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Desperate Characters (1971)

 -  Drama  -  22 September 1971 (USA)
6.2
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Ratings: 6.2/10 from 154 users  
Reviews: 5 user | 7 critic

Sophie and Otto Bentwood are set in their ways. And unsettled in their hearts. They're Desperate Characters, trapped in a marriage that no longer works... yet unable to break free. In a ... See full summary »

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Cast

Cast overview, first billed only:
...
Sophie Bentwood
...
Otto Bentwood
...
Claire
Jack Somack ...
Leon
Gerald S. O'Loughlin ...
Charlie
Chris Gampel ...
Mike Holstein
Mary Alan Hokanson ...
Flo Holstein
Robert Bauer ...
Young Man
...
Young Girl
Michael Higgins ...
Francis Early
Michael McAloney ...
Raconteur
Wallace Rooney ...
Man on Subway
Rose Gregorio ...
Ruth
Elena Karam ...
Saleslady
Nick Smith ...
The Caller
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Storyline

Sophie and Otto Bentwood are set in their ways. And unsettled in their hearts. They're Desperate Characters, trapped in a marriage that no longer works... yet unable to break free. In a performance widely cited as a career breakthrough, Shirley MacLaine portrays Sophie in this compelling grown-up drama that, in its own jolting way, is a love story. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

R
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Details

Country:

Language:

Release Date:

22 September 1971 (USA)  »

Also Known As:

Hova tűnt szép napok  »

Filming Locations:


Box Office

Budget:

$400,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)
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Did You Know?

Connections

Referenced in An American Family: Episode #1.11 (1973) See more »

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User Reviews

 
A baffling array of characters on the proverbial edge
14 November 2001 | by (las vegas, nv) – See all my reviews

Chilly examination of alienated New Yorkers is difficult to find on VHS, but it's worth the search for Shirley MacLaine's performance alone. She's quite sympathetic floating through this frigid sea of lost faces and souls. The film is slow (deliberately slow) and lugubrious, but also undeniably compelling. The horrors of the modern day (circa 1971) are well-depicted in scene after scene, and the fade-out offers no pat promises (and, amusingly, no hope). In her autobiography, MacLaine scathingly dismisses the film as one that "didn't work", blaming it on script problems. I agree the 'plot', such as it is, could've been stronger overall, but--as with all unconventional stories--the people, their emotions, and things they experience are just as important as the dialogue, and all of those elements here are provocative and well-observed. What a weird one this is! **1/2 from ****


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