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Play It As It Lays

  • 1972
  • R
  • 1h 39min
VALUTAZIONE IMDb
6,3/10
871
LA TUA VALUTAZIONE
Tuesday Weld in Play It As It Lays (1972)
Commedia darkDramma

Aggiungi una trama nella tua linguaA Hollywood actress undergoes a psychic breakdown and recalls the traumatic events which led to her stay at a sanitarium.A Hollywood actress undergoes a psychic breakdown and recalls the traumatic events which led to her stay at a sanitarium.A Hollywood actress undergoes a psychic breakdown and recalls the traumatic events which led to her stay at a sanitarium.

  • Regia
    • Frank Perry
  • Sceneggiatura
    • Joan Didion
    • John Gregory Dunne
  • Star
    • Tuesday Weld
    • Anthony Perkins
    • Tammy Grimes
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,3/10
    871
    LA TUA VALUTAZIONE
    • Regia
      • Frank Perry
    • Sceneggiatura
      • Joan Didion
      • John Gregory Dunne
    • Star
      • Tuesday Weld
      • Anthony Perkins
      • Tammy Grimes
    • 28Recensioni degli utenti
    • 16Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria e 1 candidatura in totale

    Foto25

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    Interpreti principali27

    Modifica
    Tuesday Weld
    Tuesday Weld
    • Maria Wyeth Lang
    Anthony Perkins
    Anthony Perkins
    • B.Z.
    Tammy Grimes
    Tammy Grimes
    • Helene
    Adam Roarke
    Adam Roarke
    • Carter Lang
    Ruth Ford
    Ruth Ford
    • Carlotta
    Eddie Firestone
    Eddie Firestone
    • Benny Austin
    Diana Ewing
    Diana Ewing
    • Susannah
    Paul Lambert
    Paul Lambert
    • Larry Kulik
    Norman Foster
    Norman Foster
    • Abortionist
    Chuck McCann
    Chuck McCann
    • Abortionist's Assistant
    Severn Darden
    Severn Darden
    • Hypnotist
    Tony Young
    Tony Young
    • Johnny Waters
    Richard Anderson
    Richard Anderson
    • Les Goodwin
    Elizabeth Claman
    • The Chickie
    Mitzi Hoag
    Mitzi Hoag
    • Patsy
    Tyne Daly
    Tyne Daly
    • Journalist
    Roger Ewing
    Roger Ewing
    • Nelson
    Dick Ryal
    • Apartment Manager
    • Regia
      • Frank Perry
    • Sceneggiatura
      • Joan Didion
      • John Gregory Dunne
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti28

    6,3871
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    Recensioni in evidenza

    8katiekeene

    The Absurd as played out in Hollwood

    Life in Hollwood in the early 1970s--an actress, any actress, rich and famous or not, is exemplified in existential angst in 'play it as it lays.' A compelling character study, Tuesday Weld plays Maria (pronounced Mar EYE'a) Wyeth, an actress much like herself. It is difficult to see where the actress and character begin and end, she is that good in this film. Maria drives her yellow Stingray from one Los Angeles freeway into another only to kill time because she can't kill herself.

    Her film industry friends are LA's idle rich who have little else but money. Only a gay friend, played by Tony Perkins, truly cares about her. Maria searches relentlessly for meaning in a place that has none, although it resembles a utopia. The sun is always shining, everyone drives a German car and sips cocktails at their pool or Malibu beach home.

    If Albert Camus, the French existentialist of the absurd, had lived in Hollywood, he would have written her story.
    10laffinsal

    Engulfing

    This film, as the previous reviewers have said, is a real gem, namely for two reasons. First off, it is basically a character study of an individual who has been consumed by the lifestyle which she has adopted for herself. In the part of this tortured person, Tuesday Weld gives an exceptional performance. Her body language and facial expressions all convey the feeling of a person lost in this world that she has come to loathe. Anthony Perkins is also excellent in his role of B.Z. and he, and Weld counteract with each other beautifully.

    The other main reason why this film is so intriguing, is the way it is edited and pieced together. The viewer basically goes from one scene to the next without any serious concern for continuity. Because of this fractured, choppy approach to the storytelling, some really impressive sequences are pulled off simply, yet effectively. There is one particularly impressive sequence involving Weld's character driving down a freeway, while a camera above pulls back to show the twisted, snake-like formation of the southern California freeway system. There is also the final scene, with it's haunting final message, which is certain to linger in one's mind days after seeing the film. Indeed, a very unique and special piece.
    9moonspinner55

    Almost excruciatingly accurate...

    Jagged, pessimistic view of the denizens of Hollywood, circa 1972. Troubled movie actress, conflicted over her recent divorce from her director-husband, is finding herself slowly becoming alienated from her show business circle; unselfconscious--and still hopeful things will work themselves out--she's unable to reconnect the lost threads of her past, and begins feeling numb and catatonic. Joan Didion's novel, adapted by Didion with her husband, John Gregory Dunne, has been entrusted to director Frank Perry, and he digs right to the core of this material. It isn't just the bitchiness of the business that is wearing our heroine down, it's the blasé apathy with which the business is handled that strikes her both curious and sad. Tuesday Weld gives a deliberately low-key, thoughtful performance in the lead; her Maria Wyeth can be as tart in her repartee as her competitors (she's no shrinking violet), and yet the numbness she feels creeping in frightens her. Weld is reunited with her "Pretty Poison" co-star Anthony Perkins, excellent as a gay producer trapped in a business-marriage to a woman. The two share a quietly devastating scene in a motel room near the end that brings the narrative full circle while also showing the depth of feeling in the material (some may think the film superficial, but this is deceptive). The quicksilver editing may actually be too canny and clever, with many scenes seeming smug or half-finished (and usually ending on a rueful line or look). I think Perry means to shake the audience up with his herky-jerky structure, but perhaps the movie (with its feeling of an open wound) left too many viewers behind. A forgotten picture, it remains one of the most acidic portraits of lotus land ever captured on film. ***1/2 from ****
    roobozart

    Puzzling lack of respect for this gem

    The movie Play It as It Lays is, admittedly, not everyone's cup of tea. Even the book--as much as I liked it--was a hard sell to friends and family; most, especially those living outside the Southern California forcefield, simply could not grasp the essential Los Angeles flavor of Didion's dry economical language. The language of the Industry is spot-on (for a change) as are the depictions of the unusual alliances and estrangements of the characters in the film. One person I know who hated the film complained that it was too "faggy" and not like the real Hollywood at all (this person lives in Tucson); the B.Z. and Maria relationship at the heart of this movie may seem bizarre and pointless to auslanders, but it certainly reminded me of real life in LA circa 1972. Also of note is Tammy Grimes' performance as B.Z.'s wife--she got so many of the good lines ("Oh God my face--I can really see a difference"; "in what?"; "skipping my Lazslo for one day.") This movie should be available in VHS/DVD; does anyone know why it's been ignored? I'd love to know.
    8ohmemercylard

    Aching for a decent copy

    I watched this movie a lot during the first decade+ after it was released. It would show up occasionally at rep houses in NYC or SF, and I always tried to see it. The last few viewings were at the Roxie in SF, and the boom was always visible in that print; I hated that, b/c people laughed at the movie. i'm a huge didion fan (love the book), an equally huge tuesday fan. this movie captures a moment in my life, a naive moment when I tho't these chars. represented glamour and sophistication; now, having lived, I see how depressed they were. Still, it's full of great lines & has an odd nostalgic pull for me. TV versions were always tragically aborted (so to speak), and it's never been avail. to possess in any format. i shudder to think that there's no extant print, what w/studio not having one & perry gone. i've hoped to own it for so long. i was sick to hear it's on Sundance this wkend (which I don't get). why are so few people interested in seeing this movie become available? it's one of the few left on my wish-list never to be released. should any reader ever hear news of its release, please please let me know! thanks.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Joan Didion wanted Sam Peckinpah to direct but he was never quite sure why she would select him, given his success as a director of Western-themed films, and declined.
    • Blooper
      When Maria arrives at the "big T" to meet the abortionist's assistant the T-tops are off her Corvette. Seconds later they are on the car in the overhead shot.
    • Citazioni

      Maria Wyeth Lang: ...existentially, I'm getting a hamburger.

    • Connessioni
      Featured in Joan Didion: il centro non reggerà (2017)
    • Colonne sonore
      Heart Is Like a Wheel
      Written by Anna McGarrigle

      Performed by McKendree Spring

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    Dettagli

    Modifica
    • Data di uscita
      • 7 giugno 1973 (Argentina)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Играй как по писаному
    • Luoghi delle riprese
      • Las Vegas, Nevada, Stati Uniti(Location)
    • Aziende produttrici
      • F.P. Productions
      • Universal Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 1.000.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      • 1h 39min(99 min)
    • Proporzioni
      • 1.85 : 1

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