Husbands and Wives (1992)

Regisseur:

Woody Allen

Drehbuchautor (WGA):

Woody Allen (written by)

Premierendatum:

18. September 1992 (USA)

Genre:

Drama | Romanze

Plot:

When their best friends announce that they're separating, a professor and his wife discover the faults in their marriage.

Plot Keywords:

Fidelity | Dysfunctional Marriage | Friendship | Cynical | Wife

Filmpreise:

Nominated for 2 Oscars. Another 10 wins & 5 nominations

Nutzerkommentare:

One of my top five favorite Woody flicks

Besetzung

Woody Allen	...	Prof. Gabriel 'Gabe' Roth
Mia Farrow	...	Judy Roth
Judy Davis	...	Sally
Sydney Pollack	...	Jack
Juliette Lewis	...	Rain
Liam Neeson	...	Michael Gates
Lysette Anthony	...	Sam - Jack's Girlfriend
Cristi Conaway	...	Shawn Grainger - Call Girl
Timothy Jerome	...	Paul - Sally's Date
Ron Rifkin	...	Richard - Rain's Analyst
Bruce Jay Friedman	...	Peter Styles
Jeffrey Kurland	...	Interviewer-Narrator
Benno Schmidt	...	Judy's Ex-husband
Nick Metropolis	...	TV Scientist
Rebecca Glenn	...	Gail

Alternativ:

Ehemänner und Ehefrauen (Deutschland) [de]

MPAA:

Rated R for language and a scene of sexuality.

Länge:

108 Min

Produktionsland:

USA

Sprache:

Englisch

Farbe:

Farbe

Seitenverhältnis:

1.85 : 1

Tonverfahren:

Dolby SR (Mono)

Altersfreigabe:

Iceland:L | Argentina:13 | Australia:M | Canada:14A | Chile:14 | Finland:K-14 | France:U | Germany:12 | Spain:13 | Sweden:11 | UK:15 | USA:R

Drehorte:

68th Street Playhouse - 1164 3rd Avenue, New York City, New York, USA

Firma:

TriStar Pictures

Dies und das:

Emily Lloyd was originally cast in the role of Rain, and footage was shot. Woody Allen decided it wasn't working, and replaced her with 'Juliette Lewis' .

Dialogzitate:

Gabe: What happened after the honeymoon? Did desire grow or did familiarity make partners want other lovers? Was the notion of ever-deepening romance a myth along with simultaneous orgasm? The only time Rifkin and his wife experienced one was when they were granted their divorce. Maybe in the end, the idea was not to expect too much out of life.

Bezüge zu anderen Titeln:

Verweis/Anspielung/Erwähnung in "Roseanne: Husbands and Wives (#7.20)" (1995)

Soundtrack:

Makin' Whoopee

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.