Crumbling Marriages

The Odd Couple

No Description Available.
Genre: Feature Film-Comedy
Rating: G
Release Date: 20-DEC-2005
Media Type: DVD

Neil Simon's terribly funny play about roommates Oscar the slob and Felix the neurotic was first committed to film in this 1968 production, directed by Gene Saks (Barefoot in the Park). Perfectly timed, ingeniously rendered, not a hair out of place in the history-making performances of Walter Matthau and Jack Lemmon (or the great support cast), The Odd Couple is a movie that one just has to see every two or three years to stay happy. The poker-game sequence in which Oscar's cronies seem to be falling under the sway of fussy Felix's talent for making sandwiches is priceless. --Tom Keogh

She-Devil

Someone stole her husband...and now there s hell to pay! Roseanne Barr puts a hilarious twist on the domestic goddess persona that made her a star and Meryl Streep makes you marvel at [her] real comic witchcraft (Newsweek). She-Devil is a film that doesn t stop at mild-mannered prankster revenge it s a funny Fatal Attraction on steroids with attitude that s gone bad! Meet Mary Fisher (Streep). She s got it all: a cliff-side villa overlooking the ocean a wholly satisfying career as a romance novelist...and Ruth Patchett s husband. And when Ruth (Barr) discovers that her social-climbing spouse (Ed Begley Jr.) has been spending his time at Mary s pink-and-white-monstrosity-by-the-sea she doesn t just vow to get him back...she vows to get even! Setting out to destroy his business accounts as well as Mary s precious reputation and career Ruth proves the old adage about a woman scorned by delivering up a husband nearly scorched!System Requirements:Running Time: 95 Min.Format: DVD MOVIE Genre: COMEDY Rating: PG-13 UPC: 027616867797 Manufacturer No: 1002578

Bread and Tulips

Italy's magical fantasy of midlife crisis and rebirth in Venice, the city of lovers, swept the Italian film awards and charmed all of Europe. Director Silvio Soldini turns the tourist mecca of piazzas, canals, and stone bridges into a quaint little village out of time and fills the film with the charm of the city and the gentle quirks of his delightful cast. Licia Maglietta is winning as Rosalba, the frustrated and ignored middle-aged mom who impulsively takes a vacation from her family. She hitchhikes to Venice and falls for lonely, suicidal Icelandic waiter-poet Bruno Ganz (whose soulful, sad eyes recall his fallen angel from Wings of Desire), blossoming as she rediscovers her smile and joy for life. Sweetly sexy and beautifully shot, this story of second chances may not be original or surprising (think Shirley Valentine), but it's no less lovely or enchanting for it. --Sean Axmaker

The War of the Roses

Michael Douglas, Kathleen Turner, and Danny DeVito reunited for a third time to fabulous effect in this dark, disturbing comedy of martial trauma and revenge, which couldn't be more different from their sunnier outings in Romancing the Stone and The Jewel of the Nile. Douglas and Turner, in career-best performances, are the materialistic, consumer-driven Roses of the title (Oliver and Barbara) whose seemingly perfect marriage has soured beyond repair; their only point of contact, aside from their two college-bound kids, is their meticulously maintained dream house, which Douglas bought and Turner decorated to perfection. When Turner gets a taste of financial independence, she asks Douglas for divorce--all she wants is the house and everything in it (aside from his clothes and shaving kit). He laughs at her and she punches him in the face. Things only get worse from there, as nasty divorce proceedings (with DeVito as Douglas's lawyer) give way to insults, threats, ruined dinner parties, and pet abuse. And through it all, the Roses begin destroying their beloved home and its contents, just to spite each other. DeVito, who also directed, takes Michael Leeson's blacker-than-black screenplay and gives it a hyperstylized spin, complete with skewed camera angles and wonderfully expressionistic cinematography (by Stephen Burum) as Douglas and Turner barricade themselves in their house, both refusing to give an inch. Shocking for a mainstream studio picture, with its unsympathetic protagonists, escalating bitterness, and disturbing finale, Roses is a poisonously funny valentine to both marriage and '80s materialism, tempered only by its framing device as a cautionary tale. Definitely not a date movie. --Mark Englehart

In this blackest of comedies, a perfect 18-year marriage suddenly becomes unglued and the gleefully evil Barbara (Kathleen Turner) and Oliver (Michael Douglas) Rose single-mindedly inflict as much misery as possible on each other. Rather than just get divorced, they declare war, fighting to the bitter end over their huge mansion and every possession in it. Not even the calculating guidance of Oliver's lawyer (Danny DeVito) can stop this uncompromisingly nasty two some as their vicious battle sends them on an increasingly dark and dangerous path.

Divorce Italian Style - Criterion Collection

Divorce Italian Style is a comedy milestone--a brilliant, biting satire that was originally conceived as a drama; directed with nonstop inventiveness by a filmmaker who had never done comedy; and featuring an actor who, though not even among the first dozen players considered, cemented his international stardom with this performance. The movie also marked a breakthrough for foreign film in America, winning popular as well art-house success, Academy Award nominations for director Pietro Germi and star Marcello Mastroianni, and--the first of only a few foreign-language films to do so--the Oscar itself for Original Screenplay.

On the sun-blasted island of Sicily, Baron Ferdinand "Fefè" Cefalù (Mastroianni) breaks out of his heat- and boredom-induced stupor long enough to be smitten with mad passion for his 16-year-old cousin Angela (Stefania Sandrelli). But he's married--to Rosalia (Daniela Rocca), she of the unfortunate mustache--and the Italian Penal Code gives him no way out... except, of course, for catching his wife in adultery and availing himself of the patriarchal license to commit a "crime of honor." So Fefè searches for a way to fling Rosalia into the arms of another man.

Mastroianni's Fefè is an indelible masterpiece, visually and behaviorally: a portrait in painterly chiaroscuro, with brilliantined hair, eternally drooping eyelids, a cigarette holder angled in perpetual salute, and a manic, conspiratorial slouch, like Groucho Marx on painkillers. Germi's direction hustles the film along with bold, mobile camerawork, stream-of-consciousness lurches into fantasy and flashback, Fefè's feverish voiceover commentary, and a wonderfully propulsive music score by the late Carlo Rustichelli. --Richard T. Jameson

Baron Ferdinando Cefalù (Marcello Mastroianni) longs to marry his nubile cousin Angela, but one obstacle stands in his way: his fatuous and fawning wife, Rosalia. His solution? Since divorce is illegal, he will devise a scenario wherein he can catch his spouse in the arms of another and murder her to save his honor-a lesser offense. Criterion is proud to present director Pietro Germi's hilarious and cutting satire of Italy's hypocritical judicial system and male-dominated culture, winner of the 1962 Academy Award for Best Original Screenplay, in a two-disc DVD edition that also features a documentary on the director, new interviews with the actors and screenwriter, screen-test footage, and more.

One, Two, Three

Hardly ever mentioned in the category of lightning-paced comedies--the His Girl Friday and Preston Sturges kind--is this breathless cold war farce from the great Billy Wilder. Adapted from a one-act play by Ferenc Molnár, Wilder and collaborator I.A.L. Diamond's hilarious screenplay is a whirlwind collection of one-liners, gags, and double-entendres, anchored for the cameras by Jimmy Cagney's cagey and frenetic performance (one of his best), and, under Wilder's direction, executed with diamond-like precision. The gangster-movie icon plays a Coca-Cola executive in West Berlin (the film's 1961 release put it squarely in the middle of the world's laserlike focus on East vs. West tensions) who has parlayed expanding American consumerism into a chance to break through the Iron Curtain and sell "the pause that refreshes" to thirsty comrades. But when his Atlanta boss's visiting 17-year-old daughter (Pamela Tiffin), a boy-crazy Southern tornado, reveals that she has secretly married an American-hating German Commie (Horst Buchholz), Cagney's big-American-fish-in-a-European-pond lifestyle is threatened, especially once Daddy hops a plane to Germany. As the plot accelerates, the lines literally spit out of the cast's mouths--the title refers to Cagney's character's rapid-fire rattling off of lists of tasks--and Wilder's penchant for urbane nastiness is perfectly measured by the order of the whole crazy circus. This movie takes gleeful potshots at both sides of a conflict that terrified audiences in its day, but has aged beautifully to become a fascinating time capsule, an exhilarating litany of zingers and a potent blueprint for razor-sharp political satire. Cagney would retire after this movie for 20 years (returning for 1981's Ragtime), and it's hardly any wonder: he has the energy of 10 performances in this one film. --Robert Abele

James Cagney "gives one of the richest funniest most breathlessly paced performances of his career" (The New York Times) in this Billy Wilder comedy that defrosts the Cold War with gales of laughter!C.R. MacNamara (Cagney) a top-ranking executive stationed in West Berlin is charged with the care of his boss' visiting daughter. But when he learns that she's gone and married a fierce young communist - and that his boss will be arriving in town in 24 hours - Mac must transform the unwilling beatnik into a suitable son-in-law or risk losing his chance for advancement! Before you can say "one two three" his plans have spun out of control and into an international incident that could infuriate the Russians the Germans and worst of all his own suspicious wife (Arlene Francis)!System Requirements:Starring: Horst Buchholz James Cagney Arlene Francis Hanns Lothar Lilo Pulver Howard St. John Pamela Tiffin Directed By: Billy Wilder Running Time: 109 Min. Color Copyright 2003 MGM Studios.Format: DVD MOVIE Genre: COMEDY Rating: NR UPC: 027616887634 Manufacturer No: 1004723

Desperately Seeking Susan

This likeable, feminist screwball comedy about several incidents of mistaken identity is remembered more as the film that made Madonna a movie star. She's flip, hip, and energetic as Susan, the wild tramp with whom bored, suburban New Jersey housewife Roberta Glass (Rosanna Arquette) becomes obsessed after reading of her sexual conquests in the personal ads. Of course, since Madonna essentially played herself, the role's hardly a stretch. Director Susan Seidelmen presents a series of zany incidents too complicated to recount, but the result is that Roberta swaps lifestyles with her fixation to explore New Wave culture on New York's Lower East Side. It's territory Seidelmen knew well as her more offbeat, indie debut, Smithereens, reveled in the same setting. But where Smithereens took a more edgy approach to its characters, Susan is a fairy tale romantic comedy, and eventually becomes as conventional as the suburban characters it mocks by settling conflicts with predictable Hollywood formulae. Still, there's much to be enjoyed. The film's at its funniest when juxtaposing New York hip and New Jersey suburbia, like when Arquette's straight, suit-and-tie husband dances with Madonna in a punk club. The performances, too, are engaging, especially Arquette and Aidan Quinn, playing a romantic film projectionist who becomes her grubby Prince Charming. --Dave McCoy

If you know what to look for, you can find almost anything in the personal ads...including the loveof your life! Rosanna Arquette (Pulp Fiction) is "irresistible" (Newsweek) and, in her first starring role, pop star Madonna (Evita) gives a "marvelously comic" (Time) performance in this "delightful madcap comedy" (US) about mistaken identity. Bored New Jersey housewife Roberta (Arquette) fills her days by reading the personal ads and following an ongoing romance between "Jim" (Robert Joy) and "Susan" (Madonna), a mysterious drifter who leads the kind of free-spirited life about which Roberta can only dream. And dream she does, until the day she actually shows up at the couple's prearranged rendezvous in New York City...and after a bump on the head, a bout of amnesia turns Roberta into Susan and opens the door to intrigue, laughter and love!

Lost in America

It seems to lack something on first viewing--where's the third act, anyway?--but Albert Brooks's Lost in America is one of those movies that people keep quoting to each other long after they've seen it. And no one has come up with a more incisive look at the phenomenon of the '80s yuppie, a figure toward whom Brooks manages to aim both his satire and his sympathy. The bushy-haired, tightly-wound actor plays a well-paid L.A. executive who quits his job in a fit of pique when he fails to land a promotion. Armed with their savings, he and the wife (Julie Hagerty) buy a Winnebago and hit the road; they're going to search for America and find themselves. Right. They get as far as Las Vegas, where Hagerty has a little problem at the gaming tables. Brooks's rant on the concept of "the nest-egg" goes right into the comedy hall of fame, and his scene with a casino manager (Garry Marshall, underplaying beautifully) is a masterpiece of wheedling desperation. Somehow amidst the comedy, Brooks captures the panic beneath the upwardly-mobile go-go American guy, circa 1985. The open road will never be the same. --Robert Horton

Back to the Beach

Is Back to the Beach a masterpiece of postmodernism? Or just a slaphappy hoot? Hey, why can't it be both? Either way, this is a zippy tribute to/spoof of the 1960s Beach Party pictures. Frankie Avalon and Annette Funicello, landlocked in the Midwest since their surfing days, return to the California sun with their wild kids. There are mucho gags about the earlier films (including Frankie on a surfboard in front of a cheesy rear-projection wave), and cameos (much of the Leave It to Beaver cast, surf-guitar king Dick Dale). Pee-wee Herman sails in to perform "Surfin' Bird," and Annette teaches a thousand people "The Jamaican Ska." All that's missing is Erich von Zipper. This is a genuinely smart and funny movie, although it helps to know the original films, so you can savor the moment a beach boy gazes at Annette and marvels, "After all that surfing, her hair's perfectly dry!" --Robert Horton

Stay Tuned

Long before Pleasantville, this 1992 comedy featured a family taking its problems out of the real world and into the loopy fictions of television entertainment. John Ritter and Pam Dawber star as Roy and Helen Knable, a suburban couple with a host of marital problems, most of which have to do with Roy's couch-potato attachment to his TV's remote control. Things take a hellish turn when the devilish Spike (Jeffrey Jones) turns up at the Knable house offering Roy a great deal on the ultimate satellite-TV system.

Surprise, surprise: The contract signed by the less-than-cautious Roy actually requires a one-time payment of his soul. He and Helen find themselves sucked into their own television set, where they are kept on the run through such monstrous fare as "I Love Lucifer" and "Northern Overexposure." Eventually, their disenchanted kids (David Tom, Heather McComb) discover mom and dad are on TV, in a whole new sense of the term, and they set about rescuing them.

A genuine novelty, Stay Tuned is powered along by a chain of imaginative sequences, most memorably an original cartoon by Warner legend Chuck Jones that cleverly integrates Ritter and Dawber's characters. The script's implicit social satire about the overbearing nature of television on underachieving lives isn't lost on the lively cast or director Peter Hyams (Timecop), easily one of the most imaginative action filmmakers around. The old rivalry between television and movies carries on in this clever parody, and the feud has rarely been so much fun. With tons of supporting players, including SCTV legend Eugene Levy, Saturday Night Live announcer Don Pardo, and hip-hop performers Salt-n-Pepa. --Tom Keogh