Screenplay (1986–1993)
7.1/10
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6 user 7 critic

Antonia and Jane 

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Plain Jane Hartman hates her life. She's goofy, boring and only has sex if she reads Iris Murdoch novels out loud to her loopy boyfriend. Her oldest friend Antonia McGill knows about ... See full summary »

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Cast

Episode cast overview, first billed only:
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Jane Hartman
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Antonia McGill
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Rosa Gluberman (as Petricia Leventon)
Alfred Hoffman ...
Harry Rosenthal
Maria Charles ...
Sylvia Pinker, Social Coordinator
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Uncle Irwin Carlinsky
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Norman Beer, Jane's Lover
Brenda Bruce ...
Therapist
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Uncle Vladimir Hartman
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Jane's Mother
Bonnie Parker ...
Young Jane
Sheila Allen ...
Tutor
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Howard Nash
Cato Sandford ...
Baby Daniel
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Edgar
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Storyline

Plain Jane Hartman hates her life. She's goofy, boring and only has sex if she reads Iris Murdoch novels out loud to her loopy boyfriend. Her oldest friend Antonia McGill knows about everything. She orders the right food; she can complain and get results. She's beautiful and has a brilliant career. Is it any wonder that they hate each other's guts? Written by Teresa O'Donnell <sun.moon.stars@worldnet.att.net>

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Genres:

Drama

Certificate:

R | See all certifications »
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Release Date:

November 1991 (USA)  »

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Box Office

Gross USA:

$1,002,078
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Did You Know?

Trivia

Last film of Alfred Marks. See more »

Connections

References Last Tango in Paris (1972) See more »

Soundtracks

Wild Thing
Composed by Chip Taylor
Performed by The Troggs
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User Reviews

 
too undemanding
3 November 2010 | by See all my reviews

Two women, acquainted since childhood, grow apart over the years despite maintaining a reasonable facsimile of friendship. The joke is that neither one – a counter-culture neurotic and a disenchanted yuppie – realizes how alike they really are: each one secretly envies the qualities that make the other miserable. Director Beeban Kidron tries hard to affect an air of deadpan idiosyncrasy, but her laconic approach to some weak material makes the film sound like a tired TV sitcom without the canned laughter. Maybe it couldn't be avoided: too much of Marcy Kidron's screenplay is already self-consciously cute, with every obvious punch line overemphasized by her dependence on that most convenient of script writer's devices: voice-over narration (and from an analyst's couch, of course). It's hard to dislike a film with such agreeably modest ambitions, but it's even more difficult to recommend a movie that sets itself up as such an easy target for criticism.


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