With the help of the singer and dancer Dixie Leonhard, U.S. entertainer Eddie Sparks wants to bring some fun to the soldiers during World War II. Becoming a perfect team, they tour from ... See full summary »
In the 1940s in the small town of Jupiter Hollow, two sets of identical twins are born in the same hospital on the same night. One set to a poor local family and the other to a rich family ... See full summary »
Somewhere behind the early 1960s Cold War iron curtain, the Hollander family cause an international spying incident when Walter photographs a sunset in a sensitive region. In order to stay ... See full summary »
On their 16. anniversary, during a shopping stroll, the lawyer Nick Fifer confesses his wife Deborah some affairs. She goes wild and insists on a divorce. After they agreed to the dividing up of their belongings, Deborah confesses having an affair, too. Now he gets very upset and wants the divorce for his part, but the last word is not spoken yet.Written by
Thomas Manhardt <Thomas.Manhardt@wu-wien.ac.at>
As this is not a Woody Allen written and directed movie, the film's opening and closing titles are not in the traditional format of a usual regular Woody Allen film with the ole' time music tracks played alongside the white-on-black old fashioned title cards. See more »
[looking for his car in the mall parking garage]
Where's my fucking Saab?
See more »
Director Paul Mazursky is always at his best when satirizing trendy Southern California lifestyles, and he does so here from that most quintessential Southern California setting: the shopping mall, where Bette Midler and Woody Allen break up and reconcile over the afternoon of their 16th wedding anniversary. The windy script was obviously written with Allen in mind, but the New York comedian is just as clearly out of his element playing a nouveau-riche, pony-tailed attorney with a taste for sushi and frozen yogurt. The sheer novelty value of such unlikely miscasting is irresistible, especially with the typically neurotic Allen paired (for once) against a co-star as extroverted as Midler, more or less reprising her role from Mazursky's 'Down and Out in Beverly Hills' (1986). But the film never rises to the laugh-riot level expected from the talent involved: it's a claustrophobic, one-act, two-character comedy, no less thin and shallow than the LA culture it mocks, and often pointless except as a vehicle for its two bankable stars. Imagine the film with two unknown actors in the same roles, and it all but disappears off the screen.
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