Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.
The concurrent sexual lives of best friends Jonathan and Sandy are presented, those lives which are affected by the sexual mores of the time and their own temperament, especially in ... See full summary »
Dr Jake Terrell, who has been training a pair of dolphins for many years, has had a breakthrough. He has taught his dolphins to speak and understand English, although they do have a limited... See full summary »
George C. Scott,
Trish Van Devere,
The story of Karen Silkwood, a metallurgy worker at a plutonium processing plant who was purposefully contaminated, psychologically tortured and possibly murdered to prevent her from exposing blatant worker safety violations at the plant.
A highly-evolved planet, whose denizens feel no emotion and reproduce by cloning, plans to take over Earth from the inside by sending an operative, fashioned with a humming, mechanical ... See full summary »
George and Martha are a middle aged married couple, whose charged relationship is defined by vitriolic verbal battles, which underlies what seems like an emotional dependence upon each other. This verbal abuse is fueled by an excessive consumption of alcohol. George being an associate History professor in a New Carthage university where Martha's father is the President adds an extra dimension to their relationship. Late one Saturday evening after a faculty mixer, Martha invites Nick and Honey, an ambitious young Biology professor new to the university and his mousy wife, over for a nightcap. As the evening progresses, Nick and Honey, plied with more alcohol, get caught up in George and Martha's games of needing to hurt each other and everyone around them. The ultimate abuse comes in the form of talk of George and Martha's unseen sixteen year old son, whose birthday is the following day. Written by
Episode 2.1 on American Dad! (2005), titled "Camp Refooge," has a plot thread which is a spoof of Who's Afraid of Virginia Woolf? See more »
In almost every scene, to go up the stairs there are four or five steps and then the staircase turns left before continuing. Late in the movie, when Sandy Dennis enters through the front door, the staircase is straight with no turns. Further, if there were separate staircases, they almost certainly would not both go up from the front of the house. See more »
I disgust me. You know, there's only been one man in my whole life who's ever made me happy. Do you know that?
George, my husband... George, who is out somewhere there in the dark, who is good to me - whom I revile, who can keep learning the games we play as quickly as I can change them. Who can make me happy and I do not wish to be happy. Yes, I do wish to be happy. George and Martha: Sad, sad, sad. Whom I will not forgive for having come to rest; for having seen me and having said: yes...
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Still powerful, harrowing view of the "Anti-Ozzie and Harriet"
This is still an exceptional film from the 1960s. Though some of the epithets are obviously softening much stronger words, the language is frank and brutal, Martha's bludgeoning body-blows balanced by George's icepick thrusts. Edward Lehman's respectful screenplay gently opens up Edward Albee's one-set play while keeping a certain claustrophobic atmosphere. Mike Nichols' first directing effort is stunning in its lack of artifice; rarely do you feel that the director has done much more than turn on the camera and watch four actors, all at the top of their game, tear into their roles. George Segal's work in this movie is criminally underrated, but his reactive work as studly, ultimately disappointing Nick should be mandatory study by all young actors. Sandy Dennis' fluttery turn as mousy, wifey Honey is powerful also; a lot more is going on than you might think. Richard Burton is staggering as George ("Georgie Porgie Put-upon Pie"), and his performance demonstrates the magic that he could bring to a worthy role. Elizabeth Taylor's work here still astounds. The physical transformation she undertook to become aging harpy Martha is amazing enough, but her performance seems to channel a hurricane's force and fury. By turns hilarious, maddening and then, at the end, exhausted and defeated yet again, Taylor demonstrates acting, particularly film acting, at its best. The film is by no means easy or "Hollywood" in feel-- the audience is as exhausted as the characters at the end. But this was a bracing, necessary antidote to the impossible ideal of marriage usually portrayed in the movies. A towering film.
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