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Mariti

Titolo originale: Husbands
  • 1970
  • T
  • 2h 34min
VALUTAZIONE IMDb
7,1/10
7833
LA TUA VALUTAZIONE
Peter Falk, John Cassavetes, and Ben Gazzara in Mariti (1970)
After the death of a common friend, three married men leave their lives together, seeking pleasure and freedom and ultimately leaving for London.
Riproduci trailer3: 46
1 video
48 foto
Buddy ComedyDark ComedyComedyDrama

Dopo la morte di un amico comune, tre uomini sposati lasciano le loro vite insieme, in cerca di piacere e libertà e alla fine partono per Londra.Dopo la morte di un amico comune, tre uomini sposati lasciano le loro vite insieme, in cerca di piacere e libertà e alla fine partono per Londra.Dopo la morte di un amico comune, tre uomini sposati lasciano le loro vite insieme, in cerca di piacere e libertà e alla fine partono per Londra.

  • Regia
    • John Cassavetes
  • Sceneggiatura
    • John Cassavetes
  • Star
    • Ben Gazzara
    • Peter Falk
    • John Cassavetes
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,1/10
    7833
    LA TUA VALUTAZIONE
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • John Cassavetes
    • Star
      • Ben Gazzara
      • Peter Falk
      • John Cassavetes
    • 56Recensioni degli utenti
    • 34Recensioni della critica
    • 66Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 candidatura in totale

    Video1

    Trailer
    Trailer 3:46
    Trailer

    Foto48

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    Interpreti principali41

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    Ben Gazzara
    Ben Gazzara
    • Harry
    Peter Falk
    Peter Falk
    • Archie Black
    John Cassavetes
    John Cassavetes
    • Gus Demetri
    Jenny Runacre
    Jenny Runacre
    • Mary Tynan
    Jenny Lee Wright
    Jenny Lee Wright
    • Pearl Billingham
    Noelle Kao
    • Julie
    John Kullers
    • Red
    Meta Shaw Stevens
    • Annie
    • (as Meta Shaw)
    Leola Harlow
    • Leola
    Delores Delmar
    • The Countess
    Eleanor Zee
    • Mrs. Hines
    Claire Malis
    • Stuart's Wife
    Peggy Lashbrook
    • Diana Mallabee
    Eleanor Cody Gould
    • 'Normandy' Singer
    • (as Eleanor Gould)
    Sarah Felcher
    • Sarah
    Bill Britten
      Arthur Clark
      Gwen Van Dam
      • Gwen - "Jeanie" Singer
      • Regia
        • John Cassavetes
      • Sceneggiatura
        • John Cassavetes
      • Tutti gli interpreti e le troupe
      • Produzione, botteghino e altro su IMDbPro

      Recensioni degli utenti56

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      Recensioni in evidenza

      Aidil

      A movie that every man and woman should see...

      I wouldn't say that this is my favourite Cassavetes movie. That changes almost every week. But I can very safely say that this is his most profound and the one that everyone should see. Why? Because here he explores things that almost any human being would encounter at some point in their lives. And my, my, did he do it with such painful precision and beauty or what? The questions that this movie asks are actually simple. But I don't think that many people actually take time to ask themselves these questions, let alone deal with them. The movie simply asks us questions like what would marriage entail? What will it be like 20 or 30 years down the line? Are you truly prepared to face what marriage would entail? And the movie doesn't even provide any answers to these questions. But, chances are you would be glad that you actually saw the movie. It may be appallingly difficult to take at first. The first 30 or so minutes are just as crazy as the first 20 minutes or so of Faces(another Cassavetes masterpiece). But stick around and you'll be surprised at how touching and profound the film is. You'll be forced to think about things that you would rather not think about, sure. But you'll be thankful later that you actually did think about those things. Or at the very least you'll be thankful that someone did point out those things to you, even though you still hadn't put much thought into it. It'll be one long crazy ride(the film is about 2 hours and 20 minutes long), but it's such an important enough ride that everyone should take it. Every man should see it so that they could get to know themselves better. Every woman should see it because maybe it can help them understand men better. So go see it everyone, and thank John Cassavetes later for the experience.
      6evanston_dad

      Hanging Out with Toxic Males

      I don't enjoy John Cassavetes movies that much, but I've watched quite a few of them because of his importance to the development of independent American cinema and because of their uniqueness. I think "Husbands" will be my last Cassavetes film. I've seen it, "A Woman Under the Influence," "Faces," and "The Killing of a Chinese Bookie," and I feel like I can put him to rest with a thorough knowledge of his style and preoccupations.

      What I do like about Cassavetes is that he explored in a way few writers/directors at the time did the complexities of male emotions. His male characters don't fall into easy categories and neither do their interior lives. In what he has his characters say and do, it's like he wanted to present the male id on screen visually, in all its obnoxious glory.

      But the flip side is that it makes his characters unpleasant and exhausting to be with. I went out with a bunch of guys for a bachelor party once, and one of them was talking loudly about how ugly and fat a girl was sitting at a nearby table in a bar. He clearly wanted her to hear, and it's like he was performing for the rest of us. The other guys, because they didn't want to be accused of ruining the evening I guess, or because they genuinely found it funny, played along and encouraged him. The whole experience was so uncomfortable and toxic that I left shortly after and didn't go on to do the rest of the things planned for the evening.

      Watching "Husbands" is like two hours of that experience. It's watching three guys hang out and desperately try to avoid the emotions stirred up by the recent death of a fourth buddy. This means they fight, get maudlin, get drunk, get abusive, treat women like crap. We don't get to know these guys. We're just dumped into the middle of their circle of friendship and sent off with them into the night to hang out for a couple of hours. I can't relate to Cassavetes movies. I'm the same age as the guys in this movie, maybe even a little older than they're supposed to be, with a wife and kids. I don't understand the contempt and anger they show for the world, for their wives, for each other. They don't live in a world that resembles anything I've directly experienced. And since Cassavetes just observes rather than explains, I don't learn anything about it that might help me understand more. I just get claustrophobic and want to leave the party early. Like every other Cassavetes movie I've seen, this one felt more than anything else like an endurance test.

      Grade: B
      8Sardony

      "Jazz" acting

      A Cassavetes film is like good jazz music: both are largely improvisational with the actor/musicians playing off each other. With Cassavetes, a basic written theme is provided and the actors embellish upon it; rhythms, tempos and emotional counterpoint are deftly manipulated. In HUSBANDS, Cassavetes is the bandleader, and Peter Falk and Ben Gazzara prove themselves to be two of the best "jazz actors" ever. HUSBANDS is "a guy film." Women have their "girl films," but here's one for we men (and for women who want to understand men). Cassavetes, Falk and Gazzara play three best friends who have just lost their fourth to a sudden death. The surviving three, all 40-something, run away from their marriages, jobs and other shackles for a few days in search of themselves, meaning, purpose. Along the way, we are intimately exposed to their fears, dreams, passions, disgusts, and their love for each other (expertly depicted male bonding: guys who understand each others' emotions, with masculinity remaining intact). Perhaps no other filmmaker/actor combo than Cassavetes and his "company" of actors have ever succeeded as well at depicting so uncompromisingly life's emotional truth. Mind you, Cassavetes' style and camera paints in broad loose strokes, so be forewarned if you dislike a hand-held shaky camera and sometimes out-of-focus shots as the camera operator tries to follow the improvising actor. But HUSBANDS has far less of this than, say, Cassavetes' FACES. And this is not all a downer film; there's much humor, too, in its sometimes bittersweet mood (for example, the Countess scene: "take your hand off my hand") All in all, and though a little long, a great film; well worth the time.
      7gavin6942

      Powerful Cast

      A common friend's sudden death brings three men, married with children, to reconsider their lives and ultimately leave together. But mindless enthusiasm for regained freedom will be short-lived.

      This film brings together John Cassavetes, Ben Gazzara and Peter Falk as actors on one screen. No other film has this trio, and here we have it in spades. That alone makes the film worth watching, because the way these guys interact is quite fun to watch.

      Critic Jay Cocks wrote, "Husbands may be one of the best movies anyone will ever see. It is certainly the best movie anyone will ever live through." He described it as an important and great film, and as Cassavetes' finest work. Roger Ebert, on the other hand, disliked the film greatly (despite being a Cassavetes fan in general) and Pauline Kael described the movie as "infantile and offensive."
      9shepardjessica

      One of Cass' Best!

      One of Cassavetes 3 best (along with FACES and A WOMAN UNDER THE INFLUENCE). Middle-class successful husbands turning 40 are frightened after the death of another good buddy. They carouse, drink, swear, pick up women, fly to London, and basically show their camaraderie while inside they're dying a slow death (especially B. Gazzara). All performances are phenomenal, especially Gazzara, and Jenny Runacre in London gives a lovely nuanced characterization as the woman Cass hooks up with for a night of fun.

      Cassavetes was one of our best and sorely underappreciated by most Americans. A real crime! It may seem long (especially the bar scene), but he didn't make ENTERTAINMENT as he so often said. He cared about people and relationships and their frustrations and disappointments. Don't miss this one!

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      Trama

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      Lo sapevi?

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      • Quiz
        Screenwriter John Cassavetes wrote the film's dialogue after doing improvisations with actors Ben Gazzara and Peter Falk. Reportedly, Cassavetes built the film's three main central characterizations around the real-life personalities of the film's three main actors one of whom included himself.
      • Citazioni

        Archie Black: [Arriving at the funeral] I suppose this is proper, all these big cars and chauffeurs. Black shiny cars. Seems dopey for a guy like that. Well, I guess that's what they do. People get symbolic over death. They get very formal, and it's really ridiculous. Because it's probably the most humiliating thing in the world. But I feel very relaxed. People die of tensions. That's all they die of, Gus. That's the truth. Did you know that? I know it, and it's something I'm never gonna forget.

        Gus Demetri: Don't believe truth. Just don't believe truth. Archie, I'm telling you, don't believe truth.

        Archie Black: That is the truth now. You see, the truth will never kill you. Lies will. Not cigarettes, not alcohol. Lies, Gus. Lies and tensions. That'll kill you. That'll kill you before cancer in the heart. Did you know that?

      • Curiosità sui crediti
        There are no closing credits and no "THE END" title card. The screen just goes black. In the opening credits, everyone involved in the film (even the "little people") are credited on two "tell all" title cards, right on down from the actors to the grips, a total of 82 credits.
      • Versioni alternative
        The original theatrical release ran 154 minutes. The out-of-print VHS release from Columbia/Tristar runs 132 minutes.
      • Connessioni
        Featured in Siskel & Ebert & the Movies: Cousins/The Mighty Quinn/True Believer/Tap (1989)
      • Colonne sonore
        Show Me the Way to Go Home
        (1925) (uncredited)

        Written by Irving King

        Sung a cappella by Ben Gazzara, Peter Falk and John Cassavetes

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      Dettagli

      Modifica
      • Data di uscita
        • 7 giugno 1979 (Italia)
      • Paese di origine
        • Stati Uniti
      • Lingue
        • Inglese
        • Francese
        • Italiano
        • Catonese
      • Celebre anche come
        • Maridos
      • Luoghi delle riprese
        • Londra, Inghilterra, Regno Unito
      • Azienda produttrice
        • Faces Music
      • Vedi altri crediti dell’azienda su IMDbPro

      Botteghino

      Modifica
      • Budget
        • 1.000.000 USD (previsto)
      • Lordo in tutto il mondo
        • 3170 USD
      Vedi le informazioni dettagliate del botteghino su IMDbPro

      Specifiche tecniche

      Modifica
      • Tempo di esecuzione
        2 ore 34 minuti
      • Colore
        • Color
      • Mix di suoni
        • Mono
      • Proporzioni
        • 1.85 : 1

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