Husbands and Wives (1992)
Directed by Woody Allen
When their best friends announce that they're separating, a professor and his wife discover the faults in their own marriage.
10 connections found
View:
10 connections, in both directions
What critics compared Husbands and Wives to
There are also shades of Husbands and Wives, Woman Under the Influence, and more recently, Splitsville.
The hand-held camerawork is far too shaky for its own good, and pointlessly so, compared to, say, the deliberately unsteady look of Woody Allen's Husbands and Wives.
There’s none of the sickening emotional dread that you feel in obvious influences like Ingmar Bergman’s “Scenes from a Marriage” or Woody Allen’s “Husbands and Wives.”
It’s good, but it’s no “Scenes from a Marriage” or “Husbands and Wives” or hell, “Company,” for that matter.
Think Kramer vs. Kramer meets Husbands and Wives with smartphones.
Scenes from a Marriage , Husbands and Wives , all that.
Baumbach’s Marriage Story touches off being a more even-handed Kramer Vs Kramer , or a two-handed Husbands And Wives , but really wears Scenes From A Marriage on its sleeve, another made-for-TV affair.
It’s been clear for several years now that Baumbach has picked up where Woody Allen left off (or might have), and with Marriage Story he gives us his Husbands and Wives .
He’s softer and more rueful, and even if you weren’t on-team for Schindler’s List, the palpable romantic confusion that Neeson brought to a project like Woody Allen’s Husbands and Wives is impressive.
Advertisement
I’m old enough to remember when people complained about the shaky-cam in Woody Allen’s Husbands and Wives giving them nausea; much of Hardcore Henry feels like watching what your two-year-old filmed when he got a hold of your iPhone and didn’t realize he’d turned on the camera.
Ever since Woody Allen came along with his Annie Hall and his Manhattan, his Hannah and Her Sisters and his Husbands and Wives, New York has become THE American city of the ensemble romantic dramedy, where different characters come together to discuss love, life and politics.
Closer is akin to one of Woody Allen's serious films, such as Hannah and Her Sisters and Husbands and Wives.
They can’t make it work as zany comedy because it’s much closer to being icky than funny, but they also don’t seem capable of pushing into darker, “Husbands and Wives” territory where this idea might have thrived.
Advertisement
I don't suppose it's categorically impossible for Allen one day to recover the ingenuity and reserves of feeling, whether gentle ( Purple Rose ) or bitter ( Husbands and Wives ), which once suffused his movies, but I can't see a single sign that this will ever happen?neither in the films he's been making nor in the touristic, lackadaisical, tortuously financed way he now makes them.
Starting with Husbands and Wives (his last film with Farrow), Allen began experimenting with hand-held cameras.
For years, the young women in Allen's films - Mariel Hemingway in "Manhattan," Juliette Lewis in "Husbands and Wives," Natasha Lyonne in "Everyone Says I Love You" - actually seemed young.
His direction hasn't been as light-footed since 1996's musical "Everyone Says I Love You" and his cinematic relationships haven't felt as meaningful since 1992's "Husbands and Wives."
With able support from Patricia Clarkson, as a family friend of Vicky's, living in Spain and living in pain over her own unhappy marriage, Vicky Cristina Barcelona covers familiar Allen territory: Like Husbands and Wives, Hannah and Her Sisters, Annie Hall, Crimes and Misdemeanors, and the list can go on and on, Allen's latest offers an exploration of romantic longing, of men and women falling in and out of love, behaving foolishly, and badly.
The characters move as if on a carousel, making the film an exploration of romantic complications on the level of "Hannah and Her Sisters" (1986) and "Husbands and Wives" (1992).
On the occasions when he manages to forget Bergman and Fellini -- filmmakers whose main achievements, unlike his, depend on their original style -- he shows a flair for some of the less reputable genres of Hollywood movie art, including romantic comedy (Annie Hall), crime and showbiz (Broadway Danny Rose), melodrama (Husbands and Wives), murder mystery (Manhattan Murder Mystery), musical comedy (Everyone Says I Love You), low-budget B-film (The Curse of the Jade Scorpion), and now, with Match Point, erotic crime thriller.
Sort of a Henry Fielding tale sprinting toward Patricia Highsmith with some operatic trills and Dostoevskian sweats, "Match Point" is contrived, but Allen's finest adult entertainment since "Husbands and Wives" in 1992.