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Drowning by Numbers (1988)

R | | Comedy, Drama | June 1991 (USA)
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1:24 | Clip
Three generations of women all share the same problem: marriage woes, and they want to put an end to it.

Director:

Peter Greenaway

Writer:

Peter Greenaway
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3 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Joan Plowright ... Cissie Colpitts 1
Juliet Stevenson ... Cissie Colpitts 2
Joely Richardson ... Cissie Colpitts 3
Bernard Hill ... Madgett
Jason Edwards ... Smut
Bryan Pringle ... Jake
Trevor Cooper ... Hardy
David Morrissey ... Bellamy
John Rogan John Rogan ... Gregory
Paul Mooney Paul Mooney ... Teigan
Jane Gurnett Jane Gurnett ... Nancy
Kenny Ireland Kenny Ireland ... Jonah Bognor
Michael Percival Michael Percival ... Moses Bognor
Joanna Dickens Joanna Dickens ... Mrs. Hardy
Janine Duvitski Janine Duvitski ... Marina Bellamy
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Storyline

Tired of her husband's philandering ways, the mother of two daughters drowns her husband. With the reluctant help of the local coroner, the murder is covered up. Her daughters are having similar problems with relationships, and tend to follow their mother's example, and the coroner becomes reluctantly involved in their murders as well. As the plot progresses, visual and spoken numbers appear in the scenes, counting from one to 100. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis

Taglines:

The great death game.

Genres:

Comedy | Drama

Motion Picture Rating (MPAA)

Rated R for numerous scenes of nudity and sensuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | Netherlands

Language:

English

Release Date:

June 1991 (USA) See more »

Also Known As:

Conspiración de mujeres See more »

Filming Locations:

Suffolk, England, UK

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Box Office

Gross USA:

$424,773
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

According to Peter Greenaway, there are 100 things beginning with the letter 'S' in Smut's room and, 100 things beginning with the letter 'M' in Madgett's room See more »

Quotes

Cissie Colpitts 1: The flies are settling on him.
Madgett: Well, shoo them off. Use a newspaper.
Cissie Colpitts 1: Madgett, I'm in need of legal aid, not a flyswatter.
See more »

Connections

Referenced in Prospero's Books (1991) See more »

Soundtracks

2nd Movement of Mozart's Sinfonia Concertante for Violin, Viola and Orchestra K354
Music by Wolfgang Amadeus Mozart (as Mozart)
Performed by Alexander Balanescu (violin) and Jonathan Carney (viola)
See more »

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User Reviews

Quirky, eccentric, engaging
5 November 1998 | by ScoopySee all my reviews

I was ready to shut this movie off during the opening credits. A young girl skips rope as she names the stars in the cadence of her count 13-Rigel, 14- get it? Now you'd think most filmmakers would pick up this little symbol at a point near its end, but not Peter Greenaway. We see the whole count. I nearly fell asleep before the movie title appeared.

I'm glad I didn't. This is one weird movie, but a charming entertainment. The counting to 100 in the rope-jump prefigures the appearance of the numbers one through a hundred in sequence throughout the movie. It's fun after a while to see if you can spot them or to predict their appearance.

The plot, such as it is, centers around three women with the same name who all drown their husbands, with the assistance of the coroner, an inveterate gamesman. The other main character is the coroner's bizarre number-obsessed son, who narrates, and actually does most of the numbering that marks the progress of the film. The main characters are all utterly amoral.

Does the plot really matter? It's a black comedy, and a puzzle. The people are real, but they aren't. "The play's the thing". The film is odd and personal. I loved it. You may not. It reminded me of TV's famous "The Prisoner".

Peter Greenaway wrote and directed. The script is dryly amusing. The visual presentation is poetic and rich with symbols. The camera angles are unusual, befitting the material photographed. The landscape is ethereal, not unlike Prospero's Island in Greenaway's The Tempest. Except maybe for Zefferelli, nobody creates a richer texture of visual imagery.

For me, the only disappointment was an unsatisfying ending. I guess this was how it had to end. I couldn't come up with a better solution to the puzzle, but I wanted the characters to fare better than they did, and the fate of the boy-narrator seemed unduly harsh.

Still and all, it was Greenaway's game, and that's how he played it. I'm not sure why anyone financed this film, because the potential audience is small.

But I sure liked it.


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