Forty year old Norwegian-American divorcée Ann Stanley owns her own Manhattan based real estate agency specializing in upscale Manhattan apartments. She lives with her seventeen year old ...
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Forty year old Norwegian-American divorcée Ann Stanley owns her own Manhattan based real estate agency specializing in upscale Manhattan apartments. She lives with her seventeen year old daughter Trina Stanley, and her mother, Maud Ericson, who acts more the teenager than Trina. Largely because of her uptight and regimented attitude, Ann has had no love in her life since divorcing her ex-husband, character actor Billy Boylan, an irresponsible man who she still loves as a friend and who she sees whenever he is in town between acting jobs and whenever he needs money from her. Ann's uptight attitude seems to have softened slightly ever since returning from a trip to Greece with Maud. What she has not told anyone is that her softened attitude is from a romantic one night only liaison with a young American man she met by happenstance by an out of the way Greek beach, he who tried to get her to be more carefree, if only for that one night. Purely by coincidence, she meets that man again in ... Written by
The picture was a critical failure and commercial flop at the international box-office. See more »
That red cover was supposedly Peter's campsite but you can clearly see a man adjusting it in the background as Peter talks about them being seen "only by the gods and goddesses". See more »
[Mrs. Adams is looking at the apartment listings]
This one here that's not too bad. 1080 Park Avenue. What's the cross street?
Oh no, that's too far uptown. Couldn't you give me the same apartment in the 60's?
No. It's attached to the building.
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And There Is Love... In Every Corner Of The World...
This a breezy comedy based on a hit Broadway play and one of the few worthwhile comic tales depicting the relationship between a younger man and an older woman. While on holidays, visiting Greece, a divorced real estate agent encounters by chance a vital young man, and they have a brief romantic interlude.
She leaves him while he is sleeping and escapes back to New York. Regaining the cherrished stability she has conquered as a lady executive, she settles down on her lovely apartment where she lives with her daughter and her mother. Until - very much in the fashion of every Broadway farce there is - they receive an unexpected visitor. Peter Latham, the man our main character had an affair with while in Greece. But now, he is introduced as a friend of her daughter's.
After constant bickering, they decide to get married, but will their relationship last?
'40 Carats' is a light, entertaining and cheerful movie, filled with beautiful, rich people whose vain problems serve as the basis for an plot. The characters have social status written all over their foreheads and their reaction to the plot's major complications are clever one-liners encouraged by greek drinks and the prospect of a happy, happy ending. The film does not attempt to be deep, for it's subject is a rather delicate one - the producers were aiming for time-filling entertainment and they really did it.
But this film suffers mostly from the miscasting of Liv Ullmann, Ingmar Bergman's norwegian muse. No matter how versatile the wonderful Ms. Ullmann can be, she is a rather indelible case of typecasting - used to play such profound characters whose heartaches and emotional flaws we can relate to, she seems uncomfortable portraying a futile woman whose psyche isn't that complex, after all. The one scene in which her character really makes the transition between a woman caught in a whirlwind of happenings and a woman whose pain is overwhelmingly intense, nevertheless, is a cinematic gem. In this scene she confronts her future in laws.
Another highlight of the film is Michel Legrand's beautiful soundtrack that includes the love theme 'In Every Corner Of The World', and Gene Kelly's performance as Liv Ullmann's annoying first husband.
All in all, this is a movie whose delicate subject provokes a barrier that keeps it from being a great film, but is, nevertheless, sheer cinematic delight.
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