When an erring wife's supposedly dead lover turns up an amnesiac, it's her unsuspecting shrink husband who's enlisted to get those memories back.
Momento a momento, Da un momento all'altro, その日その時, 모먼트 투 모먼트, 破镜边缘
USANR
USA
Mervyn LeRoy's final film (and first for three years), Moment to Moment has big TV movie energy, with its reliance on rear projected locations, fade-to-blacks that feel perfectly timed for commercials, and cheap-feeling suspense. (It admittedly doesn't help that Arthur Hill also plays a blithely clueless, cuckolded husband whose wife's presumed-dead lover turns up alive in actual TV movie The Other Man, made just a few years later.)
As difficult as it is to imagine watching this in a theater, it is entertaining for what it is, the story of a married woman (a quite good Jean Seberg as Kay Stanton) who strays and suffers (wouldn't you know it) unexpected consequences as a result. Those consequences include enormous verbal cruelty…
An odd and obscure artefact with 1960s written all over it and never quite able to decide what it wants to be, which for me actually increases its watchability factor. I‘d file it under 'Interesting final films by famous directors.' While Mervin LeRoy is certainly no household name, he had a fascinating, successful career stretching back to the silent era. Among his best known works are classics such as Little Caesar, I Am A Fugitive From A Chain Gang, Random Harvest and Quo Vadis. He was a reliable pro, working in many genres, but this, his valedictory effort, is exceedingly hard to categorise.
Is it a Sirkian 'Women’s Picture', as the director himself described it? Not melodramatic and affecting enough.
Is…
Mervyn LeRoy's final film is one of the kitschest things I've seen in many a moon. Soundtracked by a syrupy Henry Mancini score, we swoop into Cannes on a wild and windy night, alighting on a wonderfully fake exterior set on a Universal Studios sound stage. A shot pierces the night air and petite Jean Seberg, divinely clad in Yves Saint Laurent, runs distraught to her next-door-neighbour Honor Blackman, a vamp in an endless succession of trouser suits. Jean downs a drink and begins to tell the story, as we are whisked back a few weeks previous to experience the whole sorry tale.
Thereafter buckle up for luxurious suffering and over-the-top romantic interludes as married Jean tries very hard not…
Sort of Chabrolian trap without any of the rougher edges. The lush melodrama and the contrived thriller never quite work together as they should. Seberg isn't quite as well served by it than she should. It was Mervyn LeRoy last feature and some of the minor pleasures is seen how he negotiates through the mix of old fashionable drama and stabs at post code material.
Glossy, glamorous Hollywood soap opera is one of Jean Seberg's rare solo starring vehicles. She's anguished but suffers in gorgeous clothes and fabulously breathtaking locations as does ravishing co-star Honor Blackman. All set to a Henry Mancini score!
If that sort of thing is your particular cup of vodka you'll find this heavenly.
La vendían como thriller hitchcockiano pero lejos de la malicia del mago del suspense aquí tenemos a una rubia Jean Seberg enredada en una intriga amable en la costa azul. Admite muchos calificativos acabados en "y"... cheesy, campy, trashy, corny, silly, cozy, etc... Para una calurosa tarde de verano va muy bien, refresca y ofrece mucha belleza de otra época.
Le texte est obtu, la mise-en-scene molle, la fin gougoune, mais si on cherche autre chose, autre chose il y a.
C’est magnifique, les scènes de mistral en studio, l’artificialité rêveuse, Seberg et Blackman, leur linge, les faux accents français, ce générique somptueux, Mancifuckingni…
On voit bien que le film aurait aimé être un Sirk ou un Hitchcock, que cet edge est resté hors de portée, mais je l’ai aimé comme il est, entre ses limites, ses contraintes, ses aspirations et ses générosités.
Sean Garrison, aktor himbo pertama yang gue liat dari era 60an. gue suka monolog dia pas lagi berantem sama Kay. akhirnya jadi kayak, yey dia akting. bagian pdkt Kay sama Mark agak kikuk, tapi begitu masuk ke klimaks agak lebih mending. plot twistnya boleh juga cuman begitu nyampe ending, keseruannya ilang begitu aja.
The uplifting spirit of the French Riviera in the 60’s couldn’t be more inviting in Mervin LeRoy’s final film – a stark blend of heightened romantic melodrama and somewhat farcical Hitchcockian thriller – that sees Jean Seberg and Sean Garrison as an adulterous wife, Kay, and young navy officer, Mark, falling for each other while touring around Nice. Yes, it is all but a cinematic illusion, as glaringly obvious rear projections often remind us, but what an utterly magical illusion it is! Brimming with earthy, at times bright colors, tactile textures and even immersive scents carried on the soft wings of Henry Mancini’s suave, tender score, it makes you wish it were possible to travel back to the period and…
Hitchcock-lite story that veers to melodrama. Would have played better with more tension and a more dramatic ending. Overall plays ok in the beginning but drags towards the end. Jean Seberg makes a fine Hitchcock blonde in the mold of Tippi Hendren. Pussy Galore (Honor Blackman) makes a showing as the next door neighbor friend.
Yes, I watched this again. This time roped the wife into checking it out and she was totally into it. Gonna keep re-watching it until everyone knows about this movie!
همهی جنونمو میدم به تو
دل بی زبونمو میدم به تو
بذا توو قلب تو ساکن باشم
پول پیش خونموو میدم به تو !
این بهونه های تازمو ببخش
بوسه های بی اجازمو ببخش
خودمو واسه تو میکُشم بیا
سر قبرمو جنازمو ببخش
جین سیبرگ نباید تموم بشه
