IMDb > Husbands (1970)
Husbands
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Husbands (1970) More at IMDbPro »

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Overview

User Rating:
7.6/10   2,875 votes »
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Director:
Writer:
John Cassavetes (written by)
Contact:
View company contact information for Husbands on IMDbPro.
Release Date:
8 December 1970 (USA) See more »
Genre:
Tagline:
A comedy about life, death and freedom
Plot:
A common friend's sudden death brings three men, married with children, to reconsider their lives and ultimately leave together... See more » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Golden Globe. See more »
NewsDesk:
(74 articles)
Listen Up Philip | Review
 (From ioncinema. 13 October 2014, 8:35 AM, PDT)

New on Video: ‘Love Streams’
 (From SoundOnSight. 13 August 2014, 6:11 PM, PDT)

John Fasano Dead: Writer, Director, Producer Dies at 52
 (From Variety - Film News. 21 July 2014, 6:25 PM, PDT)

User Reviews:

Cast

  (in credits order) (verified as complete)

Ben Gazzara ... Harry

Peter Falk ... Archie Black

John Cassavetes ... Gus Demetri

Jenny Runacre ... Mary Tynan
Jenny Lee Wright ... Pearl Billingham
Noelle Kao ... Julie
John Kullers ... Red
Meta Shaw Stevens ... Annie (as Meta Shaw)
Leola Harlow ... Leola
Delores Delmar ... The Countess
Eleanor Zee ... Mrs. Hines
Claire Malis ... Stuart's Wife
Peggy Lashbrook ... Diana Mallabee
Eleanor Cody Gould ... 'Normandy' Singer
Sarah Felcher ... Sarah
Bill Britten
Arthur Clark
Gwen Van Dam ... Gwen - "Jeanie" Singer
John Armstrong ... "Happy Birthday" Singer
Charles Gaines (as Chas. Gaines)
Antoinette Kray ... "Jesus Loves Me" Singer
Lorraine MacMartin ... Annie's Mother (as Lorraine Macmartin)
Carinthia West ... Susanna
Edgar Franken ... Ed Weintraub
Joseph Boley ... Minister (as Joe Boley)
Judith Lowry ... Stuart's Grandmother
Joseph Hardy ... Shanghai Lil (as Joe Hardy)
Fred Draper
David Rowlands ... Stuart Jackson
rest of cast listed alphabetically:

Nick Cassavetes ... Nick (uncredited)

Xan Cassavetes ... Xan (uncredited)
Marilyn Clark ... (uncredited)
Robert Dahdah ... Crowd (uncredited)
Harry Fielder ... Hippy at Roundhouse (uncredited)

Rick Lester ... Man on train (uncredited)
Anne O'Donnell ... Nurse (uncredited)
Rhonda Parker ... Margaret (uncredited)
Ellen Stretton ... (uncredited)
K.C. Townsend ... Barmaid (uncredited)
Gena Wheeler ... Nurse (uncredited)

Directed by
John Cassavetes 
 
Writing credits
John Cassavetes (written by)

Produced by
Al Ruban .... producer
Sam Shaw .... associate producer
 
Cinematography by
Victor J. Kemper (director of photography) (as Victor Kemper)
 
Film Editing by
John Cassavetes (uncredited)
 
Makeup Department
Robert Laden .... makeup artist: New York (as Robt. Laden)
Tommie Manderson .... makeup artist: London (as Tommy Manderson)
 
Production Management
Fred C. Caruso .... production supervisor (as Fred Caruso)
Robert Greenhut .... production manager: New York
 
Second Unit Director or Assistant Director
Simon Hinkly .... assistant director: London (as Simon Hinkley)
Alan Hopkins .... assistant director: New York
Philip Mead .... assistant director: London
 
Art Department
Rene D'Auriac .... art director: New York
Robert Hamlin .... scenic artist: New York (as Robt. Hamlin)
Henry Newman .... props
Thomas Saccio .... props: New York (as Tom Saccio)
Edie Shaw .... graphic artist
 
Sound Department
Barry Copland .... sound: London (as Barrie Copeland)
Dennis Maitland .... sound: New York
James Perdue .... sound recordist (uncredited)
James Perdue .... sound (uncredited)
 
Camera and Electrical Department
Michael Chapman .... camera operator: New York (as Mike Chapman)
Len Crowe .... gaffer: London (as L. Crow)
Geoff Glover .... camera operator: London
Edward Gold .... assistant camera: New York (as Eddie Gold)
Dick Mingalone .... camera operator: New York (as Rich Mingalone)
Richard Quinlan .... gaffer: New York (as Rich Quinlan)
Teddy Tucker .... key grip: London (as T. Tucker)
Joseph Williams .... key grip: New York
 
Casting Department
Tom Busby .... casting: London
 
Costume and Wardrobe Department
Ed Brennan .... wardrobe: New York (as Edward Brennan)
Lewis Brown .... costume designer: New York (as L. Brown)
Shura Cohen .... wardrobe: London
Joseph W. Dehn .... wardrobe: New York (as Joe Dehn)
Dennis Frun .... wardrobe: London
 
Editorial Department
Tom Cornwell .... assistant editor (as Tom Cornwal)
Robert Heffernan .... post-production editor (as Robt. Heffernan)
Peter Tanner .... supervising editor
Jack Woods .... post-production editor
 
Music Department
Jack Ackerman .... musical director: London
Ray Brown .... composer: additional music, London
Stanley Wilson .... musical director: London
 
Other crew
Fred Draper .... dialogue supervisor: New York
James Joyce .... coordinator
Peggy Lashbrook .... continuity: London
Joe Lustig .... publicist
Henry Newman .... effects
Nancy Norman .... continuity: New York
Kevin O'Driscoll .... accountant
Al Ruban .... presenter
Bert Schneiderman .... controller
Sam Shaw .... presenter
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Husbands: A Comedy About Life, Death and Freedom" - USA (complete title)
See more »
MPAA:
Rated PG-13 for mature thematic elements including sexual situations, language, drunkenness, and brief domestic violence (re-rating)
Runtime:
Japan:131 min | USA:138 min (original release) | USA:131 min (TV version: Sony Pictures Television print) | 154 min (San Francisco Film Festival) | West Germany:142 min (dubbed version: TV)
Country:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Australia:M | Finland:K-16 | Sweden:15 | USA:GP (original rating) | USA:PG-13 (re-rating)
Filming Locations:

Did You Know?

Trivia:
First feature film written and directed by John Cassavetes that was shot in color.See more »
Quotes:
Gus Demetri:[Waiting while Harry is at home taking a shower] That's the difference between him and us.
Archie Black:If my wife opens her mouth to me about anything, I finish that fast. I walk in there...
Gus Demetri:You're right.
Archie Black:I know I'm right. And I spell it out. And that's what you have to do.
Gus Demetri:Right. That's what you have to do.
Archie Black:I'm not going to shower for her. If I want to stink, I'll stink. That's my privilege, and I'm not showering for him.
[pointing at Harry's home]
Gus Demetri:Right.
Archie Black:I wouldn't shower for you.
Gus Demetri:Don't.
[...]
See more »
Movie Connections:
Referenced in A Decade Under the Influence (2003)See more »
Soundtrack:
Happy Birthday to YouSee more »

FAQ

This FAQ is empty. Add the first question.
28 out of 36 people found the following review useful.
10/10, 20 November 2004
Author: desperateliving from Canada

There is something cathartic in Cassavetes' films, in how he gives his audience tough love, a kind of love that scrapes off any inessential, false emotion. He loves us enough to show us new things -- he gives us gifts he wants us to use. He is just as much interested in OUR emotional truth as that of his characters, a physical filmmaker who wants us to experience his film bodily, so scenes go on for lengths unseen in a Hollywood film.

It's a common thing to label Cassavetes' films as cinema verite, and while that makes sense in terms of the feeling of spontaneity, Cassavetes' composition is sometimes unparalleled; it is very intelligently used and deserves to be examined. The camera has a vitality of its own -- it is not used as a character, but it is absolutely essential as film (unlike the claims that Cassavetes is uncinematic), weaving in and out, capturing images that gain a new significance, yet are never highlighted or indicated. There is one image of such beauty in the film that it's stayed with me for weeks: after Gazzara tells Cassavetes that he loves him and Falk more than his wife, we see Gazzara's face from the side, just slightly out of focus. Like Bergman, Cassavetes is a poet of the human face. Like Dreyer, his film, and his characters, are utterly sincere. That sincerity can be off-putting to people who prefer a barrier between them and their art, who need a distance. Cassavetes doesn't believe in that.

Watching the film, I was overcome with this feeling, not from the intense emotions of the characters (though that is important) but from the presence of the film itself. You watch it and you realize the truth and the greatness of it, stripped bare of any trickery, any cinematic evil: mockery, stereotypes, clichés, "answers." To call Cassavetes a truthful artist is itself a cliché, but watching this, you're in the presence of genius. Not in the way we normally think of genius, and that's its earth-shattering effect: this is the closest thing to soul on film. It's far too easy and too glib to view this as sledgehammer acting -- there are such subtleties and profound realizations of emotional truth that you will have a hard time watching Dustin Hoffman or men of his ilk after seeing this. (Nick's acting is a sore spot -- showing off for pop.) Very few actors have more to give than these three men.

Nothing in the movie is expected. Every cliché is turned on its head, but it's not merely the opposite of expectation: it's something new. (Where else have you seen a sex scene like THAT?) We hear statements like "don't believe truth!" "from the heart!" "too cute!" The tone of the film changes innumerably, silently. The only dubious aspect of the film is in how we're made to almost root for the husbands as they frolic in England without their wives. If it makes any sense, I think Cassavetes cures himself from any charges of misogyny by bringing out the femininity in his males -- the brotherly love goes so far beyond the accepted roughhousing and backslapping into something so pure, so loving, that it could only be feminine. You begin to understand Cassavetes' code of men in a real, physical way. I can't push it home enough: you FEEL it. 10/10

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