…only in Rome could this story happen…
A recovering alcoholic film actor tries for a comeback in Rome.
A recovering alcoholic film actor tries for a comeback in Rome.
Due settimane in un'altra città
Vincente Minnelli's ultimate statement as an auteur. A film that blows you away once you realize where it stands in the history of classical Hollywood. It's Classic Hollywood's documentation on its own destruction, a snuff film of its demise. Two Weeks' "failure" as a film compared to previous Minnelli efforts is completely the point; Minnelli ingrains the turgidness into the film's thematic (hence, aesthetic) design. Every one of his obsessions—trinketized décors and the feeling that they will passively-aggressively swallow the protagonists whole, the lack of privacy in bourgeois interiors, wild melodramatics (garish overacting courtesy of Claire Trevor as a put-on director's wife), hand-slaps, doors that refuse to close, swirling musical licks that burst from a flame-like nowhere, precious objects that…
Death of the dream factory - so much writing on 'the state of cinema today,' here's a movie about it (or at least, then). One of the most honest and razor-sharp films about making movies I've ever seen.
think I like Minnelli best when he's being his least understated. Yes, it's campy and feels a bit hurriedly put together in parts and so on but I can't help but think that all of it is totally deliberate and if not that, at least completely fitting given the story at hand. The campiness practically announces itself right at the start when Kirk Douglas first arrives at the Cinecitta set. Edward G. Robinson is directing some kind of trashy international co-production financed by a guy who views filmmaking purely as a commercial venture. But then much later on the film, the film within the film gets taken over by Kirk Douglas who brings a much more auteurist view to the…
where american artifice and italian decadence meet. i dooo love movies about movies and this one, about the hollywood studio system, was especially riveting. both gorgeous and grotesque. and i am of course aching at the romantic scenes, thinking about how i would’ve been in italy in this present moment if it weren’t for our current situation.
like fellini except good
well that was a lot gayer than I thought it would be.
"Look at any movie theater. What are people doing there? Hiding in the dark, trading their problems for mine. Actors...what a job." - spoken unironically by an actor in this movie.
A curiosity of classic Hollywood, a bunch of A-list talent making a spiritual sequel to a prestige jewel from long ago (1952's "The Bad and the Beautiful"), like they're hoping lightning will strike twice organically, as there's no official connection between the two stories, just that both have nearly identical crews (director Vincente Minnelli, star Kirk Douglas, writer Charles Schnee, producer John Houseman, etc.) and are cynical backstage showbiz melodramas about once highly successful filmmakers and actors who have been chewed up by the studio system and perils of…
High camp on parade in the city of melodrama! I’d call this a spectacular failure but it’s honestly more like a firecracker of a La Dolce Vita rip off that has enough razzle dazzle to keep things interesting.
There’s a scene where Edward G Robinson says all women are pure evil, and the theater laughed but that kind of turned out to be the sincere point of the film—all women are evil shrew harpy bitches, and it’s only a matter of dropping them before they leave you drunk and alone, barreling down a hill in your convertible! Women. If you love slapping, kicking or punching the shit outta women this is the movie for you! It all of course climaxes with…
One star for Cyd Charisse and her sex dungeon (?!)
One star for Claire Trevor's performance that is so bad it zooms right around to being good again
And one star for the movie's climax, which is a literal out-of-control car of camp
“...then suddenly...a wall.”
A sadly un-championed, joyously fiery passing bell for what was once classical about the cinema. Like all great Minnelli films that reach and reach in multiple directions at once, for all potential heights at once, we’re given an impassioned fireworks display of emotion, craft, aspiration, enduring sad, sinful things outside and inside the film to bring this wondrous thing to full color. He, and with the same crew he has reached those masterful heights before, paints us another vibrant symphony of a precious lost time, presented before us in the immortalized hall of the screen, like a technicolor tree of hope and happiness whose shade and sound he will no longer ever know.
P.S. That has to be one of the most viscerally impressionistic uses of rear projection I’ve ever seen.
'Look at any movie theatre. What's the audience doing there? Hiding in the dark, trading their problems for mine on the screen. Actors... what a job.'
Kirk Douglas and Vincente Minnelli together again a decade after making their great Hollywood satire The Bad And The Beautiful, to take another facetious swipe at the duplicitous industry in which they work, this time setting their sights on the recent explosion of international filmmaking in Rome, the home of cheap, get-rich-quick pictures often made by B-grade personnel.
Two Weeks in Another Town is not a direct sequel to that earlier film but it's certainly a meta one. Among numerous less obvious references to the first film is the inspired self-referential scene in which…
A splendid boondoggle, in which representatives of Old Hollywood try to make sense of the quickly-changing face of the industry in a panicked fugue. Edward G. Robinson having a heart attack so an alcoholic Kirk Douglas can bend George Hamilton to his will isn't just a plot point, but the film's own flop-sweating attempt to to cope with itself, three different generations jockeying for prominence. The film is openly aware of this - one of the big scenes finds the characters watching Vincente Minnelli's own The Bad and the Beautiful, with Robinson, playing that film's director, mourning for how he was good then and is a washed-up hack now.
That meta-narrative unquestionably makes the film interesting, though I don't think…
Be cautious! Those who tout this lousy film are likely wannabe film snobs that put too much credence on the talent involved rather than the poor execution of the picture itself.
A hell of a Hollywood bts picture thats probably going into my usual rotation. Minnelli going full melodrama, eye popping color, big performances across the board (some great verbal sparing between Edward G. Robinson and Claire Trevor) and airing some apparently deep cut showbiz drama with some reality behind it. The film definitely gets into the weeds of filmmaking personalities and power dynamics. But never forgets its love for the movies in all the grim and gritty personal stuff. If you like 8 1/2, Sunset Blvd or yes Once Upon A Time in Hollywood then this will be up your alley.
If this entire movie had the energy of that car scene at the end it would be an easy 5/5.
"I came here looking for the past. I found it, and to hell with it!"
Minnelli's Hollywood on the Tiber melodrama is an underrated, honest classic about filmmaking as seen through the lens of a troubled Hollywood production in Cinecitta.
Along the way Two Weeks in Another Town becomes a sprawling treatise about art and auteurism versus a stale product to make a quick buck. Old Hollywood dies on the banks of the Tiber and Minnelli captures every lurid coloured, Cinzano soaked frame with a cynical eye
“Cheer up, Davie. This has gotta last me a lifetime.”
A beautiful picture. Minnelli is underrated and often overlooked nowadays. A great thematic continuation to the “The Bad and the Beautiful” (1952). Beautiful cinematography, camera movement, set design, score, and characters. The film gave me “La Dolce Vita” (1960) vibes.
Kirk Douglas goes 21 Century Schzoid Man.
A swansong to classic Hollywood made by one of its most talented proponent. Great character studies and felt at times like watching someone write his own obituary. They don't make 'em like they used to, I guess.
So many great one liners in this movie:
“Actors mouthing words like guppies gobbling up their young“
“Once imitated by all, now only Kruger imitates Kruger.”
Seeing Minnelli do a metafilm rather than a genre picture makes you see how great of a director he really is
Kirk Douglas knew the Kruger way more than Kruger
TWO WEEKS IN ANOTHER TOWN (Vincente Minnelli, USA/Italy, 1962) 4
Can't decide whether to dismiss as "8 1/2 with a humorectomy" (one kick aside) or "the Miramax remake of LA DOLCE VITA, told from Lex Barker's POV." Either way, the great Edward G. Robinson and (sometimes) Kirk Douglas aside, the acting is as shockingly bad as any Italian dubbing job. And I dunno whether a Maserati-DWI-as-catharsis is funny, distasteful, overheated, or all the above.
You gotta love the title "Two Weeks in Another Town." It's fabulous. As for the movie...it's a big budget, sprawling color extravaganza that's either a sequel or a prequel to "The Bad and the Beautiful" depending upon whom you speak to.
Kirk Douglas stars as Jack, a has-been, alcoholic actor who, fresh from the asylum, is summoned to Rome by his guru, the director Maurice Kruger (Edward G. Robinson). Also in Rome is the wife that drove Jack into an alcoholic stupor, the seductive Carlotta (Cyd Charisse).
Initially all Jack is to do is direct the dubbing of Kruger's film so he can finish on time and satisfy the Italian producer - but things become more involved.
I can't agree…
Jack Andrus: "Did I Aim At That Wall And Try To Kill Myself, Or Was I Just Too Drunk To Miss It? Three Years I've Seen That Wall! I Still Don't Know."
I Enjoyed This Movie More The Second Time Around, It Features A Truly Complex And Vulnerable Lead Performance By Kirk Douglas, Excellent Supporting Performances And It's Characters And Story Are Deftly Written And Directing Equally As Deft.
I Was Completely Invested In Kirk's Character Here And Felt Extremely Empathetic For Him And Found Him Very Relatable And Likable Mainly Due To His Vulnerability And Flawed Personality. I Also Found His Story Of Addiction And Mental Health Problems To Be Well And Maturely Handled.
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