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Down with Love - Zum Teufel mit der Liebe!

Originaltitel: Down with Love
  • 2003
  • 0
  • 1 Std. 41 Min.
IMDb-BEWERTUNG
6,3/10
46.176
IHRE BEWERTUNG
Ewan McGregor and Renée Zellweger in Down with Love - Zum Teufel mit der Liebe! (2003)
Pre, "Coming Soon"
trailer wiedergeben0:34
3 Videos
99+ Fotos
Feel-Good-RomanzeParodieRomantische KomödieSatireKomödieRomanze

1962 in New York City blüht die Liebe zwischen einem Playboy-Journalisten und einer feministischen Beraterin.1962 in New York City blüht die Liebe zwischen einem Playboy-Journalisten und einer feministischen Beraterin.1962 in New York City blüht die Liebe zwischen einem Playboy-Journalisten und einer feministischen Beraterin.

  • Regie
    • Peyton Reed
  • Drehbuch
    • Eve Ahlert
    • Dennis Drake
  • Hauptbesetzung
    • Ewan McGregor
    • Renée Zellweger
    • David Hyde Pierce
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,3/10
    46.176
    IHRE BEWERTUNG
    • Regie
      • Peyton Reed
    • Drehbuch
      • Eve Ahlert
      • Dennis Drake
    • Hauptbesetzung
      • Ewan McGregor
      • Renée Zellweger
      • David Hyde Pierce
    • 331Benutzerrezensionen
    • 62Kritische Rezensionen
    • 52Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 4 Gewinne & 8 Nominierungen insgesamt

    Videos3

    Down with Love
    Trailer 0:34
    Down with Love
    Down with Love
    Trailer 0:34
    Down with Love
    Down with Love
    Trailer 0:34
    Down with Love
    Down with Love
    Trailer 2:09
    Down with Love

    Fotos113

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    Topbesetzung42

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    Ewan McGregor
    Ewan McGregor
    • Catcher Block
    Renée Zellweger
    Renée Zellweger
    • Barbara Novak
    David Hyde Pierce
    David Hyde Pierce
    • Peter MacMannus
    Sarah Paulson
    Sarah Paulson
    • Vikki Hiller
    Rachel Dratch
    Rachel Dratch
    • Gladys
    Jack Plotnick
    Jack Plotnick
    • Maurice
    Tony Randall
    Tony Randall
    • Theodore Banner
    John Aylward
    John Aylward
    • E.G.
    Warren Munson
    • C.B.
    Matt Ross
    Matt Ross
    • J.B.
    Michael Ensign
    Michael Ensign
    • J.R.
    Timothy Omundson
    Timothy Omundson
    • R.J.
    Jeri Ryan
    Jeri Ryan
    • Gwendolyn
    Ivana Milicevic
    Ivana Milicevic
    • Yvette
    Melissa George
    Melissa George
    • Elkie
    Dorie Barton
    Dorie Barton
    • Sally
    Laura Kightlinger
    Laura Kightlinger
    • Receptionist
    Chris Parnell
    Chris Parnell
    • TV Emcee
    • Regie
      • Peyton Reed
    • Drehbuch
      • Eve Ahlert
      • Dennis Drake
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen331

    6,346.1K
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    Empfohlene Bewertungen

    Ldyandrea

    Charming and fun, with jokes that would make Doris Dayblush.....

    If only because Ewan McGregor and Renee Zellweger were in this movie, it would be worth seeing. What you can't expect, however, is the sheer fun that ensues, complete with fake New York City backdrops, glamorous period sets, and even more glamorous costumes, makeup and hairstyles. After the first few minutes, I began to tire of this homage mentality, but the story quickly sucked me in, thanks in great part to the blissfully neurotic performance of David Hyde Pierce as the friend/boss of Catcher Block (McGregor). Sarah Paulson is also fun and perky as Barbara Novak's (Zellweger) best friend/editor, and keeps things moving along quite well. His Theatrical Eminence, Tony Randall, even makes an appearance as "The Big Boss" of the publishing company. He, coincidentally enough, was the friend/boss to Rock Hudson in "Pillow Talk" from 1959.

    The chemistry between McGregor and Zellweger heated up the screen in a sweet, old-fashioned way. Remember the kind of romance that reminds you of when just smooching and holding hands was just ever so dreamy? That level is cranked up a few notches higher (in that same sweet fashion) than Doris Day or Rock Hudson would have ever dared; a particular example is the priceless "split-screen" telephone conversation between the leads, taken to a level above, below, and to the side-like of any ever seen on screen before.

    Also of great note is Zellweger's scene that includes the longest bit of unedited exposition I've had the opportunity to see on film (one-shot, no cuts at all). It reminds me greatly of Steve Martin's coffee-pouring bit ("Dead Men Don't Wear Plaid") except that it's all dialogue! I was torn between listening to all of the story twists, and wanting to pull out a stopwatch to clock her monologue! The next shot of Catch must have mirrored the expression of the entire audience at that particular moment!

    Anyone planning to see this film might find it amusing to first watch movies like "Pillow Talk" to get a feel for the kind of film that is being emulated here. In fact, there are a number of particular story elements that obviously could be attributed to that particular film.

    It should be no surprise to learn that the team who wrote this fun sex farce is also responsible for the upcoming "Legally Blonde 2: Red, White & Blonde" set to be released July 2, 2003.

    Have fun, and enjoy this tasty treat of nostalgia. Chocolate, as you will see, becomes a key player. Make sure to stick around for the final credits as well.....if you loved McGregor in "Moulin Rouge" and Zellweger in "Chicago", you will adore the vocal stylings of both at the end of this oh-so-cute movie!
    cariart

    60s Retro in Comedy Spoof...

    DOWN WITH LOVE, director Peyton Reed's homage/spoof of the Doris Day/Rock Hudson sex comedies of the early 60s, is a delightful bit of fluff in a movie season filled with inferior sequels and overwrought epics. Dazzling to watch, with Givenchy-inspired costumes (if Daniel Orlandi does not receive an Oscar for his work, his peers should turn in their Designer cards), wonderfully over-the-top sets (EVERYBODY in those 60s films lived in apartments you could land airplanes in), and a 'More 1963 New York than 1963 New York' look (created on the studio back lot, with ample support from CGI), the film would deserve a viewing even if the cast never uttered a line of dialog!

    Fortunately, the script, by Eve Ahlert and Dennis Drake, is wickedly funny, full of the politically incorrect double entendres that were as close as Hollywood could get to actual 'naughtiness', 30 years ago (and, yes, there are more than a few present that WOULD have been censored, even then). The story, of a woman who writes a best-selling 'self-help' book eschewing the necessity of men for any more than 'casual sex', and the 'Hugh Hefner'-like writer who turns his prodigious charms to work, in the guise of a naive astronaut, to win her love, and thus discredit her theories, would have fit Doris Day and Rock Hudson to a 'T'. While Renée Zellweger and Ewan McGregor lack their role models' charisma, they have a pleasant chemistry together, and the 'split-screen' phone call scenes between the pair are even racier than the Day/Hudson 60s versions.

    If the leads seem a bit bland, the supporting cast more than makes up for any shortcomings. In a role that SHOULD garner a 'Supporting Actor' Oscar nomination, David Hyde Pierce takes on the part assumed by Tony Randall or Gig Young in those 60s farces, that of the put-upon, neurotic, sometimes prissy friend of the hero. He is superb, even SOUNDING like Tony Randall, and steals every scene he's in. His 'opposite number', friend of the heroine Sarah Paulson, while not quite at Pierce's level, is still quite funny as a chain-smoking career woman who would chuck it all for the right man. And, in a FABULOUS piece of casting, the MAN himself, Tony Randall, appears as the book publisher whose bestseller is RUINING his love life. At 83, the man can still toss off a funny line...

    With a very inventive 'twist-within-a-twist' climax, and Marc Shaiman's evocative score punctuating the proceedings, DOWN WITH LOVE is a delight!
    MLDinTN

    Some funny situations with fabulous art design

    DWL didn't do to well at the box office. I guess it must have been due to a poor advertizing campaign. After finally seeing it, I though it was pretty good. It's sort of like a battle of the sexes. Barbara Novak pretends to be a man hating woman who doesn't need love while Catcher Block is a womanizer out to prove he can get the DWL girl(Novak) to fall in love. So along the way, we get funny situations, like Catch pretending to be Zip and many over heard conversations that seem to be about something else, ie... the secretary overhearing the sock discussion. And an unusually scene using split screens with Barbara and Catch talking on the phone. She's below and he's on top doing pushups. At the end they smoke. Cute idea.

    The 2 supporting characters, Vikki and Peter, were good. Plus we get a surprise twist toward the end involving Barbara, which I never saw coming.

    FINAL VERDICT: Cute and funny. It's different than your average romantic comedy. So if you like romantic comedies, I recommend this one.
    8Vartiainen

    Suave, charismatic and an affectionate parody

    In my mind a good parody is always also an homage to its source material. Instead of just pointing, mocking and laughing, it respects its predecessors and while it gently pokes fun at their mistakes and general silliness, it also pays tribute to their strong points. And that's this film. It's both a parody and a love letter to those romantic comedies of the mid-century Hollywood where men and women had clearly defined roles, every background was painted, the cars were driven by madly spinning the wheel from one side to the other even though the road was perfectly straight and every single line was delivered with a suave and cocky grin on one's face.

    And as far as parodies or even movies in general go, this isn't a bad example. It has a very strong visual style, with bright, colourful sets, which feel very nostalgic, great score, clever if a bit dirty sense of humour, especially when it comes to visual humour, and a good cast of actors. Renée Zellweger and Ewan McGregor especially were very good in their roles and they had good chemistry together. McGregor in particular was prefect for the role of Catcher Block, a suave ladies man, who simply oozes self-confidence and charisma.

    I had no complaints about the story either, though it wasn't the film's strongest point. It's clever and witty most of the time and the scenes flow smoothly from one to another, but it had perhaps one twist too many for me to fully enjoy it. I wouldn't call it needlessly complicated, but it's not far.

    In the end I have to admit that I had a blast watching this film. It's more about the experience and the individual scenes than it is about the story, but in this case it's not a bad thing. If you're looking for a movie with great sense of humour, enjoyable characters, witty dialogues and bright colour scheme, this is definitely your film.
    6perica-43151

    Corny but amusing over the top parody

    This parody of the 60s movies has zero subtlety, but is amusing and full of references. It is somewhat analytic, has some nice jokes and a lot of in-jokes, but is concerned more with commenting and it is not terribly sophisticated. Still, worth a watch, especially if you know the work Rock Hudson and his magnum opus of trivial love. Extra credit for being prescient about the absurdities of the upcoming age of over the top woke hys teria.

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    Handlung

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    • Wissenswertes
      The extra scene at the end with Ewan McGregor and Renée Zellweger singing a duet was filmed at the insistence of Zellweger and McGregor. They said that with both of them having been in musicals previously (McGregor in Moulin Rouge! (2001) and Zellweger in Chicago (2002)) that it would be a sin not to.
    • Patzer
      When Barbara confesses to Catcher in his apartment, they are both standing, but when Gwendolyn enters his apartment and races to Barbara after she over-hears Catcher say "Barbara Novak", Catcher is sitting on the edge of the bed.
    • Zitate

      Catcher Block: [as Zip Martin] Can you keep a secret?

      Barbara Novak: Yes.

      Catcher Block: [as Zip Martin] Me too.

    • Crazy Credits
      The movie opens with the big CinemaScope logo 20th Century Fox used fifty years before.
    • Alternative Versionen
      The TV version distributed in the UK excludes most of the split-screen phone call, presumably for time and due to the potential interpretation of the cinematography.
    • Verbindungen
      Edited from Sirene in blond (1957)
    • Soundtracks
      Down with Love
      Music by Harold Arlen

      Lyrics by E.Y. Harburg

      Performed by Michael Bublé and Holly Palmer

      Produced by Marc Shaiman

      Michael Bublé appears courtesy of 143/Reprise Records

      Holly Palmer appears courtesy of Reprise Records

    Top-Auswahl

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    Details

    Ändern
    • Erscheinungsdatum
      • 25. Dezember 2003 (Deutschland)
    • Herkunftsländer
      • Vereinigte Staaten
      • Deutschland
    • Offizielle Standorte
      • New Regency Productions (United States)
      • Stream Down with Love on Disney+ Hotstar
    • Sprache
      • Englisch
    • Auch bekannt als
      • Down with Love
    • Drehorte
      • Hollywood Center Studios - 1040 N. Las Palmas Avenue, Hollywood, Los Angeles, Kalifornien, USA(Studio)
    • Produktionsfirmen
      • Fox 2000 Pictures
      • New Regency Productions
      • Jinks/Cohen Company
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Budget
      • 35.000.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 20.305.251 $
    • Eröffnungswochenende in den USA und in Kanada
      • 45.029 $
      • 11. Mai 2003
    • Weltweiter Bruttoertrag
      • 39.468.111 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 41 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • DTS
      • Dolby Digital
    • Seitenverhältnis
      • 2.35 : 1

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