[go: up one dir, main page]

    Calendario delle usciteI migliori 250 filmI film più popolariEsplora film per genereCampione d’incassiOrari e bigliettiNotizie sui filmFilm indiani in evidenza
    Cosa c’è in TV e in streamingLe migliori 250 serieLe serie più popolariEsplora serie per genereNotizie TV
    Cosa guardareTrailer più recentiOriginali IMDbPreferiti IMDbIn evidenza su IMDbGuida all'intrattenimento per la famigliaPodcast IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter AwardsAwards CentralFestival CentralTutti gli eventi
    Nato oggiCelebrità più popolariNotizie sulle celebrità
    Centro assistenzaZona contributoriSondaggi
Per i professionisti del settore
  • Lingua
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista Video
Accedi
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usa l'app
  • Il Cast e la Troupe
  • Recensioni degli utenti
  • Quiz
  • Domande frequenti
IMDbPro

Minnie e Moskowitz

Titolo originale: Minnie and Moskowitz
  • 1971
  • T
  • 1h 54min
VALUTAZIONE IMDb
7,2/10
5642
LA TUA VALUTAZIONE
Seymour Cassel and Gena Rowlands in Minnie e Moskowitz (1971)
Romantic ComedyComedyDramaRomance

Una curatrice di museo si innamora di un parcheggiatore pazzo.Una curatrice di museo si innamora di un parcheggiatore pazzo.Una curatrice di museo si innamora di un parcheggiatore pazzo.

  • Regia
    • John Cassavetes
  • Sceneggiatura
    • John Cassavetes
  • Star
    • Gena Rowlands
    • Seymour Cassel
    • Val Avery
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,2/10
    5642
    LA TUA VALUTAZIONE
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • John Cassavetes
    • Star
      • Gena Rowlands
      • Seymour Cassel
      • Val Avery
    • 42Recensioni degli utenti
    • 30Recensioni della critica
    • 67Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 2 candidature totali

    Foto39

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    + 31
    Visualizza poster

    Interpreti principali27

    Modifica
    Gena Rowlands
    Gena Rowlands
    • Minnie
    Seymour Cassel
    Seymour Cassel
    • Moskowitz
    Val Avery
    Val Avery
    • Zelmo Swift
    Timothy Carey
    Timothy Carey
    • Morgan Morgan
    • (as Tim Carey)
    Katherine Cassavetes
    • Sheba Moskowitz
    Elizabeth Deering
    • Girl
    Elsie Ames
    • Florence
    Lady Rowlands
    • Georgia Moore
    Holly Near
    • Irish
    Judith Roberts
    Judith Roberts
    • Wife
    Jack Danskin
    • Dick Henderson
    Eleanor Zee
    • Mrs. Grass
    Sean Joyce
    • Ned
    David Rowlands
    David Rowlands
    • Minister
    Darren Patrick Moloney
    Darren Patrick Moloney
    • Jim's Son
    • (as Darren Moloney)
    Alpha Blair
    • Girl at Bar
    • (non citato nei titoli originali)
    Bruce Brown
    • Husband
    • (non citato nei titoli originali)
    John Cassavetes
    John Cassavetes
    • Jim
    • (non citato nei titoli originali)
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • John Cassavetes
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti42

    7,25.6K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Recensioni in evidenza

    7caspian1978

    Cassavete's Look into the Human Heart

    At times, you forget that you are watching a movie and not the lives of two average (but unique) people and the incomplete lives that they live. Searching for love, if not just acceptance, both live in a world where relationships are as confusing as the people in the relationship. By the end of the movie you can't help but smile at the images Cassavetes captures in the last 30 seconds. Without any narrative, Cassavetes gives the conclusion to the two character's lives together. True happiness...
    chaos-rampant

    Transcendental jazz against the void II

    Step the third in my journey through Cassavetes..

    Here, he takes one of the most popular movie formats, the romance. Boy- meets-girl in LA, under the lights. But she is no cool femme fatale, she is fragile, unsure of herself. He is no Bogie himself; as the film starts he is watching The Maltese Falcon in a theater, a scene where Mary Astor throws herself crying on Bogie's feet. Trying to pick up women afterwards, he's chased out of bars, looked at as a weirdo and beaten up in an alley.

    The idea is that we are not going to see movie people, but real people on the street. That was the ambition anyway, a situation aggravated by Cassavetes' actorly Studio background—as in Husbands, we have constant shouting matches, awkward intrusions, obnoxious pulling and nervousness. He seems to think the room inhabited by these characters won't feel real and lived, unless we have damage on the walls, a Greek sensibility, after all the main story recasts Zorba.

    So unlike a Bogart film, the actors here don't coolly glide off each other, they cut themselves on each other's edges.

    The same situation develops here as I described in my comment on Husbands. The edges, the damage are unusually pronounced, by this I mean a situation like when Moskowitz almost runs her over with his truck to get her to go with him takes me out of it. A softer next moment will pull me in again, until the next hysteric one and so on.

    Which brings me to my main discussion about presence.

    Moskowitz is the kind of character who can be likable once you get to know him, the sort of bond you form with coworkers that greatly depends on shared time. Minnie is warm when we first see her, but there's a haughty, nervous ghost in her. It is, let's say, a truer to life perception than the immediately charming Bogarts and Stanwycks of old. It requires work to take them in, giving space.

    That narrative room, that space where characters wreck themselves and things works the same way once you excise the shouty moments, simply wonderful. None of the individual visual moments are cool or typically beautiful. The locales are drab and mundane. The light and textures all natural, the whole is imperfect but breathes. In this, he equals Pasolini, another master of the living eye.

    So on a moment-by- moment basis, the space is like the characters, intensely present flow to undefined horizon. In a movie like the Maltese Falcon, the narrative horizon is immediately defined (get the bird), and again defined in every scene (get out of there, rough someone up, etc.) so we are at all times comfortably tethered, enjoying the play. What Cassavetes does matters in the long run in the sculpting of the overall effect, it doesn't leap to attention.

    Like Husbands, this slowly starts to work for me once I have a narrative shift that faintly, very faintly defines a certain horizon in the story—here marriage. Cassavetes is work, because this happens so late in the movie, the bulk of it is like staring at a blank page waiting for inspiration, or waiting for musicians to tune their instruments. Here, that shift happens about 9/10ths in the film, and then we're through that and a new horizon opens, the closing shots of family life and then it's over.

    So it starts to work late but extends for me to long after it's over, it's one of the most haunting effects I know, transcendentally marvelous; more on that in the next comment on Woman.
    Aidil

    An attack from within.

    This is an incredible achievement for John Cassavetes. Not only has he made an outstanding screwball/romantic comedy, but he has also made a deep and biting attack on the way we let the movies(and also our culture) shape the way we see the world. For those of you who are seeking a love story, Cassavetes provides an extremely lovely one. The rules of the screwball genre are strictly followed. A man meets a woman, they are an impossible match in terms of personality, they try to fall in love, then comes the inevitable 'hiccups' in their relationship, and last but not least, the happy ending. But, as has always been the case with Cassavetes, that is only a very small fraction of what you'll get. He obviously has got a lot more to say. The 'surface' story is not the only story here. Beneath it lies another 'story'. And I don't think the other story will ever get past you unnoticed. The real story here is a 'cultural' one. It is a biting attack on the way we let movies and our culture influence our way of seeing the world. How does he present this attack? Well let me give you an example. The other day I watched this film with a friend. He made quite a few comments but the most striking one was when he complained about how is it that someone as unattractive as Seymour Moskowitz could get a woman as pretty as Minnie to like him(when you see the film you'll see). Now that is exactly the kind of attitude that Cassavetes is attacking. Why must everyone be 'handsome' or 'good looking' to be able to get a girl to like him? Minnie will constantly say to Seymour in the film that, "That's not the right face. You're not the man I'm in love with." It's a subtle attack but no less powerful. There's even one instance where Minnie, while in conversation with her friend, talks about movies as being a conspiracy because "They set you up. And no matter how bright you are you still believe it." This is a shining example of the fact that it is not enough to just recognise the problem, because it doesn't mean anything until you do something about it. There's a lot more, but I don't think it will be fun if I talked about everything. Part of the thrill of watching a movie like this is figuring it out. So I'll just talk about the 'surface' story a little bit more. A lot of people has called this movie 'earnestly real'. But don't be put off by that because like this world we live in, it's not all grim and grin. This isn't a Ken Loach film. While Cassavetes definitely does show us how ugly the world really is and can be, he has got enough insight to also show us that life can also be wonderful. I can give you a lot more examples, but I think it's best if you discover them for yourself. My comment here does not do justice to the movie. There's too much for me to say. And I don't think the space here allows it. So just go and see the movie. It'll be worth every minute.
    10darleneshadow

    I loved it 30 years ago and I still love it today!

    I feel as though I know these people and have known people similar to them. These days, though, people are discouraged from showing such passion about anything especially love and loneliness. It has a slow beginning, but then look out! If you love romantic comedies, but would like to see one that had some basis in reality for a change {or at least did have back in the 70's}, then you should see this movie!
    9shepardjessica

    Enchanting mismatch by Cass!

    This light-heated (for Cassavetes)love story is pleasantly conveyed by two wonderful performances by Gena Rowlands and Seymour Cassell. Rowlands was never more beautiful as a repressed, damaged mid-30's woman who meets her match in Seymour. Cassell is a powderkeg of energy and romantic notions (on his terms).

    There is a great supporting performance by Val Avery as Zelmo Swift and an unusual (as always) Timothy Carey that's worth the price of admission. Made between Husbands and A Woman Under the Influence this is Cass' most accessible film that should touch the heart of anyone (especially the Cassavetes haters) who claim his films are too long and ponderously heavy at times. Made my Top Ten that year and not seen by enough people. An 8 out of 10.

    Altri elementi simili

    Love Streams - Scia d'amore
    7,6
    Love Streams - Scia d'amore
    Volti
    7,4
    Volti
    Mariti
    7,1
    Mariti
    Blues di mezzanotte
    6,8
    Blues di mezzanotte
    Gloria - Una notte d'estate
    7,1
    Gloria - Una notte d'estate
    La sera della prima
    7,8
    La sera della prima
    Ombre
    7,2
    Ombre
    Una moglie
    8,0
    Una moglie
    Gli esclusi
    7,2
    Gli esclusi
    L'assassinio di un allibratore cinese
    7,2
    L'assassinio di un allibratore cinese
    Il grande imbroglio
    5,2
    Il grande imbroglio
    Mikey e Nicky
    7,3
    Mikey e Nicky

    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      John Cassavetes directs his wife Gena Rowlands, his mother Katherine Cassavetes, his brother-in-law David Rowlands, his mother-in-law Lady Rowlands and his children Xan Cassavetes and Zoe R. Cassavetes.
    • Blooper
      When Moskowitz is carrying Minnie in the living room, she has a lit cigarette in her hand. After he carries her upstairs to her bedroom and puts her down on the bed, she has no cigarette in her hand.
    • Citazioni

      Seymour Moskowitz: If you think of yourself as funny, you become tragic.

    • Connessioni
      Featured in Edge of Outside (2006)
    • Colonne sonore
      Skid-Dat-De-Dat
      (uncredited)

      Written by Lil Armstrong

    I più visti

    Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
    Accedi

    Domande frequenti16

    • How long is Minnie and Moskowitz?Powered by Alexa

    Dettagli

    Modifica
    • Data di uscita
      • 3 dicembre 1976 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Minnie and Moskowitz
    • Luoghi delle riprese
      • Los Angeles County Museum of Art - 5905 Wilshire Blvd., Hancock Park, Los Angeles, California, Stati Uniti(Moskowitz drops Minnie off in front of the museum plus interior shots)
    • Aziende produttrici
      • Faces Music
      • Universal Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 900.000 USD (previsto)
    • Lordo in tutto il mondo
      • 2296 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 54 minuti
    • Proporzioni
      • 1.85 : 1

    Contribuisci a questa pagina

    Suggerisci una modifica o aggiungi i contenuti mancanti
    Seymour Cassel and Gena Rowlands in Minnie e Moskowitz (1971)
    Divario superiore
    By what name was Minnie e Moskowitz (1971) officially released in India in English?
    Rispondi
    • Visualizza altre lacune di informazioni
    • Ottieni maggiori informazioni sulla partecipazione
    Modifica pagina

    Altre pagine da esplorare

    Visti di recente

    Abilita i cookie del browser per utilizzare questa funzione. Maggiori informazioni.
    Scarica l'app IMDb
    Accedi per avere maggiore accessoAccedi per avere maggiore accesso
    Segui IMDb sui social
    Scarica l'app IMDb
    Per Android e iOS
    Scarica l'app IMDb
    • Aiuto
    • Indice del sito
    • IMDbPro
    • Box Office Mojo
    • Prendi in licenza i dati di IMDb
    • Sala stampa
    • Pubblicità
    • Lavoro
    • Condizioni d'uso
    • Informativa sulla privacy
    • Your Ads Privacy Choices
    IMDb, una società Amazon

    © 1990-2025 by IMDb.com, Inc.