Due volte nella vita

After 30 years of only reading about this movie, I finally watched this with my mom on Netflix disc. Gene Hackman plays a middle-aged man who feels his life is just routine. When he celebrates his 50th birthday, he does so at a bar without his family members-they had done so earlier-and meets Ann-Margret-a new barmaid there. Their affair is eventually revealed by someone who knows both. His wife-Ellen Burstyn-doesn't take it well, of course, but it's one of his daughters-Amy Madigan-who really flies off the handle when she finds out. I'll stop there and just say there's no false note here, it's portrayed quite honestly mostly from beginning to end. Ally Sheedy and Brian Dennehy round out the fine cast with good help from producer-director Bud Yorkin. This was a mostly fine drama. So on that note, Mom and me highly recommend Twice in a Lifetime. P.S. This review is dedicated in memory of Yorkin. Also, this was shot in Seattle where one of my sisters currently lives with her family.

TWICE IN A LIFETIME is an emotionally-charged family drama that, despite a somewhat muddled screenplay, still works thanks to some solid gold performances. Gene Hackman plays a Seattle steelworker who loves the Seahawks and seems content with his life as he prepares for the wedding of his younger daughter (Ally Sheedy), but still feels something missing in his life. His private mid-life crises move him to leave his devoted wife (Ellen Burstyn) and begin a relationship with a local barmaid (Ann-Margret). His wife resigns herself to his decision but his elder daughter (Amy Madigan) does not and refuses to let Dad off the hook. The screenplay is safe and predictable, but what makes this film worth watching is the powerhouse performances. Hackman's quiet and powerful turn as a man dealing with being at a crossroad he doesn't know how to handle' Burstyn's beautifully-realized vulnerability as the woman who is at a loss as to what went wrong in her marriage and Madigan, in a performance that earned her an Oscar nomination, icy and gripping as the daughter who refuses to accept her parents' divorce. Watching these wonderful actors take you through the roller-coaster of emotions involved in the rending apart of a family, make this movie something very special.

I came home from work one day in Seattle to see Ann Margaret and Gene Hackman sitting on the steps of the apartment building next to my newer one. It was the set for Gene's crappy apt in the movie. I rushed upstairs and got a whte Tee and marker hnd got both to sign it. They could not have been any nicer. Most people were kept well back but since I lived there they had to let me through. I so hoped the movie was going to be a great movie but alas no. All the actors are at the very top of their games and if not for that this movie would have never been released as it isnt that good. I did appreciate that they tried to show a modern (at the time) divorce where daddy DIDNT come home and Mommy and daddy didnt become best friends. Ann was gorgeous and does some fine acting but Hackman and Burstyn are amazing. They both live their parts of a once happy marriage that has petrified and already dead. Ms Burstyn's portrayal of a woman who is afraid to live finally opening herself to a different life is truely beautiful. The script is just too thin with too many shortcuts where there should be none.

At the beginning of "Twice in a Lifetime", when the McKenzie family is sitting around the dining room table celebrating, Ellen Burstyn gives long-time husband Gene Hackman a kiss, but nobody notices how he recoils a bit from her affection or how shaky his smile appears. Here is a well-made dramatic piece for a group of terrific actors, asking us to look at all sides of a divorce, offering only a few pat answers but mostly moving sequences. Hackman quickly falls into a loving relationship--which can be seen as possibly too convenient--but the woman in question is Ann-Margret at her most vivacious, so we can forgive the formula. Burstyn's character goes through the standard changes of the jilted wife, yet the talents of this wonderful actress helps transcend the clichés of such a role (she even gives it subtext and meaning; a movie about her character alone would be worth-watching). Amy Madigan's angry daughter is an overwrought creation, a one-note role, and the way she's written and directed we don't see any nuances--just her irritation. Still, many fine ingredients are included here, and the supporting players are wonderful (particularly Brian Dennehy, always good, and Ally Sheedy). Alternately tough and tender, the emotions played out at the finale are concrete--they make sense--giving this film the edge over similar pictures such as "Smash Palace" and "Shoot The Moon". *** from ****

It's as if scenarist Colin Welland realized, about halfway through writing this rather standard account of a husband and wife breaking up and then readjusting to their new lives, that he didn't have much of a story going on and went "Blimey! Better start padding things out". How else to account for the none too interesting forays into the lives of the couple's two daughters and their spouses? To mention nothing of lots of picture postcards of Seattle on rare sunny days. (Wonder how long the shooting sched had to be to dodge this gloomy burg's pervasive rain and overcast?) That the viewer sticks with it (well, this viewer) without putting a dent in the fast forward is mostly due to the plethora of fine acting by Hackman, Burstyn, Margret, Madigan, Sheedy, Lang and Dennehy. And when the acting is all first rate, even when delivered by the above pros, the director, in this case TV vet Bud Yorkin, must be given some recognition even though Yorkin's visual sense is strictly small screen, and thus totally at the service of Welland.