Divorce American Style

It's amazing how preconceptions can affect a movie's popularity. Multiple reviewers seem to feel Divorce American Style should be "funnier," because they've apparently decided it's a comedy. (And one of a particular type, presumably.) Unfortunately, this isn't a film that fits into any such predefined mold. It's a dark satire, dealing with the insane approach to divorce current at the time of its making (especially in California). And it succeeds splendidly on that level.

No, we're not expected to guffaw as we watch Dick Van Dyke being first railroaded into divorce, then reduced to poverty by punitive alimony payments. We're expected to shake our heads and smile wryly at the folly of the times. And to walk out just a little more determined to push for true equality of the sexes, and a truly rational legal framework for their relations.

We're not there yet, but things have moved forward so unimaginably far that today's viewers may not understand the attitudes in this film. To put it in context, compare it to The Dick Van Dyke Show. Divorce was utterly unthinkable in the cozy world of Rob and Laura Petrie. Yet here, just a few years later, we see Van Dyke and Reynolds playing essentially the same Rob and Laura roles, and not only admitting the possibility of divorce, but tackling some of its uglier ramifications. It was a huge leap forward, for Van Dyke, for Hollywood, and for society as a whole.

Of course, on a dramatic level, Divorce American Style still has a lot of that old-time Dick Van Dyke Show sensibility. But it's sharper than many similar films of the time (courtesy of Norman Lear, no doubt), and benefits from some great performances (especially by Dick Van Dyke, Debbie Reynolds and Jason Robards). The conditions it dissects may no longer exist, but that doesn't have to spoil our enjoyment.

Divorce-American Style, a surprisingly intelligent effort from writers Kaufman and Lear and TV power-house director Bud Yorkin, was first in series of witty, satirical releases that included "Bob & Carol & Ted & Alice" and "Lovers and Other Strangers". This way-paving comedy featured the delightfully flustered pairing of Dick Van Dyke and Debbie Reynolds as a successful 'Married With Children' duo who, after years of supporting each another, simply tire. despite it's (minor) shortcomings, the sharp dialogue certainly justifies the screenplay oscar nod. Nice work. ***1/2 out of ****

I'm 71 years old. I'll start there. That is either a disclaimer or, possibly a source of insight concerning the subject of the movie. I don't know which. Anyway, there are some moderately funny moments in the film. The best of them is probably when some families meet-up to gather and sorting through their many children for parental visitation. Most of the film is a satirical look at marriage, and divorce in suburban America. Of course it is a satirical look at suburban marriage and divorce as it was 50+ years ago, not so much today. That may be why I liked the movie when I saw it 20 years ago more than I did when I saw it yesterday. Although some of that might be just a matter of my taste in comedy has changed through the years.

Dick VanDyke is the husband. He does a surprising good job in the part. Debbie Reynolds is the wife. She too, is good. The film's producers went right to the cream of the crop in terms of secondary casting with Jason Robards Jr., Jean Simmons and Van Johnson all chipping in.

Finally, Divorce, American Style makes me want to throw in my opinion concerning marriage. I will spare anyone who happens to read this review the pain of that. I will say that the urge to give that opinion might actually say something positive about the movie. Or, maybe it says something negative. Once again, I don't know which.

This dramedy follows a couple whose marriage has devolved into a daily battle. After sixteen years, they know what buttons to push, and they are skilled at belittling and berating each other. Richard and Barbara Harmon are played by Dick Van Dyke and Debbie Reynolds, talented comedians, but this film elicits few laughs. The script by Robert Kaufman and Norman Lear accentuates and satirizes the indignities of marriage and divorce, but finds little real humor.

The weekly shuffle of dual-custody children between households yields some kinetic chaos that could be ripe for comedy, but its basis in reality only reminds the viewer of the real costs to all concerned.

The economics of divorce are a harsh truth detailed in the film. One divorced couple strategizes about matchmaking between divorced men and women to alleviate the economic tolls of divorce settlements, but that portion of the story becomes less funny when real emotions muddle the plan. Watch for exes played by Jason Robards and Jean Simmons, who become objects of empathy.

How does it end? With love or enmity, depending upon how you look at it.

The American suburbs are filled with bickering married couples. Richard (Dick Van Dyke) and Barbara Harmon (Debbie Reynolds) are exactly one of those couples. They descend into an acrimonious divorce. Richard is left with $87.30 a week. Nelson Downes (Jason Robards) is a fellow divorced husband who takes a close interest in him with ex-wife Nancy Downes (Jean Simmons). They come up with a scheme to fix everybody.

This is a black comedy with a bitterness that may be too bitter for some viewers. The movie is tainted by a depressing feel which suppresses it comedic side. Nevertheless, there is some dark fun to be had and Norman Lear has sharpened his pencil to deliver a few deadly swipes at the modern marriage and the divorce legal system. I didn't actually laugh much but the subject jabs are still appreciated.