Maris et femmes

This film, while rather amusing in some parts, is more or less a drama. Allen seems to have become more accepting of the "love fades" theme first presented in ANNIE HALL, and his characters seem to be a reflection of this maturity. The concepts of what love and marriage mean are dealt with in depth here, and there are no clear answers, of course. This provokes thought without being too sure of itself (who would expect that from Woody?)and provides a thoughtful examination of what makes love begin and last..or not.

This is one of Woody Allen's greatest films, but it took me two viewings to fully appreciate it. I first saw it in 1992 at the theatre upon its initial release with my then-girlfriend, when I was 30 and she was 24; but this second time was in 2005 on home video, with me still in the same relationship thirteen years later and married to this same woman for ten of those; it really hit a nerve for me as a middle-aged spouse. I'm not so sure it can appeal to every viewer, but I'd wholeheartedly recommend it to older married couples everywhere.

Allen's hard-hitting film dissects the long-term effects of being with the same person for a long time: familiarity, infidelity, stagnation and indifference. To drive the point home still further, the photography is crudely rendered in a sometimes confusing hand-held camera style which works wonders. Woody's cast is excellent - beginning with the note-perfect Sydney Pollack and strong-willed Judy Davis, who play a bored married couple announcing a trial separation, shocking and convincing their friends (Woody and wife Mia Farrow) to take a closer look at their own vulnerable relationship. Juliette Lewis is once again a very good young actress as a twenty-year-old student in Allen's writing class who becomes infatuated with him and turns out to be his protégé. Liam Neeson is strong as the new man Davis tries to reheat her romantic life with. One of Woody Allen's best performances here too, where he's more reserved and human -- not as whiny or nerdy as we're so accustomed to seeing him. Even better, he actually makes us more interested in the other characters instead of himself.

The mature story is sometimes told in a candid documentary-like format, where the participants alternately give their own perceptions as though they're spilling their guts to a psychotherapist, and then ultimately wind up expressing what they've learned from these experiences. I happen to agree with the idea that a couple must learn to accept imperfections in a marriage and work through them, together.* Released at the height of the media controversy surrounding Allen and his relationship with Mia Farrow's adopted daughter Soon-Yi, there may well have been some similarities on display here.

*(EDITED UPDATE): Unfortunately, my wife and I divorced in 2010, after us being together for 21 years (married for 16 of those). I'm now in a new relationship and I suppose this experience will only serve to make HUSBANDS AND WIVES even more effective on the next viewing. **** out of ****

I have always been a fan of Woody Alan and this movie really expresses the essence of his personal and constant recurring confrontation with the meaning of life. His pursuit of a significant context in human relationships always drives him to the brink of madness as he realizes all too well that there is no basis for real values in a life cycle which is basically totally absurd.The dark shadow of the philosophy of despair is constantly present but often relieved by a delightful form of sarcastic humor. This movie is for people who know what it's all about and are conscious of the fact that we are all trapped in this the "comédie humaine". The acting is excellent with no flaws at all. Judy Davis is a sheer delight to watch and Juliette Lewis - fascinating as always - with her mixture of Lolita-like innocence, her girlish ways and sudden adult insights would be a dangerous temptress for any middle-aged guy.

Woody Allen really knows how to write good male and female characters.

A married couple, Sally (Judy Davis) and Jack (Sydney Pollack), tell their best friends--another married couple named Gabe (Woody Allen) and Judy (Mia Farrow)--that they are separating. This news throws Gabe and Judy into a tailspin. It makes them reexamine their own marriage and find it lacking. Meanwhile Sally starts seeing a handsome, romantic man (Liam Neeson) and Jack is living with a girl at least 30 years his junior. This film follows what happens to them over the course of a year.

A fascinating film. I'm not married (or even straight) but I don't think that matters--this is about love, sex and relationships and has dialogue and situations that anyone can relate to. Allen's script is right on target--the insights are just incredible, and we slowly begin to see exactly how all of the four main characters really are. During the film they are all interviewed by a never seen person--these interviews really help the story and reveals how everybody feels about the others. It pulls everything together.

The acting is almost all great. Allen and Farrow were living together when this was filmed--when it was released they were in a bitter custody battle. This movie actually provides insight to WHY they broke up--their argument scenes are just a bit too realistic. Davis and Pollack are just superb in their roles. They let you feel their characters pain and confusion--just great acting. Neeseon isn't asked to do much but he is very affecting in his scenes. However Juliette Lewis is terrible as a college student. Her voice is nasal and whiny and her acting is pretty lousy--but it doesn't ruin the film.

I saw this back in 1992 in a theatre and loved it. Twelve years later I STILL love it. A great film. I'm only giving this an 8 though. There are two big faults with this film: the hand-held jittery camera work being the main one. My guess is Allen filmed it this way to make the film more immediate and give it a documentary feel. It works but it IS distracting. Also it gets a little repetitious towards the end. Still this is well worth seeing. Recommended.