1992 Directed by Woody Allen
When Jack and Sally announce that they're splitting up, this comes as a shock to their best friends Gabe and Judy. Maybe mostly because they also are drifting apart and are now being made aware of it. So while Jack and Sally try to go on and meet new people, the marriage of Gabe and Judy gets more and more strained, and they begin to find themselves being attracted to other people.
Woody Allen Mia Farrow Judy Davis Sydney Pollack Juliette Lewis Liam Neeson Lysette Anthony Cristi Conaway Ron Rifkin Blythe Danner Brian McConnachie Timothy Jerome Rebecca Glenn Caroline Aaron Galaxy Craze Fred Melamed Nick Metropolis Jeffrey Kurland Bruce Jay Friedman Benno Schmidt John Doumanian Gordon Rigsby Ilene Blackman Ron August John Bucher Matthew Flint Philip Levy Connie Picard Steven Randazzo Show All…
부부 일기, Maridos e Esposas, 丈夫太太與情人, Ehemänner und Ehefrauen, Mariti e mogli, Maris et femmes, Maridos y Mujeres, Maridos e Mulheres, 丈夫、太太与情人, Мужья и жены, Férjek és feleségek, בעלים ונשים, Manželé a manželky, Marits i mullers, 賢伉儷, Mężowie i żony, Съпрузи и съпруги, Kocalar ve Karıları, Fruar och äkta män, Maridos y esposas, 夫たち、妻たち, ქმრები და ცოლები, Чоловіки та дружини, Soți și soții
Canada
Toronto Film Festival
USAR
Italy
NetherlandsAL
FranceTP
Germany12
Czechia15+
NetherlandsAL
NetherlandsAL
Canada
Czechia
France
Germany
Italy
Netherlands
USA
Was in a bad mood - more tired and achy than actually angry - and this had been added to my brother’s Plex server - probably at the request of my Mom, who keeps asking for uploads movies she already owns on DVD. I’ve long considered this to be one of Allen’s best movies, and maybe his last genuinely great one, with maybe his most inspired aesthetic conceit - that restless, roving documentary camera, which turns the conversations into endurance contests without the breathing room you get in shot-reverse-shot cutting. Obviously, the best performances are given by Judy Davis and Sydney Pollack, whose relationship to the material is professional but feels acidly, viciously personal as a result of their mutual talent; Allen and Farrow, who are using the shoot as a kind of therapy, aren’t “good” exactly, but it’s impossible to not be fascinated by their scenes, and especially the one where their characters reminisce about better times.
Devastating, pitch-perfect in its style, and nauseating from end to end. The film's visual look is so brown that it made me feel like the entire thing was a leaf that was about fall off a tree and die. Juliette Lewis tearing into Woody Allen's failures as a writer is very good.
The fact that Mia Farrow re-shot the big fight scene with Allen after she broke up with him is wild. It's horrifying that he still claims that none of his films have any autobiographical elements. He must lie about all sorts of stuff.
"What do you mean change? Change equals death" -Gabriel Roth,
- Woody Allen Ranked: boxd.it/cIhOE
This feels like a change from some of Allen's earlier work and his ability to embrace that is part of why Husbands and Wives is my favorite Allen film. The script is just pure genius, dealing with common marital and relationship issues in interesting and timeless ways. The acting is so natural, feeling like some of Cassavetes work but with a bit more humor added. The direction, editing, and cinematography is some of Allen's most distinctive for me.
It's simply the best.
The sort of film that exists solely so that pseudointellectuals who have never been an opium-addled prostitute or a vagrant with superfluous nipples all over his frostbitten face can meet in the lobby afterwards and trade banal comments about its "honesty," then perhaps tell their dull friends at a party the next week how very good the acting was, and then never speak or think of it again. Why ought we care about the state of these dithering yammerers' marriages? The only marriage we care to think of is that between revolutionary thought and revolutionary praxis, as we have explained to our lovers many times.
One of the best films ever made about marriage, as Woody and Mia Farrow witness the break-up of their best friends (Sydney Pollack and Judy Davis), and begin to see that dissatisfaction reflected in their own relationship.
When people say that Allen's more recent dramas have been a pale imitation of his best work, this may well be the "best work" they have in mind: a bristling, brilliant examination of adulthood, romance and the conflicting emotions held within the heart of every human being.
Though filmed in a somewhat peculiar manner - as a mockumentary complete with handheld photography, jump cuts and talking head inserts - it remains a simply staggering achievement, building exponentially in power and resonance as it…
1. Cassandra's Dream
2. Zelig
3. Crimes and Misdemeanors
4. Husbands and Wives
5. Interiors
(agradecimentos ao Paul Gallagher pelo texto abaixo)
O filme mais impressionante que vi neste ano foi Husbands and Wives de Woody Allen. Com este filme o sr. Allen demonstrou simplicidade e precisão. Ele demonstrou que o conteúdo determina o estilo, ao passo que a maioria dos realizadores atuais se serve do estilo para se refugiarem por trás de suas etnias, permanecendo incapazes de alcançar a universalidade e a profundidade, esses elementos essenciais ao cinema como instrumento mais acessível para a compreensão humana.
O filme do sr. Allen distingue uma visão e uma sensibilidade de cineasta da autocomplacência que caracteriza inúmeros realizadores. No alvorecer do século XXI este filme, em vários aspectos, se impõe como uma etapa maior na história do cinema.
Edward Yang, Cahiers du cinéma, Hors série n° 16 (1992), janeiro de 1993
Discussed with Listen Up Philip and The Color Wheel filmmaker Alex Ross Perry in the latest episode of The Cinephiliacs. Can't stress the fact how weird the handheld camera makes the entire rhythms of Allen's usually facetious and harmless comedy suddenly feel loaded with arsenic. The way that Perry talks about some of the more insane moves of the camera makes me want to rewatch it immediately to see how even more weird it gets.
Woody Allen has the skillful knack to examine and portray the abnormalities and awkwardness of a rational relationship, in a fun enjoyable manner. The psyche behind both genders trying to achieve the so called perfect relationship, with the abstract image of love and fantasies they have in their minds, is explored well. The dialogues are highly sharp, reflecting the mindset of each character personality interestingly. Though it’s majorly from a men point of view and appears far fetched at times, it’s theme and ideas hook you on.
“Change is what life is made of! if you don't change, you don't grow, you just shrivel up!”
“How millions of sperm... competed for a single egg, not the other way around. Men would make love with any number of women... even total strangers, while females were selective. They were catering to the demands of one small egg. While males had millions of frantic sperms screaming: "Let us out, let us out!".
