Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Husbands and Wives
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.
Performances : 7/10
Story : 6.4/10
Production : 7.9/10
Overall : 7.1/10
At the rate I'm going I think I'll be done the entire Woody Allen catalogue by June. Husbands and Wives is more of the same from Allen, narratively speaking. Production-wise though it's definitely one of his more unique. The cross cutting between the drama unfolding between the characters and the interviews taking place after the fact was inspired and the editing techniques employed is jarring (I promise I mean that in a complimentary way).
Allen and company are great in their respective roles. Sydney Pollack was wonderful, as was Liam Neeson, who for some reason didn't have a gun at any point in the entire movie.
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.
Film #26 of Project 90
”It’s the second law of thermodynamics, sooner or later everything turns to shit.”
Shockingly honest and outrageously critical, Husbands and Wives could have been a sadistic experience if it wasn't for Woody Allen’s unique sense of humor. Like any other movie from Allen it looks very simple and ordinary at first but if you look closer you’ll see that Allen’s precise and delicate portrayal of various characters and their romantic behaviours along with a distinctive narrative structure have provided the film with an unbelievable power to not only shock its viewers but also to ruin all their myths abut love, romance and happiness. In short Husbands and Wives leaves its viewers discombobulated.
The relationship between…
It's when you watch a Woody Allen movie at its best, with believable, complex, and psychologically sophisticated characters that you realise how fluff like To Rome With Love is Allen gone completely off the boil.
Husbands and Wives examines the nature of married life and the idea of the grass being greener on the other side in a much more satisfying way than in that later film. The innovative faux-documentary style works very well and the characters' motivations are explored with real acuity.
It's to the movie's credit that it wasn't completely overshadowed by the off-screen drama between Allen and Mia Farrow. This is partly down to the amazingly natural performances form all involved.
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…
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.
There's a weird, gloomy air that clings to the Allen/Farrow films. The marriage wasn't going to last, of course. We know that now. But the films seem to know that too.
অনেকদিন সিনেমা নিয়ে কিছু লিখি না। ভাবছিলাম, সিনেমা দেখছি, কিন্তু লিখতে ইচ্ছা করে না কেন? আর যেহেতু লিখতে বাধ্য নই, সুতরাং, এই লিখতে ইচ্ছা না করলে না লিখাটা আমি খুব উপভোগ করি। কিন্তু, একজন লোক আমার মাথা খাচ্ছে! তাঁর ছবি দেখলেই আমার ছাইপাশ লিখতে ইচ্ছা করে। মনে হয়, কিছু মানুষকে জানাই তাঁর সিনেমাটি সম্পর্কে যাতে তারাও আমার মতো তাঁকে ভালবাসতে শুরু করেন। যারা এখনো উডি অ্যালেনে মজেন নি, তারাও যাতে একটু নাড়াচাড়া করা শুরু করেন তাঁর ছবি নিয়ে। আমি জানি না, বুড়ি হয়ে গেলাম কিনা, কিন্তু এই কয়েকদিন অস্কারের কিছু ছবি দেখে আমার মনে হচ্ছিল কি জানি নাই নাই! এজন্য আজকে অনেকদিন পর, প্রায় একমাস পর দেখব দেখব করে শেষমেশ Husbands and Wives দেখলাম।
Husbands and wives এর গল্প husbands…
It may be hard to take Allen's musings on love and marriage seriously in this day and age, but his self-awareness and deprecating wit are heavily on display, which makes it easier to go down. All things considered, it's among the top tier of his Bergman-esque dramas for being insightful, biting and plainly charming.
Biggest cringe: Jack literally dragging Sam, his young, naive girlfriend from his sophisticated friends' party as she screams. Yikes. And then when she walks in on Jack and Sally arguing in their old house, having been left in the car the whole time? It's just a perfect example of Allen's skill at blending the hilarious and the awful.
If you were to dissect this movie and its documentary framework, you'd find that it's even worse with "How did they get this footage/Why are they filming this?" than the worst found-footage movie. But why would you do that? The documentary framework isn't some excuse to shoot with less lighting, it's necessary to the film feeling as rare and uncompromising as it does (just going handheld couldn't achieve the feeling of the camera being a witness to some horrible events and fights, the idea that there's someone behind that camera who has to film Sydney Pollack dragging his gf literally kicking and screaming into his car adds another scary layer to the whole ordeal). It makes sense emotionally, and that's what matters.
Bedroom, Cambridge, Massachusetts
Like much of Woody Allen's work I could condemn it as much as I want to praise it. Most of the so-called innovations are pulled (predictably) from Bergman, notably SCENES FROM A MARRIAGE and THE PASSION OF ANNA. The characters are one-dimensional, banal, and aggravating, and his noxious view of marriage being at best a shield against loneliness (the idea that love ought to be sacrificial is not on his radar), yet somehow I still want to say that this is a great film, and probably his last fully successful one (also his last with Mia Farrow, representing his most fruitful period as a filmmaker).
Husbands and Wives is about various couples in New York City. The film carries a good pace and is well acted. Some of the shots are groovy. Available on Hulu Plus, Husbands and Wives is a recommended auteur requirement.
DVD Combo Pack: Sidewalks of New York
Husbands and Wives has in hindsight grown to be one of Woody Allen’s gems in his extensive filmography. Although overshadowed when it came out in 1992 due to a personal scandal we won’t be talking about here; but for real Allen-fans, this one is up there. Apart from the stylistic approach, the main reason for my personal enthusiasm over this film could very well be the often hilarious, sometimes serious script, which has its fair share of existentialist angst. Something which is known to characterise Woody Allen’s typical love entanglements.
Having watched the emblematic director’s stylistically modest films the past few years, it is entirely refreshing to see the handheld camerawork and the daring style that Husbands and Wives…
From the NYT website:
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