the leading man is my tpye

A bit overrated, but still an amazing film

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

A story that's too fascinating to pass by...

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 hand-held 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.

I watched this movie at the time of its release when I was in my twenties and found it unremarkable. After many years and a serious relationship, this finally hit home.In documentary-style, Allen shows us what most middle aged couples fear to face: the dissolution of their marriages, due to habit, boredom and frustration. The kind of situation that arises simply by living with someone for many years, without any major dramatic event occurring.Allen and Farrow plays Gabe and Judy. Since the movie was the last before their acrimonious split, most of their dialogue sounds uncomfortably realistic. Pollack and Davis are their friends Jack and Sally, who set the story in motion with their "trial" separation.Soon all four friends are entangled in new relationship or fantasize about one. Sally and then Judy are attracted to romantic Michael (Neeson), while Gabe is infatuated with Rain (Juliette Lewis) a student, who reciprocates.However, Rain is "just" a serial older-men lover with the most annoying nasal voice and this indiscretion ends nowhere. On a side note, I never liked Lewis, who once again plays a lascivious nymphet with little energy.I am not a big fan of Farrow, either. With her oversize, thick sweaters, long skirts and super-short hair Farrow is at her most unattractive in this movie. Her character is also whiny and pushy, making her my least favorite of the quartet.The movie ends with a twist that I found hard to believe, and a lot of ambiguity about the future of the characters that I found a lot more believable. Not for the romantics, but definitely worthy.

I only began to appreciate the greatness of this film upon my second viewing. Only then did I really take it all in and appreciate just how unflinching, superbly intricate and accurate this portrayal of relationships truly is. It really is a testament to the life experience of Woody Allen to be able to write something so deeply observed and then be able to direct this vision so it plays out with such normality.It explores all the love and heartbreak elements of relationships I can bring to mind. The individual interviews are an extremely effective way of vividly revealing the thoughts that we all have about these human relationships. They capture so many thoughts around monogamy, insecurity, honesty, anger, capriciousness, philosophy, social etiquette/acceptance, courage, fantasy.. I could go on. It flips the whole wishy-washy notion of 'love' on it's head to instead really examine the practical nitty gritty of everyday life as a couple. It's also interesting to see just how these interplay affects these people of different ages.It's one of those rare films you can watch several times. I've seen many Woody Allen films and this is definitely in the top 3 for me.

There was a time when I didn't quite get the humour of Woody Allen. It was mildly funny but I didn't get the wit in the rapid fire dialogue that rolled out like natural conversation. It seems natural because the script is so well crafted. With so many people being like the rather serious and shallow characters in these movies, we might not have the subtle sense to hear the biting satire. Now I find the humour hilarious and the scripts brilliant. This film is no exception.In Husbands and Wives, Woody Allen, Judy Davis and Liam Neeson were all excellent as youngish married people coming to terms with the reality of marriage and looking for something better, as if marriage has to always be a great fit. Sydney Pollock was very droll in his own exasperated way. In one scene, Davis and Pollock demonstrate a first rate cat-fight that is the comedic high point of this movie.This is a movie where Allen's humour shines with a cast of actors in roles of well educated, middle class New Yorkers who describe their marriage problems (usually in terms of the other spouse needing to change). The conversations are presented as if they were part of a documentary; it works well. The movie lacks the characters of other Woody Allen movies like Hannah and Her Sisters, Crimes and Misdemeanors and Annie Hall. Nevertheless it is telling in its portrayal of late 20th century marriage. In the end, we see one of the couples confiding about their own limited success in marriage and the way they have adapted. All in all, the movie is an entertaining look at marriage in a particular setting and how it succeeds, fails or just keeps on going.