Every film that has ever been nominated for an Academy Award in any category. Enjoy!
An Unmarried Woman
She laughs, she cries, she feels angry, she feels lonely, she feels guilty, she makes breakfast, she makes love, she makes do, she is strong, she is weak, she is brave, she is scared, she is... an unmarried woman.
A wealthy woman from Manhattan's Upper East Side struggles to deal with her new identity and her sexuality after her husband of 16 years leaves her for a younger woman.
Dear God Jill Clayburgh was amazing! So natural & human. A performance for the ages from a true talent. Love and praise to the late Paul Mazursky as well for creating such an honest, sad and funny film. I know it's trite to refer to the 70's as a golden age, but it really was.
Lots of great stuff here.
*The frankness & realism of conversation between women
*Clayburgh's honesty and ever expressive face
*Maybe I'm amazed!
*Dancing in your apartment in nothing but a night shirt and panties
*Colour palette is eggshell white almost always, but colours pop when given the chance (making some eggs, painting)
*The American Woman & Self Esteem
**Part of the Best Picture Project**
It feels strange that the minute I got ready to finally write this review, I learned of writer/director Paul Mazursky's death. While I confess to not being overly familiar with Mazursky's work (which I plan on rectifying as soon as I get the chance), watching this film is enough to let me know how much of a heavy loss this is to the film community.
At first glance, An Unmarried Woman is far from a special film, and I was almost scared that this would be one of the lesser entries on The Best Picture Project. Its opening scenes detail an average marriage: a man (Michael Murphy), a woman (Jill Clayburgh), and their daughter…
Jill Clayburgh prancing around in her undies, giggling uncontrollably in the throes of foreplay, and performing with a rare in-character spontaneity. All this and more support Paul Mazursky’s dramedy about a woman trying to rebuild a life after her husband abruptly leaves her. There is a fascinating knowingness and a concerted effort to tap into the what the ‘modern woman’s picture’ may look like that is by turns outdated and still shockingly relevant. As Erica tries to figure out who and what will define her new life, Mazursky displays an immense care in the particular wants, needs, struggles, inner life, experiences, sexuality, and empowerment of his heroine.
Part of Top Ten By Year: 10 Honorable Mentions plus Grease post at Cinema Enthusiast: cinenthusiast.wordpress.com/2015/04/01/top-ten-by-year-1978-ten-honorable-mentions-plus-grease/
Wawawowee! This film is fantastic. Too bad more people aren't familiar with Paul Marzursky while everyone knows Woody Allen. This feels so much more grown up and understated.
Writer-director Paul Mazursky passed away about a month ago so I thought why not see one of his major works. I have to admit that I was a bit hesitant. Would I like a film about a white woman from NYC going through a divorce made in the late 1970's after watching so many films and TV shows on similar subject matter over the years? The answer is yes! A good movie will always be a good movie. It helps that Jill Clayburgh was absolutely outstanding in the title role of a woman whose rug was pulled right from under her after her husband confesses he's in love with another woman. I hope no one misunderstand me for saying this but I'm kind of impressed that a man wrote a very feminist, very female-POV script all by himself!
Mazursky's wonderfully authentic portrait of a woman in the process of finding herself after a divorce takes a lightly comic, thoroughly empathetic and compassionate tone in its melodramatic story of a betrayed woman struggling through the various stages of abandonment and self-discovery that belies trite "feminist" film cliches of later years and grants a resilient strength and independence to Clayburgh's character and rejects the notion that salvation and renewal lies in the arms of another man.
Clayburgh's incredible performance exudes strength and perseverance without coming across as an impenetrable warrior, allowing her character to show signs of sadness, guilt, and fear without undermining her independence. This performance is key to the film's portrayal of female strength, as is the unity…
This review reportedly contains spoilers. I can handle the truth.
"How the hell am I gonna get it home?"
"Take a taxi."
These are the closing lines of Paul Mazursky's most accomplished film. I saw this movie when I was a kid with my mother. She herself, had just divorced my father. I think she was looking at the screen for guidance. Interestingly, she no longer remembers seeing it. Looking back, the experiences of somewhat wealthy newly-single woman with a late teenaged daughter in a dying Manhattan -- there was really very little here for my mother to have related. But I remember my mother crying throughout a film that I largely could not fully understand.
I was recently asked to view this film again and provide a summary of…
Despite the fact that this movie is nearly forty years old, it feels radically progressive for how it depicts that coming out of a relationship can be an empowering thing. Would any modern romantic comedy have the balls to show the lead actress turn down the trophy man? Jill Clayburgh's journey doesn't end with the need to atone and apologize and win someone over. She arrives at a place of rising consciousness and independence. Romantic comedies generally depict relationships as the end all ultimate happy ending. Off the top of my head, I can only think of this and Annie Hall as movies that depict relationships as one more stepping stone in self-realization. And maybe even something that needs to be let go.
An Unmarried Woman is a nicely-made film with a good central performance by Jill Clayburgh. But it started to lose me a bit after its strongest scenes when Michael Murphy tell Erica (Clayburgh) that he wants a divorce. I like Alan Bates well enough but didn't feel like the stakes stayed as high as they had been.
Realizing that this is probably my absolute favorite kind of movie and that's okay
It's a character study that works as well as it does because of Jill Clayburgh. Simple, but she makes it effective.
Paul Mazursky's forced and hollow examination of a woman's “awakening” is a setup job from start to finish, as Jill Clayburgh swaps her unbelievably creepy husband (Michael Murphy) for an unbelievably charming artist (Alan Bates) and somehow manages to Find Herself in the process. A New York movie with a California soul—superficially gritty but soft in the center, in a silly est sort of way. With Cliff Gorman, Pat Quinn, and Kelly Bishop (1978). R, 124 min.
I can't believe a man wrote this.
35mm @ the IFC Center. Beautiful print, beautiful film. Q+A w/Michael Murphy, who happens to be one of the most charming people on the planet. What a guy!
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
Every film Roger Ebert has given a four-star rating. This is an ongoing project.