Der Rosenkrieg

You know a movie is funny when you're by yourself and laughing out loud. This is a hilarious saga of a divorcing couple, both of whom refuse to leave their house.

"The gloves are off," Michael Douglas announces to wife Kathleen Turner, although for the viewer, they had been off for some time. Both stop at nothing to drive the other out.

It's a strange film in a way because it starts out as a love story and slowly builds, as little signs that all is not well in paradise begin to emerge. Once the ugliness starts, there's no stopping it, and the film rapidly becomes a very black comedy.

Turner and Douglas receive able support from a very funny Danny Devito, who also directed, and the wonderful Marianne Sagebrecht, who provides a gentle presence amidst the chaos.

A classic feature of Danny DeVito's (far too few) works as a director is that they are utterly evil. Cruel. Wicked. Merciless to their characters and merciless to the viewer. Although this is often combined with slight exaggeration, it is exactly what I love about them.

After seeing The War of the Roses the second time after having grown a little older, I still feel that particular satisfaction. But this time, there are a few more things I think about, a few more questions I ask myself. For instance: who is the bad guy in the film? Who is `to blame'? And although it's clear that the Roses both have extremely unmoveable and stubborn characters, which partly leads to the catastrophe, I came to the conclusion that Barbara is the driving force of the whole divorce story. She announces her wish to divorce upon grounds that are not quite convincing. Maybe people who do not like Michael Douglas can sympathize with her but her reasons are not fair. She invariably follows her instinct without paying any respect to other people. Kathleen Turner portrays her most believably in this insufferable phase.

Oliver Rose, on the other hand, is one of those people who are proud of doing everything in a perfectly correct manner. He is therefore very sensitive and easily confronted if one doesn't acknowledge his correct behavior. He then becomes completely helpless and unable to react properly. That makes him an ideal `victim' to Barbara's striking egoism.

I'm mentioning this only because it is a new aspect I found during second viewing, and I am sure it was also DeVito's intention to develop characters like this, so for him, the turbulent divorce story is not just a parable on how stupid people are in general. He of course reserved the best role in the film for himself – he is the wise man who tells the parable and who emerges victorious in the end.

The War of the Roses with its merciless cruelness remains one of my favourite comedies of all time.

DeVito is a hit-and-miss director. He's turned out some very good films and some very bad ones. Sometimes his satire just falls short ("Death to Smoochy," for example); however, "War of the Roses" is his strongest directorial effort to date.

It's got everything - a clever script, great interaction between its two stars, exciting thrills, funny gags (without ever resorting to unnecessary crudity), and to top it all off, the direction is very effective - DeVito is heavily influenced by Hitchcock and that is very clear in the final sequence, which is reminiscent of "Vertigo" and "Rear Window." Michael Douglas and Kathleen Turner play the Rose couple - two once-happily-married people who are now, after many years together, bitter and at the end of their frustration. Deciding upon a divorce, they begin to split apart; however, negotiations regarding belongings begin to go awry as Oliver Rose (Douglas) demands more from his wife, claiming it's his money that purchased their enormous house and all objects inside.

DeVito turns in a performance as the narrator, and Oliver's lawyer, who tells us at the start we are about to watch a sad tale about divorce. By the time the film has ended we've seen events spiral totally out of control - beginning with absolute believability and ending in absolute absurdity.

That's the crucial part of all this. Black comedy relies on whether the dramatic arc of the content - the leap from reality to lunacy - can be believable. Many times in DeVito's film, it isn't. "Smoochy," for example, was clever satire at first, and fairly reminiscent of real-life people and events; then it turned into an over-the-top revenge rampage.

"War of the Roses" is more careful, and the arc is subtler. It's believable because the characters are given such room to grow and their conflict blossoms throughout the picture.

I'd classify "War of the Roses" as one of the funniest, cleverest and most underrated black comedies of the 1980s - it's one of my personal favorite movies and never fails to crack me up. A cult film? Maybe; but I think many more people would enjoy it if they gave it a chance.

A deliciously black comedy from three superstars at the height of their powers. Michael Douglas may have actually got better as he's got older, but in 1989 he and co-star Kathleen Turner were hot off romancing stones, and they are ideal in this best-ever directorial effort from DeVito.

A very good movie, one that holds up well after repeated viewings. Even if you're familiar with the story, DeVito's methodical and precise direction makes it thoroughly absorbing all over again. This movie has the directorial perfection of a good Alfred Hitchcock thriller, but it's not either a thriller or a comedy; it's a unique mix of elements from several genres, that does contain some laughs and sardonic humor, but also has serious undertones, mostly thanks to Michael Douglas' three-dimensional character and surprisingly sensitive performance. Strongly recommended.