Married early thirty-somethings Joanna and Mark Wallace are making the three day drive from their home in London to St. Tropez for the unveiling of the lavish house Mark, a successful architect, designed for his wealthy clients, Maurice and Francoise Dalbret. Joanna and Mark are at a rough stage of their relationship, much of their conversation along the way centered on the possibility of divorce to end the farce they now consider their marriage. The macro ups and downs of their marriage are presented in previous road trips they took together in France, with each trip having its own micro ups and downs. The first was twelve years earlier when they met, he backpacking through the country, she traveling to a music festival with her all-girl singing group, with they ending up together purely by circumstance instead of Mark hooking up with Joanna's colleague, Jackie. The second was an impromptu trip which was supposed to be throughout the continent with Mark's ex-girlfriend, the former ...Written by
At 1:26 into the movie when Audrey Hepburn goes to kiss Albert Finney overlooking the ocean, the film isn't cut properly so that Hepburn doesn't start at the proper frame, she just runs in from the middle of the camera. See more »
[referring to a pair of newlyweds seated in the back of a Rolls Royce]
They don't look very happy.
Why should they? They just got married.
See more »
Thank God that Audrey Hepburn made this film before slipping off into an extended temporary retirement. Was she too old for this movie? Not for the segments that deal with the latter part of the married relationship. The movie spans eleven years and, yes, it is a bit of a visual stretch to see a 37 year old Audrey portraying a 22 year old college woman, but her performance throughout was nothing short of brilliant. This film was a tremendous departure for her. In Two for the Road she does not play the part of the doe-eyed delicate creature of her earlier movies. She even abandoned, reluctantly, her trademark Givenchy wardrobe to sink her teeth into a gritty, visceral part. Many critics of the time remarked on its art house appeal, due in large part to the back and forth sequence editing and the clever juxtaposition of similarities, parallels and contrasts in scenes spanning eleven years. The film must have been incredibly fresh and jarring in its day, abandoning a linear narrative approach to the history of a marriage. Even today it comes across as very "contemporary." Albert Finney delivers an equally strong performance. There is genuine chemistry between Finney and Hepburn. The viewer sees all that is wonderful and horrible about the dynamics of a couple that comes to realize that despite mutual infidelity they still love each other and belong to one another.
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