A down-and-dirty musical set in the world of working-class New York, tells a story of a husband's journey into infidelity and redemption when he must choose between his seductive mistress and his beleaguered wife.
John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.
Down-and-dirty musical love story set in the world of the working class. Nick is an ironworker who builds and repairs bridges. He's married to Kitty, a dressmaker, a strong and gentle woman with whom he has three daughters. He is carrying on a torrid affair with a redheaded woman named Tula. Nick is basically a good, hardworking man driven forward by will and blinded by his urges. Like Oedipus at Colonus, he is sent into exile and searches to find his way back through the damage he has done. Explores the cost and value of a relationship through life and death. When the characters can no longer express themselves with language, they break into song, lip-synching the tunes lodged in their subconscious. It is their way to escape the harsh reality of their world - to dream, to remember, and to connect to another human being. Written by
When Roe and the Greek Man are walking past Bo and Kitty in the Diner, the sound of the Greek man smacking Roe's bottom is sharply heard, yet we can clearly see his hand on Roe's waist the entire time. See more »
You're the best kisser in the whole wide world, Fryburg.
I'm gonna make out with your whole family, baby.
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It Must Be Him
Written by Maurice Vidalin, Gilbert Bécaud and Mack David
Used by permission of BMG Songs, Inc. o/b/o Editions Rideau Rougue/BMG Music Publishing France (administered by BMG Songs,
Performed by Vikki Carr
Courtesy of EMI Records
Under license from EMI Film & Television Music See more »
Just saw this film about a week ago in Los Angeles with a friend who desperately wanted to catch it, primarily because of the great cast. I'd heard a bit about it previously, mostly negative reviews from the professional critics, but I thought I'd give it a go, primarily for Susan Sarandon. After about the first half-hour, I had a few solid impressions: (1) the sing-alongs mostly didn't work and were sometimes just annoying; (2) the editing went from fair to non-existent, with scenes just vanishing; (3) most of the actors were wasted -- more like cameo appearances than roles (did Elaine Stritch just happen to be in the neighborhood?); (4) the choreography apparently was supposed to be unstylish and clunky, but it often was just distracting. While watching the final credits, I saw the 2005 copyright date and assumed that the studio thought the film too poor for release, and my friend agree--after saying that it was one of the worst movies he'd ever seen.
If you want to see singing and dancing noir, stick with Potter's THE SINGING DETECTIVE or the underrated Martin-Peters flick PENNIES FROM HEAVEN.
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