An ode to Hollywood movies of the 40s and 50s, with its rich story, its post-war middle class mores of US society, its production design and its characters blundering around a moral dilemma.
Married Life (2008)
Runtime: 1 hr 31 mins
Theatrical Release: Mar 7, 2008 Limited
Box Office: $1,197,472
Synopsis: This melodramatic musing on the trials and tribulations of marriage features a small but talented ensemble cast that includes Patricia Clarkson, Chris Cooper, and Rachel McAdams. Set in 1949, the story opens into a picturesque, affluent suburb where Harry Allen (Chris Cooper) resides... This melodramatic musing on the trials and tribulations of marriage features a small but talented ensemble cast that includes Patricia Clarkson, Chris Cooper, and Rachel McAdams. Set in 1949, the story opens into a picturesque, affluent suburb where Harry Allen (Chris Cooper) resides with his wife, Pat (Patricia Clarkson). But there's trouble brewing beyond the perfect picket fences. Harry has fallen deeply in love with a blonde beauty named Kay (Rachel McAdams). He confesses his secret to his longtime bachelor friend, Richard (Pierce Brosnan), and even introduces Richard to the lovely Kay. Unfortunately for Harry, Richard is instantly smitten, and makes up his mind that he will do whatever it takes to win Kay for himself. Harry, meanwhile, continues to plot ways to escape his marriage, though he fears leaving Pat will destroy her. He soon decides the most humane thing would be to dispose of her the old-fashioned way, with the aid of a little poison. While he debates on when to make his move, we learn that Pat actually has a few secrets of her own. Cooper and Clarkson both give charming, multi-layered performances, expertly revealing the tortured emotions that hide behind their well-mannered 1940s façades. The film's recreation of the era is mesmerizing in its detail, with gorgeous costumes and an elegant set design. MARRIED LIFE has all the ingredients for Hitchcockian thrills, including a delicate blonde bombshell and a methodical murder plot. Yet the film daintily dances between black comedy and noir thriller, leading to a tidy, if rather anticlimactic end. The movie keeps you on your toes, but some might find themselves longing for a bigger payoff by the time the credits roll. [More]
Genre: Dramas
Starring: Chris Cooper, Pierce Brosnan, Patricia Clarkson, Rachel McAdams, David Wenham
Screenwriter: Ira Sachs, Oren Moverman
Producer: Sidney Kimmel, Jawal Nga, Steve Golin, Ira Sachs
Composer: Dickon Hinchliffe
DVD Info
Release:
Sep 2, 2008
Reviews
The ensemble cast chemistry is superb in its nearly suffocating tangle of repressed passions, but the family-values wrap-up of all these messy erotic tensions feels ultimately far too pat and unresolved.
Thought-provoking themes swirl around in this drama, brought to life by a skilled cast and a director who plays with Hitchcockian themes and imagery. In the end, it feels a bit undercooked, but the actors keep us glued to the screen.
Superbly directed, thought-provoking blend of Hitchcock movies, 1940s pastiche and Bette Davis-style melodrama, featuring terrific performances from Cooper and Clarkson.
It’s a good cast, with Cooper outstanding, but Sachs’s direction is stodgy and the screenplay is grindingly self-conscious.
The tangled web which slowly causes the film’s relationships to disintegrate is brilliantly woven. However, you can’t help wishing the climax packs a bit more of a dramatic punch.
A noirish 1940s-set character study, it’s an initially intriguing tale of infidelity and betrayal that smoulders, but never quite catches fire.
A classy cast and production design to die for are the only features of note in an underpowered tale of adultery and intrigue in ’50s America.
Married Life may fall short of the best Hollywood melodrama, but its nicely observed situations and old-fashioned storytelling ironically lend this a freshness more on-the-nose infidelity tales are missing.
The movie is determinedly low-key, but honest, with a wrenching break-up scene, sharp work from Clarkson, and a final thought that lingers, about never really knowing what your other half is thinking.
A well-acted but lugubrious noir, which is somehow not quite thrilling enough to be a thriller, and not quite profound enough to be a character study.
The layers of deception are as meticulously constructed as the impeccable 1940s production and costume design. Unfortunately, the film doesn’t maintain that distinctive noir cruelty, as hard as red lacquered finger nails.
A mannered comedy of manners that, in its eagerness to be all things to all people, ends up being nothing much of anything.
It looks beautiful, and the convoluted plotting is initially the right side of Hitchcock pastiche, but the central conundrum is teased out over so many twists and false climaxes that ultimately it’s a shrug, not a shock, which greets the denouement.
In the end, it feels a bit undercooked, but the actors keep us glued to the screen
It swings from Far From Heaven-alike lush melodrama to Double Indemnity-like noir to something approaching black comedy, and the transitions never quite work. Accomplished then, but no classic.
It's elegant, unhurried, and, if you meet it half way, softly satisfying ... like the muffled clap of a velvet-covered ring box snapping shut.
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