Florence and Chet Keefer have had a troublesome marriage. Whilst in the middle of a divorce hearing the judge encourages them to remember the good times they have had hoping that the ...
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Florence and Chet Keefer have had a troublesome marriage. Whilst in the middle of a divorce hearing the judge encourages them to remember the good times they have had hoping that the marriage can be saved.Written by
Col Needham <firstname.lastname@example.org>
This was the first film in which the actor playing Chet was credited under his new screen name, "Aldo Ray." See more »
Early in the movie Holliday's character welcomes her mother at her apartment. When she closes the apartment door an stage hand can be seen helping to close the door from the hallway. See more »
Florence (Florrie) Keefer:
Now, you take most people, including me, they hardly ever get to do any thinkin'. When do they get the time? Or, if you do get the time, there's the movies or the radio or you play a game of cards. But, no thinkin'. Down there it was my first chance in I don't know how long. And I made up a rule. I'm gonna do at least a half hour's of thinkin' every day. All by myself. Just quietly.
What're you gonna think about?
Florence (Florrie) Keefer:
I don't know. Everything.
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At the film comes to the classical "The End" over the final shot of the two main characters in background, instead of the usual fade-out, Columbia Pictures added the advertisement: "You have just seen our New Personality - ALDO RAY - Please watch for his next picture." In the background, a short sequence of Aldo Ray speaking (no dialogue heard - simply the remaining ending score) in a bedroom setting seen in the movie. See more »
It's widely known that Judy Holliday was the greatest comic actress of all time, but did you know she was also a subtle and moving tragedienne? This movie begins as a screwball comedy about a sparring couple, and all I'll tell you is, it turns into something quite different -- and it pulls it off. Judy's beautiful playing has much to do with this, as does Cukor's deft direction. Aldo Ray is a revelation: You may not think of him as a leading actor of his generation, but with Cukor's touch, he hits all the notes of tenderness, childishness, and bewilderment written into his character. Husband-and-wife screenwriters Kanin and Gordon supply funny lines, ingenious dream sequences, a "Rashomon"-type narrative, and much hard-earned insight into marital discord. Also, unusual for a Hollywood film from the '50s, the kids come off as real kids, not synthetic little dears or bratty little monsters.
Despite all the high-priced talent, it's a cheap-looking movie, with almost verite glimpses of 1952 New York. And the abrupt shift of tone may be off-putting to some. Me, I appreciated the film for treating adults like adults, and for suggesting that life and marriage are not wrapped up in neat little packages. An offbeat movie, and very rewarding for those willing to accept it on its own terms.
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