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33 comments in total

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36 out of 41 people found the following comment useful :-
Totally Disagree with "Straight to Betamax", 4 March 2008
Author: jegesq from United States

Saw this last night at the premiere, and "Straight to Betamax" could not be more wrong. This is actually the first intelligent, smart and wonderfully acted film of the year, and both Patricia Clarkson and Chris Cooper give wonderful performances in a story which is intriguingly told and compellingly filmed.

I will agree with a few others that Pierce Brosnan seems a bit miscast in this picture, but not to the point that it ruins the film. Additionally, some of Rachel McAdams' dialogue seems a bit out of place for a character like her's during the period in which this story is set (it is supposed to take place in 1949), but she gives a great performance overall and her character is, for the most part (other than a few bad bits of out of place dialogue) fairly believable.

But Cooper and Clarkson are really wonderful in this film and Ira Sachs and company have done a terrific job with this story. Bravo.

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31 out of 38 people found the following comment useful :-
Exciting and Suspenseful, 5 March 2008

Author: Itamar Kubovy-Weiss from United States

I was at the premiere of Married Life tonight, and I must say, it's a winner! Some of the scenes in the movie rival the best Hitchcockian comedy of manners. Sachs is always leading us through the story on two levels. With one eye we are immersed and involved in the story, while the other floats at a distance and examines the four brilliantly portrayed characters as representations of the human condition.

Married Life surfs a fine line between the comic and the tragic that is uncomfortable to acknowledge. But humor definitely wins out in the end, leaving us with an ironic but optimistic view of the flaws that increasingly populate our public and private lives as we grow older. Cooper and Brosnan achieve a fascinatingly contradictory friendship between two men that is unlike any other I've seen on screen in a long time.

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23 out of 31 people found the following comment useful :-
A smart and insightful exploration of social mores, 5 March 2008

Author: suepsimon from United States

I love MARRIED LIFE!! It is a well crafted and beautifully written movie. By appearing to be a traditional noir, the film plays on the audience's expectations of the genre but then turns out to be something very different--something far more sad, funny and soulful. By having the traditional voice-over and haunting music at the outset, MARRIED LIFE subverts the viewer's expectations and draws us into a story that is utterly unique.

Characters in the film are not whom they appear to be--I like how all the leads are introduced as archetypes (e.g., the unhappily married business man, the cad, the long suffering wife, the pretty young widow) but each not only turns out to be different than expected, all four go through some sort of transition that deepens their humanity. They may be imperfect people and lacking in insight, but the audience feels empathy for their struggles. Given their array of poor choices, this is pretty amazing--their yearnings are poignant, even when their actions are deeply misguided. Humans are capable of being incredibly narcissistic and giving at the same time--the movie illustrates this with a mix of humor and pathos. The characters may be unable or unwilling to stop their most primal urges, yet we are rooting for them to find some happiness all the way to the end.

This film is wonderfully shot. Period details are rendered with loving care--whether it is the glorious costumes or the sweeping set design. Performances are top notch -- a true ensemble cast who look and sound like they are from a bygone era. A rich score magnifies the shifting moods without giving you whiplash. This is a complex movie that demands we see the world in shades of gray -- life is never simple. Especially married life!

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18 out of 22 people found the following comment useful :-
Not what it seems..., 18 March 2008

Author: b108rok from NY

Before I saw this film, I knew two things about it: The 4 lead actors, and it took place in the early 50's. After seeing Patricia Clarkson in "Far From Heaven," I was anxious to see her play in this period again.

I have to say I was pleasantly surprised by this film. At first I didn't know what to make of it, or where it was going. It is a dark comedy. The twists and turns of the film are completely unexpected. It kept me on my toes, and the 4 lead performances were great.

Without going into the synopsis too much (you can find that anywhere) if I had to compare this film to another..... I'd say it's kind of a darker, funnier "Closer", but set in the early 50's.

What I found interesting about the film is that it was incredibly complex, well-written characters, in very complex situations, set in a very simple time.

Let's talk about Patricia Clarkson for a minute. This is an actress who should've been nominated for several Supporting Actress Oscars by now. (The Green Mile, All The Real Girls, Far From Heaven, Lars and the Real Girl.. to name a few). I hope she finally gets some recognition as the Leading Actress in this film.

Rachel McAdams: This proves her acting abilities. She is incredible in this film. She is so beautiful, subtle, and so commanding. Definitely her most mature role to date.

Of course, I expect nothing less from Oscar-winner Chris Cooper. This proves to me though that he can carry a film, and not just be a strong supporting character.

Brosnan is great too in the least "meaty" I'd say of the 4 leading roles. He is very suave, but also provides some unexpected comic relief.

Great film! Go and see this.

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15 out of 19 people found the following comment useful :-
Fun! smart ensemble acting with clever script, 22 March 2008

Author: girlocelot from United States

Lots of fun - an adult movie that keeps you guessing about how the characters will understand themselves. A sort of farce, a sort of mordant comedy, driven by id, but on the surface well-mannered & careful, this film features a quartet of talented actors who consistently entertain & provoke us to think about what lies beneath our own happiness - or lack of it.

The weakest link is Rachel McAdams - luscious & pretty but not sexy-juicy. David Wenham is underused - he's such a creative, pithy, strongly male actor it's a shame his part isn't larger. Minor quibbles as the film works extremely well as it is. The sets & costumes are perfect, except that Brosnan's hair style is more '65 than '49, but maybe he's just ahead of his time.

Brosnan is excellent as slimy snake. Chris Cooper is great, & believable as a man driven more by his fantasies of love than by really feeling love. But why not a few hot necking scenes at least? For a movie about sex & love, there are NO sex/love scenes, except for one half-lit dark second or two.

Patricia Clarkson - wow - gorgeous, the most interesting character in the film really; nuanced, layered deep expression of real character. The wise one who sacrifices most - she's the one that really loves, despite her protests to the contrary.

See it - you will be entertained, provoked, & perhaps finally comforted. In a slightly twisted way.

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17 out of 23 people found the following comment useful :-
Wish It Had Been Much Longer, 23 March 2008

Author: Michael A. (Temprock14) from United States

Great cast, a very good recreation of "the times" (1940s) in almost every way (hey, I was "there").

Costumes/cars authentic and I loved watching all of the "smoking" (e.g. in nice restaurants, etc.) scenes.Though I'm a non-smoker and HATED those who puffed while I dined, for some reason those scenes made me a bit nostalgic (probably because I did not have to actually breathe-in that poison).

When the movie ended I wanted more however (and it is tantalizing/frustrating to read in another Thread that there is a much longer version of this film that was deemed not the right fit for current theatrical release).

Enjoyable and fun film. Cooper/Clarkson perfect (as always) and I feel Pierce is very underrated as someone who is way more than a "pretty face".

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16 out of 22 people found the following comment useful :-
Witty, Wise, Wonderful, 6 March 2008

Author: rafisimon from United States

With Married Life, director Ira Sachs has pulled off a cinematic hat trick of the highest order. This marvelous new movie manages to be at once droll comedy, gripping suspense drama, and stylish 1940s period piece. As light-hearted film noir, it leaves the viewer guessing from start to finish. Sex! Murder! Intrigue! What next? At the same time, Married Life boasts engaging, emotionally truthful performances -- particularly from Cooper and Clarkson -- that linger in the mind long after the closing credits.

Go see this film--or regret it for your entire (married or unmarried) life!

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13 out of 17 people found the following comment useful :-
Tired Marriage, 30 March 2008

Author: Joseph (moutonbear@videotron.ca) from Montreal

*** This comment may contain spoilers ***

The biggest problem with MARRIED LIFE, the movie not the state of existence, is the tone set by its title. Before even setting foot in the theatre, your mind is filled with preconceived notions about the likelihoods the film will deliver. You cannot expect a film called MARRIED LIFE to show long term couples just as happy now as they were when they first met. In fact, in these cynical times, you might likely be disappointed if you didn't see spouses abusing each other, scheming and plotting against the other or, if you want to be old fashioned, just plain cheating on each other. Perhaps to offset these expectations, writer/director, Ira Sachs, sets his story in the 1940's, a supposedly simpler time when people were married and stayed that way despite their personal unhappiness. Even a setting as delicately composed as this one is not a good enough disguise for its contemporary sensibility. The film's fate seems sealed as soon as the opening credits begin to roll. Similar in design and manner to television's "Desperate Housewives", a show that has built its reputation on couples scheming, they seem to announce Sach's intention to give us exactly what we expect. Only when the final animated frame settles on a city skyline and you expect the real thing to take its place, Sachs reveals that it is in fact a reflection. With the lens pointing inward now, I wonder if I've spoken too soon.

Like the beginning of a marriage, for a while, it is good. The strings of the score swell and sweep you up into the sentiment like a warm wind taking you for a dance in the sky overlooking a quiet family-friendly suburban street. This particular street is home to Harry and Pat Allen (Chris Cooper and Patricia Clarkson). The two have been married for what might as well be forever and they still cherish and respect each other but whether they still love each other is a question that looms over their lives like a heavy cloud. Harry believes that love is defined by the desire to give constantly to the other person. Pat believes that love is sex. Despite their definitions being categorically on different pages, they are a solid, functional couple. However, Harry has found another woman, Kay (Rachel McAdams in a refreshing return that is more tender and vulnerable than past performances) for whom continuously being doted on is the perfect compliment to her lonely life. I suppose it doesn't hurt that she is younger and beautiful but Harry conveniently avoids seeing this as the motivating factor for his affection.

And so Harry finds himself in quite the pickle. He doesn't want to burden his wife with the embarrassment of a divorce but yet he cannot deny that he is no longer in love with her. Harry is a sensible businessman who lives his life with order and reason and is still able to embrace his more romantic sensibility, wanting his life to embody the love he feels. He racks his brain to come up with the tidiest, most logical solution to his dilemma and somehow, the best plan he can come up with is to kill his wife. He rationalizes that this will cause the least amount of pain to all involved, including his children. Is it me or is this the least rational course of action? Essentially, this becomes MARRIED LIFE's main storyline and as it is ridiculous in concept, it also serves to undermine the intelligence of what was otherwise a fairly engaging film. Even Sachs seems unsure of this whole direction as he throws in a couple of painfully obvious scenes about how death can take away misery rather than add to it. If Sachs isn't buying it, I'm not sure how he thought anyone else would.

Despite its shortcomings, MARRIED LIFE does plant a few seeds of wisdom in its perfectly tended garden. The banalities of spending every day of your life with the same person are accepted by most of the characters as a perfectly normal piece of the pie. With decades past between their time and ours, have we really changed all that much? There are so many things happening and left unsaid in any marriage with both partners none the wiser. Subsequently, we have fine-tuned an uncanny ability to exist in a state of comfortable misery. We may look elsewhere for distraction but so many never walk away from what they know isn't working. Applying that same logic makes sitting through MARRIED LIFE entirely acceptable while you wonder what's playing next door.

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7 out of 9 people found the following comment useful :-
To End A Marriage To End A Life, 5 September 2008
Author: Munyurangabo from Fraggle Rock

Ira Sachs's dark comedy 'Married Life' is an intriguing little film set in the 40s/50s. Dealing with complex relations, it somewhat portrays the men as selfish and the female as hungry for love...but there are layers and it's not all so black and white. What's also interesting is the unusual cast that includes Pierce Brosnan, Patricia Clarkson, Chris Cooper and a refreshing Rachel McAdams. Though the pairing between McAdams and Brosnan is awkward, the chemistry works better between her and Cooper. Brosnan seems miscast but not to the extent that it ruins the film experience. McAdams is beautiful and pulls off her part quite well but it is Clarkson and Cooper who give the best performances. I'm also surprised that people have taken this film too seriously (to the point that they missed the humour which I thought was creatively done and hilarious). The element of drama is there but how could one miss the comedy? Sach's writing is superb and the direction is solid. I liked how the events unfold and Coopers's character's attempts to get what he wants and his surprise reaction towards the unexpected results. I find the title a little misleading. Yes, the film is about a 'dying' marriage and its complexities but the title is a little too vague and the film focuses on much more than marriage. The score gracefully brings the feel of the 40s. Overall, Sachs has made a clever unconventional black comedy in a period piece.

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5 out of 6 people found the following comment useful :-
Marriage woes of a solemn fool, 20 March 2008

Author: Chris Knipp from Berkeley, California

*** This comment may contain spoilers ***

Ira Sachs' 'Forty Shades of Blue' was a story about a young Russian émigré woman and her American music impresario husband who isn't really there for her—it's a movie that's rambling, freshly observed, carefully planted in its southern milieu, and vérité in style. For his new feature Sachs was granted the opportunity to work in the Hollywood system with name actors, and he chose to shift gears completely. He adapted an old "genre" novel (his word) by John Bingham, who was John Le Carré's mentor in MI5 and the model for Le Carré's iconic character, George Smiley. 'Married Life' is a glossy period story with ironic twists. It's set in the early Fifties. Partly a social comedy, partly a 'tongue-in-cheek thriller, partly a perverse love story, it weaves back and forth a bit too much among all these possibilities to leave a lasting impression. It's a glossy, stylishly controlled inanity all ready for the collector's shelf.

Harry Allen (Chris Cooper) wants to run off with a young blonde and thinks he must kill his wife to spare her the pain of divorce. That's a new kind of mercy killing, a droll motive for murder. Whether it's a good pretext for a meditation on relationships and love, as the director believes, is another question. A greater awareness of the period might have led to the observation that divorce itself, at that time a somewhat scandalous social institution, was more disturbing than the mere psychological loss of a loved one.

Sachs is a gay man approaching straight marriage through the filter of a penchant for Joan Crawford and Bette Davis movies, much as Todd Hughes approached a Fifties interracial affair and a married man's homosexuality through the filter of Douglas Sirk melodramas in his 'Far from Heaven'—which, like this movie, featured Patricia Clarkson as the wife. 'Married Life' is more restrained than the style-obsessed 'Far from Heaven.' But though it annoys less, it does not impress as much. Both movies are feasts of campy gay cinematic style, but while Haynes launched a thousand hot debates, 'Married Life' makes one nod "Oh yes," and move on.

With its world of stifling bourgeois poshlost and its bumbling, trapped killer, this film is reminiscent of some of the minor novels of Vladimir Nabokov. And that would be a good thing, if only Sachs were Nabokov; but he isn't. Sachs' protagonist, Harry Allen, is a solemn fool. He goes about planning his murder, unaware that introducing his friend Richard Langley (a pleasant, but somewhat stilted, Pierce Brosnan) to his new girlfriend Kay (Rachel McAdams), a young widow, is a very risky move, given that she's an out-and-out babe and Richard is appealing, available, and drives a nice convertible. Anyone with an emotional IQ of 100 would see Richard has more charm than the dour Harry; but Harry's level is well below average, even for the disdainful 21st century conception of the American Fifties. Harry's also seriously mistaken about his wife Pat (Ms. Clarkson, in a dark red wig): she has other quite appetizing possibilities he isn't in the least aware of.

The movie advances at a measured pace with all its period accouterments tidily in place. Everyone has dyed hair and Chris Cooper's apparent proclivity for very dark suits is immaculately in evidence. An atmosphere of great restraint is created, the better to stun us with the story's bombshells. But it never really does.

While in 'Far from Heaven' the emotions were ramped up and operatic, those of 'Married Life' cause barely a ripple. People say they love each other, but we don't feel it and there's no visible chemistry between the actors. There is some limited compensation in the dry comedy of certain lines of dialog. There is stylized, if wan, amusement in the repetition of an idea, "a person like you can't build happiness on the suffering of others, not with the burden of morality you carry," spoken unwittingly by several characters. But that's not exactly an epigram. True, there's something unique about the confection Sachs has so carefully whipped up. But while this is more coherent than Hayne's Fifties melodrama, it utterly lacks its impact.

According to Sachs, 'Five Roundabouts to Heaven,' Bingham's source novel, ends with a lot of people dying. That might have been nice. Couples deciding to stay together after all? Gee, this is quite the time for Family Values. 'Married Life' ends with a solemnity so completely worthy of its humorless hero one may wonder if one's earlier giggles had been intended.

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