Jerry Ryan is wandering aimlessly around New York, having given up his law career in Nebraska when his wife asked for a divorce. He meets up with Gittel Mosca, an impoverished dancer from ...
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Colonel Ryder, the publisher of a magazine, dies while on vacation. Tony, his swinging nephew, inherits the magazine and takes over. Presently, the magazine is planning to expand and to do ... See full summary »
Paul Robaix is a well known director, married to Lucy Dell, a famous movie star. Robaix wants to make a movie of the classic play Madame Butterfly, but he doesn't want his wife to play the ... See full summary »
Edward G. Robinson
Jean Simmons (a school teacher) takes a secretarial job in a nightclub. The two club owners quibble about a lot, including her. Unfortunately, she develops an interest for the partner who disapproves of her employment at the club.
Insurance detective Steve Hastings is sent by his company to investigate the disappearance of a fellow agent. His first lead is the agent's fetching sister, Victoria, whom he trails to ... See full summary »
Three stories about the lives and loves of those who own a certain yellow Rolls-Royce: **First purchased by the Marquess of Frinton for his wife as a belated anniversary present, the ... See full summary »
Jerry Ryan is wandering aimlessly around New York, having given up his law career in Nebraska when his wife asked for a divorce. He meets up with Gittel Mosca, an impoverished dancer from Greenwich Village, and the two try to straighten out their lives together. Written by
The original Broadway production of "Two for the Seesaw" by William Gibson opened at the Booth Theater in New York on January 16, 1958, ran for 750 performances and was nominated for the 1958 Tony Award for the Best Play. See more »
During one of first phone conversations between Gittel and Jerry, albums in her record rack don't come close to matching from shot to shot. See more »
I told you to make a claim on me, to depend on me. I practically forced you. Gittel, I care for you. I don't want to see you hurt or lost or short-changed.
Gittel 'Mosca' Moscawitz:
So what's the future, Jerry? You gonna think any less about her? A little time'll pass, everything'll be hunky-dory? How am I gonna give her competition? Have a hemorrhage twice a year? Trap you that way? I got half of you by being a wreck, is that how we'll go on? Oh, you gotta short-change me, Jerry.
I've tried not to.
Gittel 'Mosca' Moscawitz:
That's what's outta ...
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The rusty mechanisms (and theatricality) of the plot is saved by the leads...
The frustrating loop-de-loops of an uncertain love relationship between a Greenwich Village kook-dancer and a Midwestern suit-and-tie lawyer on the verge of divorcing his wife of 12 years. Though highly entertaining, this light-drama obviously derives from a play, as the lines of dialogue have not been reworked for the screen. It gets awfully pedantic at times; for instance, we know the characters' names, they know their names, so why do they keep saying to each other, "Jerry?", "Yes, Gittel?" "I'm sorry, Jerry." "I know, Gittel." The performances by Shirley MacLaine and Robert Mitchum are excellent (we like them even before their self-doubting, insecure characters take shape), but this stage-vehicle hasn't been turned into a star-vehicle. The leads banter back and forth in a curiously under-populated vacuum, however their increasingly tense conversations contain the startling ring of truth. Ted McCord's black-and-white cinematography provides a terrific compensation for the film's minor weaknesses; André Previn's "Apartment"-like score is rapturous as well. *** from ****
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