#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: 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.
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|7.1 Votes: 258 Popularity: 10.416|
One of Woody’s best, subordinate pretty much only to Hannah and Her Sisters. I’m never taken by ‘great performances’ – always been more of a writing/direction guy. But the acting here floors me every time, so much so that I can’t pay much attention to ‘the filmmaking’ as I normally do. Just straight entranced from the first scene. There’s this line, towards the middle, where Gabe is narrating a bit from one of his novels:
“Was the notion of ever-deepening romance a myth along with simultaneous orgasm? The only time Rifkin and his wife experienced simultaneous orgasm was when they were granted their divorce”
All time favorite, this one
Released in the hype of Allen and Farrow’s breakup in the wake of his infamous Soon-Yi scandal, HUSBANDS AND WIVES archly and topically plumbs into the marital conundrums of two couples, Gabe (Allen) and Judy (Farrow, bookends her collaboration with Allen to the tune of 13), and their best friends Jack (Pollack) and Sally (Davis).
For one thing, the film adopts a jittery cinematographic style (aided by handheld cameras and Steadi-cams) which certainly is not Allen’s modus operandi, and lets rip the neurotic, taxing, unrelieved relationship squabbles to full throttle, inflamed by Jack and Sally’s abrupt declaration of their separation after being married for over 15 years. Two different reactions ensure, Gabe retains his sangfroid facing a bolt from the blue but Judy apparently loses it, thinking that her closest friend has been keeping her marriage snags to herself, that seems to be a big blow to their time-honoured friendship, but on a more intuitive level (as later Sally astutely dissects), there is something deeply self-serving in Judy’s reaction.
Gabe and Judy are jolted to scrutinize their own 10-year-young matrimony, where crevices start to crack open, here, Allen deploys another gimmick, a faux-documentary with character revealing their inner feelings in the form of an interview, Gabe confesses he is a sucker for “kamikaze women” (with trying smugness) until he meets Judy, whom he deciphers is a mastermind of passive-aggressive manipulation, aka. she always gets what she wants in the end. That is what happens, Allen, a professor in literary, becomes increasingly attracted by one of his student Rain (Lewis) while being self-aware of the clichéd professor-student entanglement. Meanwhile, Judy, lends a helping hand by introducing her newly single colleague Michael (Neeson, a disarmingly pleasurable presence) to Sally, who is fumed when she finds out Jack has moved in with his new lover Sam (Anthony), a young aerobics trainer, merely three weeks after their separation. But, what complicates the situation is, subconsciously, Judy carries a torch for the gentlemanlike Michael, so in the end of the day, a paradigm shift is bound to shatter the status quo.
Allen’s script, as rapier-like as always in laying bare the intricate verities of gender politics and monogamous dilemma, eventually, plumps for a morally ego-boosting windup for Gabe (Allen’s alter-ego) who has savored the tempting kiss from a young hottie he craves for, and then rebuffs her advance with all the dignity in the world to remain morally uncorrupted (which blows up in audience’s face when juxtaposed with its sardonic divergence from reality), whereas for Judy, her seemingly happy ending betrays Gabe’s own complacent shrewdness of knowing her too well, for my money, that’s where this otherwise rather piquant and honest-to-goodness modern marriage assessment leaves an unsavory aftertaste, which actually has been lurking behind a majority of Allen’s oeuvre.
But what makes HUSBANDS AND WIVIES head and shoulders over his lesser works is the cynosure of the cast, namely, the divine Judy Davis, an ever-so entrancing showstopper, revels in emitting of Sally’s often self-contradictory but ultimately revealing emotional states with sheer intensity, veracity without forfeiting the salutary outpourings of humor and wits (her post-coital “hedgehogs and foxes” rumination is a gas!), Marisa Tomei, as excellent as she is in MY COUSY VINNY (1992), should hand over her Oscar to Mr. Davis, a blatant robbery in the Academy history. Whilst no one can steal the limelight from her, one must admit Sydney Pollack is quite a trouper in the other side of the camera as well, his outstanding two-hander with a feisty Lysette Anthony alone can effortlessly bust a gut, which only leaves, the story-line concerns Gabe and Judy pales in comparison with its pseudo-cerebral self-deception and self-doubt, no wonder Jack and Sally would not open up to them, they are much messier.
One of my top five favorite Woody flicks
On a recent documentary I saw on Woody Allen’s career, with him being interviewed, he said of this film that it was one of only a small number of times in his career he felt he carried over what he wanted on the page to the screen. Though I’ve never read the actual shooting script to Husbands and Wives, I can see what he means. I’ve seen the film several times, if not all the way through then usually when it is on TV, and it always strikes my attention the frankness of it all, how it follows almost no rules. It shares a kinship with another Woody masterpiece, Deconstructing Harry, also about a neurotic writer and the relationship problems around him. Here he focuses not only on himself, but also on another married couple, played by Sydney Pollack and Judy Davis (the later of which one of Woody’s best in his quasi stock company), and what he calls the “discombobulated” characters. It is funny here and there, but in reality this is a great film of dramatic sincerity and occasional intensity.
Woody himself is in his final collaboration with his ex-wife Mia Farrow, who themselves in the film play a married couple working through some issues. There is also the sensitive, passionate man between the two couples played by Liam Neeson, who acts as a good mediator between the two intertwining story lines. And Juliette Lewis is surprisingly good as a young would-be author who befriends the author/professor Woody plays in the film. What works to make all of these relationships, with warts and all, is that the dialog is always totally, without a doubt, believable. One can see people like this around the New York city upper-middle class landscape, with the neuroses as intriguing as they are frank and even a little disturbing.
While the film shares a kinship with some of the dark, brooding themes of Interiors, and quintessentially European (in a good way) attitude towards editing and composition to Deconstructing Harry, it also has (also ‘Harry’s’ DP) the eye of Carlo Di Palma. Di Palma, who also worked with Antonioni on Red Desert and Blowup, works with great ease with the aesthetics of the scenes. This time the camera-work is practically all hand-held, lit with nearly (seemingly) no artificial lights, and with a kind of intensity that is sometimes lacking in other Woody films. In wrong, amateur hands this style could falter, but with the material given, the constant interest and conviction in the performances, and Allen directing, it works. Having Di Palma as a cinematographer is as good a bet as having (a mentally-all-together) Marlon Brando as your star, and because of the documentary realism involved it always remains interesting. I could watch this movie, at least most scenes, just as easily as I could with films like Manhattan or ‘Harry’, because it is one of those special times in the filmmaker’s career where everything comes together, however how raw it may be.
Original Language en
Runtime 1 hr 48 min (108 min)
Genre Comedy, Drama, Romance
Director Woody Allen
Writer Woody Allen
Actors Nick Metropolis, Woody Allen, Mia Farrow, Sydney Pollack
Awards Nominated for 2 Oscars. Another 12 wins & 15 nominations.
Production Company N/A
Sound Mix Dolby SR (Mono)
Aspect Ratio 1.85 : 1
Camera Lenses and Panaflex Camera by Panavision
Laboratory Technicolor, Hollywood (CA), USA (prints), DuArt Film Laboratories Inc., New York, USA (color)
Film Length 2,955 m (Sweden)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm