Infieles

Before I saw this film, I knew two things about it: The 4 lead actors, and it took place in the early 50's. After seeing Patricia Clarkson in "Far From Heaven," I was anxious to see her play in this period again.

I have to say I was pleasantly surprised by this film. At first I didn't know what to make of it, or where it was going. It is a dark comedy. The twists and turns of the film are completely unexpected. It kept me on my toes, and the 4 lead performances were great.

Without going into the synopsis too much (you can find that anywhere) if I had to compare this film to another..... I'd say it's kind of a darker, funnier "Closer", but set in the early 50's.

What I found interesting about the film is that it was incredibly complex, well-written characters, in very complex situations, set in a very simple time.

Let's talk about Patricia Clarkson for a minute. This is an actress who should've been nominated for several Supporting Actress Oscars by now. (The Green Mile, All The Real Girls, Far From Heaven, Lars and the Real Girl.. to name a few). I hope she finally gets some recognition as the Leading Actress in this film.

Rachel McAdams: This proves her acting abilities. She is incredible in this film. She is so beautiful, subtle, and so commanding. Definitely her most mature role to date.

Of course, I expect nothing less from Oscar-winner Chris Cooper. This proves to me though that he can carry a film, and not just be a strong supporting character.

Brosnan is great too in the least "meaty" I'd say of the 4 leading roles. He is very suave, but also provides some unexpected comic relief.

Great film! Go and see this.

I love MARRIED LIFE!! It is a well crafted and beautifully written movie. By appearing to be a traditional noir, the film plays on the audience's expectations of the genre but then turns out to be something very different--something far more sad, funny and soulful. By having the traditional voice-over and haunting music at the outset, MARRIED LIFE subverts the viewer's expectations and draws us into a story that is utterly unique.

Characters in the film are not whom they appear to be--I like how all the leads are introduced as archetypes (e.g., the unhappily married business man, the cad, the long suffering wife, the pretty young widow) but each not only turns out to be different than expected, all four go through some sort of transition that deepens their humanity. They may be imperfect people and lacking in insight, but the audience feels empathy for their struggles. Given their array of poor choices, this is pretty amazing--their yearnings are poignant, even when their actions are deeply misguided. Humans are capable of being incredibly narcissistic and giving at the same time--the movie illustrates this with a mix of humor and pathos. The characters may be unable or unwilling to stop their most primal urges, yet we are rooting for them to find some happiness all the way to the end.

This film is wonderfully shot. Period details are rendered with loving care--whether it is the glorious costumes or the sweeping set design. Performances are top notch -- a true ensemble cast who look and sound like they are from a bygone era. A rich score magnifies the shifting moods without giving you whiplash. This is a complex movie that demands we see the world in shades of gray -- life is never simple. Especially married life!

Great cast, a very good recreation of "the times" (1940s) in almost every way (hey, I was "there").

Costumes/cars authentic and I loved watching all of the "smoking" (e.g. in nice restaurants, etc.) scenes.Though I'm a non-smoker and HATED those who puffed while I dined, for some reason those scenes made me a bit nostalgic (probably because I did not have to actually breathe-in that poison).

When the movie ended I wanted more however (and it is tantalizing/frustrating to read in another Thread that there is a much longer version of this film that was deemed not the right fit for current theatrical release).

Enjoyable and fun film. Cooper/Clarkson perfect (as always) and I feel Pierce is very underrated as someone who is way more than a "pretty face".

Ira Sachs's dark comedy 'Married Life' is an intriguing little film set in the 40s/50s. Dealing with complex relations, it somewhat portrays the men as selfish and the female as hungry for love...but there are layers and it's not all so black and white. What's also interesting is the unusual cast that includes Pierce Brosnan, Patricia Clarkson, Chris Cooper and a refreshing Rachel McAdams. Though the pairing between McAdams and Brosnan is awkward, the chemistry works better between her and Cooper. Brosnan seems miscast but not to the extent that it ruins the film experience. McAdams is beautiful and pulls off her part quite well but it is Clarkson and Cooper who give the best performances. I'm also surprised that people have taken this film too seriously (to the point that they missed the humour which I thought was creatively done and hilarious). The element of drama is there but how could one miss the comedy? Sach's writing is superb and the direction is solid. I liked how the events unfold and Coopers's character's attempts to get what he wants and his surprise reaction towards the unexpected results. I find the title a little misleading. Yes, the film is about a 'dying' marriage and its complexities but the title is a little too vague and the film focuses on much more than marriage. The score gracefully brings the feel of the 40s. Overall, Sachs has made a clever unconventional black comedy in a period piece.

I think director/co-writer Ira Sachs' subtle 2007 homage to the old-fashioned studio melodramas of the 1940s and 50s could have used more of the Baroque feverishness of a Douglas Sirk ("All That Heaven Allows") to make the adultery-driven plot more intriguing stylistically - perhaps a face slap here, a gun confrontation there, even a shouting match in a restaurant. Instead, Sachs, along with co-writer Oren Moverman ("The Messenger"), downplays the overripe theatrics in favor of a more Hitchcockian approach to their noirish fable about the transient rules of love and deception. The resulting film is fun to watch due to its faithful period depiction but sometimes little more than a moral exercise in punishing the subversive thoughts and actions of the seemingly staid protagonist.

It's 1949, and the plot centers on Harry, a middle-aged and very married Manhattan executive, who finds himself in love with the much younger Kay, a WWII widow who enjoys the attention of a man so devoted to her. Harry decides he cannot divorce his wife Pat for fear of breaking her heart. In fact, he thinks it's more charitable to murder her by poisoning her digestive powder which she takes religiously every day. Harry's best friend Richard is aware of Harry's intentions and gets caught in the middle trying to save the marriage while finding himself becoming attracted to Kay as well. Not quite the victim she would seem to be, Pat has secrets of her own, which leads to a roundelay of events befitting the increasingly uneasy blend of treachery and absolution. Sachs capably keeps things afloat even when the suspense factor appears overly muted.

A smart quartet of actors has been cast beginning with Chris Cooper ("Adaptation") effectively embodying the crushed soul that Harry has become. Providing the voice-over narration from his character's limited perspective, Pierce Brosnan ("The Matador") uses his naturally erudite manner to great wry effect as Richard, while Patricia Clarkson ("Whatever Works") gives added dimensions of knowingness and cunning to Pat. With her hair dyed an unflattering peroxide blonde, Rachel McAdams ("The Notebook") looks poised to play the femme fatale, but her character is more ingenuous than she looks. That basically means McAdams has little bandwidth to add any complex shading to Kay. The 2008 DVD offers an informative commentary from Sachs, the theatrical trailer, and three alternate endings, each flash-forwarding the story sixteen years later to O. Henry-type resolutions. While interesting, none really add that much to the ending used in the movie.