, Sam is reduced to a hippy, tofu-eating, astrological dimwit who isn't given a chance. It is the only flaw in an otherwise beautifully observed, wonderfully poignant, piercingly perceptive inquisition into that thing called love. The fact that the film's release coincided with Woody's real-life break-up with Farrow adds a layer of irony over proceedings.
This is a region 2 DVD designed for the UK market which looks great and sounds just as well. There are no extras, but at this price it's a mandatory purchase.