When Harry Met Sally (1989)

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Men and women can’t be friends because the sex part always gets in the way. Years after a disastrous cross-country car trip when they’re leaving college in Chicago, freshly divorced political consultant Harry (Billy Crystal) runs into journalist Sally (Meg Ryan) in NYC after she’s just broken up too. They console each other over their numerous dating fails and become each other’s late night phonecall while introducing their own best friends to each other and have to stand by while they watch the pair (Bruno Kirby and Carrie Fisher) fall in love and get married. He’s depressive but funny, she’s awkward and self-indulgent. Then when Sally finds out her ex is marrying the woman he dated after her she gets upset – she was supposed to be the transitional person! – and calls Harry and then she and Harry sleep together … Nora Ephron’s witty and insightful comedic tale of contemporary relationships is so true it’s not even funny. What happens when you date your best friend after a traumatic divorce and they know absolutely everything about you? What good can possibly come of it? That was the discussion between director Rob Reiner and smarter-than-thou writer Ephron that led to this. The scene in Katz’s Deli is crowned by Reiner’s mother’s line that is now part of the language – I’ll have what she’s having:  Crystal dreamed it up but only after Ryan suggested faking an orgasm. The aphoristic exchanges are broken up with interviews to camera featuring old married couples recalling how they met. Now when somebody tearfully declares I hate you you’ll have to think twice about what they’re really saying. A modern classic.

 

 

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Your Money or Your Wife! (1960)

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Gay Butterworth (Peggy Cummins) finds out from family solicitor Hubert Fry (Richard Wattis) that she has inherited a tidy sum from her late aunt. There’s only one catch – in order to avail of the bequest she must divorce her buttoned-up City husband Pelham (Donald Sinden) if he doesn’t die. They figure out a loophole and turn their home into a boarding house to make money, thus introducing an array of ‘types’ into their humdrum existence including a bohemian drummer Theodore Malek (Peter Reynolds) and an exotic siren Juliet Frost (Barbara Steele). Predictable antics ensue in this inoffensive but stagey marital comedy with a game cast injecting life into a poorly handled farce written by Ronald Jeans. Directed by Anthony Simmons and nicely shot by Brendan Stafford.

Home Again (2017)

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You’re telling me you have live-in childcare, tech support AND sex?! Alice Kinney (Reese Witherspoon) decamps back to LA with her two young daughters when she separates from her music manager husband Austen (Michael Sheen) in NYC.  On the night of her 40th birthday she goes partying with her best girlfriends Dolly Wells (of TV’s Dot and Em) and Jen Kirkman and is hit on by twentysomething Harry (Pico Alexander) who with his brother Teddy (Nat Wolff) and friend George (Jon Rudnitsky) have made a hit short film and are new in town to try to turn it into a feature after getting interest from the WCA talent agency (cue funny meeting). The guys wind up back at hers, Harry throws up while about to do the deed with Alice and next morning George realises her father was the great auteur director John Kinney when he stumbles into a room filled with scripts, posters, camera and – ta-da! – Oscar. And then whaddya know, the late great one’s wife and muse Lillian Stewart (Candice Bergen) walks into the house and invites the would-be filmmakers to live in the guesthouse. Call it philanthropy – she’s feeling kind since she outlived the man who impregnated a younger woman and had a second family – this might be a riff on reality a la Nancy Meyers since it’s her daughter Hallie’s romcom debut.   It’s a peculiar setup in many ways – but the kids love the guys, Alice is having a hard time doing business as an interior decorator with super bitch Zoey Bell (Lake Bell) and this odd domestic situation is not unpleasant. The compulsion to return those nuisance long-distance calls to NYC subside.  Harry isn’t aware that sensitive George fancies Alice too and has taken a side job as a rewrite man, Teddy is auditioning for other roles so he’s now left with the heavy lifting of raising finance among the Hollywood set led by horror director Justin Miller (Reid Scott). When Alice is finally ready to introduce Harry to her friends as her date it clashes with a money meeting and he stands her up, causing a real rupture. Then her not-quite-ex decides to find out what’s really going on on the west coast … Light and funny, this isn’t quite as sharp and zesty as Meyers’ best work (Meyers produced) and there are too many montages set to music as a substitute for character development and dialogue and not remotely enough the type of complications that you’d expect from such a plot. Wells and Kirkman are two fine comic actresses in their own right but they don’t get the full Greek chorus role they deserve and the subplot with Bell (from It’s Complicated) is underdeveloped. Lola Flanery is terrific as the older of the two kids with serious anxiety problems but a talent for writing which George encourages.  Reese is always good value and she’s fine in a somewhat underwritten part which never really lets her rip other than getting drunk and spouting some home truths; while as her young lover Pico Alexander is serious eye candy and they really spark on screen. You’ll have seen him in A Most Violent Year and Indignation. You’ll certainly see him again. Mild, likeable entertainment. Written and directed by Hallie Meyers-Shyer.

Laws of Attraction (2004)

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Lawyers are scum.  Divorce lawyers are the fungus growing beneath scum.  So declaims Daniel Rafferty (Pierce Brosnan), the apparently hapless blow-in to the Manhattan Bar Association who has beaten fellow divorce pitbull Audrey Woods (Julianne Moore) in court. And he has never lost a case anywhere he’s ever worked. They appear to be at daggers drawn but really they like each other straight off. She’s a redheaded neurotic addicted to sugar and advice from her well-connected Mom (Frances Fisher) who can get anyone on Page Six. He seems to be shambolic until Audrey realises he’s written a book called For Better For Worse and it’s going down a storm.  When Audrey tries to soften him up in his grimy office above a Chinese supermarket and he’s not there she looks around it for information to use against him and he plays the surveillance footage in the courtroom. Then he gets her drunk on goat’s balls and she wakes up in his bed after their one-night stand … This really isn’t about opposites at all despite their living accommodation – they both play down and dirty when they can and it’s when they take opposing sides in the divorce of a wretched designer (Parker Posey) and her witless rocker hubby (Michael Sheen) and have to tackle their custody battle over a castle in rural Ireland that their own true feelings get expressed maritally. Moore and Brosnan are terrific in a comedy that is extremely well played but not as barbed as it ought to be. When he meets his mother in law for the first time he asks, Are you really 56? And she replies, Parts of me are. We needed more lines like that. The Irish scenes are typically an echo of John Ford (a donnybrook in the pub, almost) with a fake wedding at the village festival after Daniel drinks way too much poteen but the usual paddywackery is thankfully not as lethal as in Leap Year, that Amy Adams effort. In fact there’s depth to both principal characterisations, with the only weird note struck by Sheen – until you check yourself and remember this was the era of The Strokes and The Libertines and you realise his choices are probably spot on:  rock stars are really that awful. Meanwhile information lying about the marital home comes in useful in the mother of all celebrity divorces and Nora Dunn is fantastic as the judge adjudicating the legal duels. Almost a winner, with Brosnan exhibiting exactly why he should still be James Bond (in a film he executive produced). Am I wrong?! He and Moore could have been like Tracy and Hepburn  in this story of professional one-upmanship if it had been handled better but they really spark anyhow. Somewhat casually written by Aline Brosh McKenna, Robert Harling and Karey Kirkpatrick and directed by Peter Howitt.

Snatched (2017)

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I worship Goldie Hawn. Foul Play is on constant rotation chez moi. After a terrible 15 year break, she’s back, playing Amy Schumer’s mother. I use those words with caution because in one phrase I have alienated Goldie fans and realise that Schumer fans may not even know who Hawn is. Schumer is dumped by her boyfriend in a scene that is excruciating for all the wrong reasons – too long, badly written, overly expository and revelatory of one crucial fact:  Schumer cannot act. Then after social media intervention by her mom who lives with three rather cool cats  (Andrew, Arthur and Philip) she goes home because she has non-refundable tickets for a holiday to Ecuador and nobody will go with her. Turns out there’s an autistic/agoraphobe/nerd brother (Ike Barinholtz) resident too. After more, long, excruciating, badly written scenes, we fetch up with Goldie and Amy in a luxury resort in Ecuador. Amy wants to have sex with an Aussie adventurer (Tom Bateman) but he’s just keen to bring her on a day out. She brings mom too and they’re kidnapped. There are a few funny bits – Amy has the classic millennial reaction to being parted from her smartphone;  she ends up killing someone with a spade (“Are you sure?” she asks Goldie; “I saw his brains,” Goldie deadpans in response);  they partner up with an Indiana Jones-wannnabe jungle guide (Christopher Meloni) who turns out to be a total phony with a week to live (a bit less, actually); the complete lack of interest from the State Dept.; and there’s a tribute to Alien with a massive tapeworm.  But… there’s the brother’s subplot with the State Dept. And don’t get me started on the bewildering squandering of Wanda Sykes and a mute Joan Cusack (mute! Joan Cusack MUTE!!!!) as a sidebar of handy Lesbian rescuers who just …. disappear in a manner that is literally the opposite of good characterisation and plotting . OMG. I lay most of the issues at writer Katie Dippold’s door:  the scenes are long, lazy and the episodes of (literal) toilet humour – playing to Schumer’s apparent strengths/demographic – are just vile. The story simply doesn’t make sense from scene to scene – and don’t ask me how it winds up in Colombia from Ecuador. I mean I understand South American kidnap and murder gangs don’t go through passport control, but …  Misdirected by Jonathan Levine. Schumer is morphing into Will Ferrell. I still love Goldie! Give her a better film!

Sideways (2004)

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Pinot’s a very thin-skinned grape, it doesn’t like light or humidity. Miles (Paul Giamatti) is a wine-loving high school English teacher and wannabe author whose best friend actor Jack (Thomas Haden Church) is getting married next Saturday:  road trip! To California wine country, where he can educate Jack in the mysteries of tasting. Two middle aged men on an emotional journey, one a depressive mourning his marriage, the other a past-it who can’t wait to get it up. Maya (Virginia Madsen) is the college professor’s wife waiting tables who has the best palate for wine of any woman Miles has ever met and Jack fancies her smartass friend and single mom Stephanie (Sandra Oh). There ensue some funny sexcapades (Jack), sad drunk dials (Miles), terror on the golf course and major education in oenology:  sometimes all it takes is the feel of a bunch of grapes in the hand to get the mojo going and a bottle of wine can bring anyone back to life. The marvellous Maya turns out to be the woman who coaxes Miles to his truest expression. Funny, louche, and humane with killer lines and tone-perfect performances from all concerned. Beautifully written, staged and shot, this is the comical male midlife response to Thelma and Louise, minus the violence and police. Mature, full-bodied and earthy, it simply gets better every year. From Rex Pickett’s unpublished novel, adapted by Jim Taylor and director Alexander Payne. Savour it.

The Other Boleyn Girl (2008)

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Peter Morgan’s ironed out some of the flummery from Philippa Gregory’s Tudor bestseller, already adapted by the BBC a few years earlier. The Boleyns need money so dad Mark Rylance plots with his brother in law the Duke of Norfolk (the awful, honking David Morrissey) to whore his daughter Anne (Natalie Portman) to Henry VIII (Eric Bana), that great ugly philanderer whose wife just will not reproduce a healthy son. Trouble is, this rather one-note Henry gets a look at Anne’s sister Mary (Scarlett Johansson) and his feelings betray him so he decides to have her first – and she goes on to bear him a bastard son, just as the scheming Anne gets her claws into him. But when Anne continues to refuse Henry bedding rights he sodomises her and she needs Mary’s sympathy as she tries to rid him of his wife and gain the throne and when she does she will do anything to bear a healthy son … If this never reaches the powerful emotional heights it seems to be striving for, it’s a moderately gripping and quite streamlined interpretation of the power plays that went on in royal circles and proves what Diana, Princess of Wales discovered – life at court can be nasty, brutish and short. Divorced, beheaded …

A Howling in the Woods (1971) (TVM)

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This adaptation of Gothic romance queen Velda Johnston’s novel heralded the reunion of I Dream of Jeannie‘s Barbara Eden and Larry Hagman. In truth, Hagman has a glorified cameo as her husband whom she’s divorcing. Her arrival in Lake Tahoe is not welcomed – the police follow her when she hits town and stepmom Vera Miles cannot conceal her annoyance when she walks in the door of her former home. New stepbrother John Rubinstein sees her as seducible fodder but something is up since Pop never seems to be around. She takes up residence in a cabin and soon gets the distinct impression she’s in danger and there’s that dog howling in the woods  …This NBC TVM has pedigree – adapted by Richard De Roy, directed by Daniel Petrie, scored by Dave Grusin, whose work would be so significant to so many big screen features in the coming years. It operates almost completely in the suspense mode and is all the better for it, with little relief coming from the welcome arrival of Tyne Daly down the cast. Eden does very well as the woman in jeopardy. Just a shame it’s not properly available in a decent format, like a lot of early 70s TV movies.

Mildred Pierce (1945)

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The film that marked Joan Crawford’s comeback after she was unceremoniously dumped by Metro, this is a reworked and condensed adaptation of James M. Cain’s Depression-era novel by Ranald McDougall, with uncredited rewrites by melodrama specialist Catherine Turney. And:  William Faulkner, Albert Maltz, Margaret Gruen, Margaret Buell Wilder, Thames Williamson and Louise Randall Pierson. Director Michael Curtiz didn’t want Crawford – she was the last of a long list that was topped by Bette Davis and Barbara Stanwyck – and they fought tooth and nail throughout production with producer Jerry Wald acting as go-between. She’s the woman with the straying husband who starts baking cakes and waiting tables to support her daughters – the younger one, Kay, is a smart and funny tomboy, the elder, Veda (Ann Blyth) is a spoiled puss of a musician with a taste for the high life. The action takes place over four years in the Forties as Mildred starts up her own restaurant and builds a chain with the help of her husband’s realtor partner Wally (Jack Carson) but when playboy investor Monte (Zachary Scott) enters the fray, a tangled web of business and adultery leads to murder. Crawford gets to show off her full emotional range in this superb maternal melo mix of independent woman, weepie and film noir, distinguished by Ernest Haller’s deep shadowy photography and Max Steiner’s score. And what about Anton Grot’s sets! Crawford took home the Academy Award for Warner Bros. What a show!

Wives and Lovers (1963)

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Are you working these days or are you writing?! Stop me if you’ve heard this one before. Van Johnson has. He’s the unsuccessful author in a NYC coldwater flat happily married to dental assistant Janet Leigh with a 7 year old kid. Then agent Martha Hyer (‘the hottest agent in town’ – ‘in and out of the office!’) suddenly sells his novel to Broadway, a literary publisher and Hollywood and they move to the posh burbs where neighbours Shelley Winters (formerly married to a movie star) and her house guest Ray Walston rock the marital boat. When actor Jeremy Slate takes the lead in the play, he finds in Leigh a neglected stage wife, ripe for plucking … A super-slick 60s drama with sharp performances by a great cast (particularly Leigh and Walston) who have some rare, acid dialogue and enjoy casting caustic social comment. The only disappointments lie in the monochrome filming and the fact that the Bacharach and David song performed by my beloved Jack Jones (and inspired by the film) never made it to the soundtrack, which is pretty good stuff by Lyn Murray. Adapted by Edward Anhalt from Jay Presson Allen’s play, directed by John Rich with cinematography by Lucien Ballard. Biker movie fans will recognise Slate from his roles in The Born Losers (he takes on Billy Jack!), The Mini-Skirt Mob, Hell’s Belles and Hell’s Angels ’69.