IMDb > A Married Couple (1969)

A Married Couple (1969) More at IMDbPro »


Overview

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7.4/10   251 votes »
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Down 18% in popularity this week. See why on IMDbPro.
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Release Date:
6 November 1969 (Canada) See more »
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NewsDesk:
(29 articles)
Review: The Disappearance of Eleanor Rigby
 (From JoBlo. 9 September 2014, 8:39 PM, PDT)

Portrait of an Exhibition, part 2 by Anne-Katrin Titze
 (From eyeforfilm.co.uk. 29 July 2014, 8:03 AM, PDT)

Review: Sex Tape
 (From JoBlo. 16 July 2014, 4:28 AM, PDT)

User Reviews:
hyperbolic but inquisitive See more (3 total) »

Cast

  (in credits order) (complete, awaiting verification)
Billy Edwards ... Billy Edwards
Antoinette Edwards ... Antoinette Edwards
Bogart Edwards ... Bogart Edwards

Directed by
Allan King 
 
Produced by
Gwen Iveson .... associate producer
Allan King .... producer
 
Original Music by
Doug Bush 
Zal Yanovsky  (as Zalman Yanovsky)
 
Cinematography by
Richard Leiterman 
 
Film Editing by
Arla Saare 
 
Sound Department
Christian Wangler .... sound
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
97 min
Country:
Language:
Color:
Color (Technicolor)
Sound Mix:
Filming Locations:

Did You Know?

Trivia:
The director Allan King lived with the Edwards family before, during and after the course of filming. He chose them not out of proximity, though, but because they had the most personality out of all the other married candidates.See more »
Movie Connections:
References "George of the Jungle" (1967)See more »

FAQ

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4 out of 6 people found the following review useful.
hyperbolic but inquisitive, 1 June 2009
Author: jonathan-577 from Canada

Not just a time capsule, although that's part of it; this is a full-color archive of the physical details of middle-class Torontohood in the late sixties. The personal details, though, are personal details. Documentarian as nosey house guest, King plants himself among a very tenuous couple, their infant and their dog, and creates the kind of inevitably self-conscious psychodrama that is now familiar to us as post-Osbornes pop culturites. The outside eye seems to create an uncontrollable urge to embarrass themselves, just to make things interesting. But it's not just the merciful one-sitting format that makes this rendition of the tendency more bearable. It's King's (and of course camera guy Richard Leiterman's) eyes and ears; they give the hyperbole enough room to breathe, with all interactions seen through to some kind of conclusion instead of punched up in post. As a result, the raw intimacy routine has enough shape and rhythm and continuity to draw you into the argument instead of driving you to the remote.

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