A couple who is expecting their first child travel around the U.S. in order to find a perfect place to start their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover "home" on their own terms for the first time.
Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.
Burt Farlander and Verona De Tessant are a couple steeped in eccentricity and irregularity but are very much in love. So when they find out that Verona is pregnant they seem to be taking it in their stride. Verona is enjoying pregnancy, Burt is already practicing skill that he believes a good father should have, and they living in the same state as Burt's parents, Jerry and Gloria, so that their prospective daughter can have grandparents. However, things are shaken up when Burt and Verona go to dinner at Jerry and Gloria's house, as Burt's parents reveal a surprising piece of news. They have decided to move to Antwerp in Belguim a month before the baby is due, scuppering Burt and Verona's plans of having their children's grandparents around. Because Verona lost her parents when she was relatively young, she finds this news very hard to take, but the resilient couple quickly find a way to turn it in to a positive. It becomes obvious that this is what the pair needed, as they decide to ... Written by
Jim Gaffigan who plays Lowell in the film is a stand up comedian who often tells a joke about the fact that the male seahorses give birth, saying that a stubborn scientist incorrectly identified the male so he when questioned he said that the males have the babies. In the film Roderick mentions that he loves seahorses because the males have the babies and wishes he could give birth to LN's babies. See more »
When Burt and Verona board their train to go to Wisconsin, they step into one of Amtrak's curved-sided, late-twentieth-century "Amfleet" cars (a type of car in which no sleeping accommodations currently exist). The train appears to consist largely or entirely of such cars. In the next shot, however, the interior of their car is seen to be that of a mid-twentieth-century North-American-type sleeping car, one that would have to be straight-sided in order for the bunks shown to fit into the room as they do. Later, Burt and Verona are shown sitting at a table in another straight-sided mid-twentieth-century car, a dining or lounge car (it's not clear which) that does not resemble any such car that Amtrak has used in the past twenty-five years or more. See more »
I feel that the film makes a great connection between love and the experience of watching a movie. The end of this film is unbelievably right, given the nature of human experience and its relationship to the ideals that we construct in our heads. This movie captures the essence of both love and art together. We are bound to both love and art by a promise that we are pretty sure will be broken from time to time, just like the promises that the two people in the movie make to each other. But as human beings, we so much want the promise to come true that we will make it again and again. Whenever I watch a movie, I renew my own type of promise, one that I know will be broken, or at least will never live up to my own expectations. The characters in this movie go through the process of being broken by love (mostly through a sort of family and place Odyssey) in order to realize that the promises we make to each other can only be broken if we want them to be. We can love each other until we stop believing, and we can bring ourselves to watch a love story that keeps that same promise to the viewer. Sam Mendes has made the only romantic comedy he could ever make as a director: one that respects the viewer as well as the characters.
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