Mr. & Mrs. Bridge

I first saw this movie when released in 1990 and just watched it again, partly out of curiosity as to whether i would feel differently about it. I don't. I still see it as a movie with all the right things going for it but just missing the mark.

The acting, writing, cinematography, etc. are all exemplary. It is, i believe, the movie's episodic structure which ultimately makes it seem rather uneventful when, in reality, the story is made up of many quite important events. An episodic structure, can work just fine, of course, but, as with most successful stories, it still needs to have a certain "build" to it in order to really satisfy. If that "build" IS here in this movie, it is so muted as to be incoherent to most viewers. Not that Mr and Mrs Bridge is not worth viewing! In fact, its thematics are well worth discussing. In my eyes, the parents represent an older, more traditional way of life on the verge of irreversible change, as personified by their children (though one or two of them eventually settle back into the groove). The country club/tornado sequence seems especially significant in light of such a reading, that a "storm" is on its way and they had better take cover. That Mr Bridge should remain steadfast in its occurence speaks volumes about his character. There are myriads of wonderful little character traits, etc., in this movie worth pondering, by the way.

While Mr Bridge is a fascinating persona, it is Mrs Bridge who, for me, remains central to the film. In fact, it might be THE major statement of the movie that this suburban woman has begun to awaken to how sheltered (stifled?) she and others like her have been. Though she does yearn for more--in a sense she really does want to be fully awakened--she never becomes more than vaguely enlightened. She realizes--even accepts with a great deal of comfort--how "lucky" they are to have lived such a privileged life. Though there have been many victims of female discontentedness (e.g. her friend Grace), she and many like her have adapted quite well to their mode of survival and comfortable living. It simply means sacrificing all of those crazy dreams that artistic types pursue, not to mention sacrificing passion--real passion--for life.

There are many significant instances to underscore Mrs Bridge's circumstance as a woman dependent on her man, but none better, perhaps, than the at the end of the movie as a pampered victim in a car: "hello? hello? is there anybody there?"...indeed!

the two books this movie was based on are some of my favorites. they perfectly, poignantly, and sometimes humorously capture the lives of an upper middle class couple of their time. the movie did a good job getting some parts right, but of course it pales in comparison to the two books. for those who live in or know kansas city well, its an interesting film. i live in the neighborhood in which it was set and go to the same places the characters did. otherwise, its still an interesting study of the lives of its time period.

I thoroughly enjoyed this film, in addition to the storied couple (in real life) playing Mr. and Mrs. Bridge--I thought the story line excellent. I actually grew up in Kansas City not long after the time period in the film and my family lived much as these people. The film's "slowness" represents that time---Paul Newman's close and steady pace, his awareness and lack of awareness of the world around him are intriguing. Joanne Woodward and Blythe Danner represent to very different types of women (of the time) but gives the viewer the sense that they are both trapped, one willingly and the other not so willingly. I weep for the Mother (Joanne Woodward) who wants to be close to her grown children but is too limited in her own world to really know how. The children are at fault in many cases, but it's sad nonetheless. The "wedged" car in the garage door opening sums up the Mother's inability to control her surroundings and the very fact that the husband was angry when he arrived home only underlines this fact. Thank God he seems to have loved her!

Films produced under the Merchant/Ivory banner are, as a general rule, respectable, literate, and often more than a little bit dull. But here's an exception (to the last rule, at least): an intimate, snapshot diary of an ordinary, middle-class, mid-American couple, played by the off-screen couple of Paul Newman and Joanne Woodward. Ruth Jhabvala's sensitive adaptation of the twin novels by Evan Connell is highlighted by her customary wit and attention to detail, with Newman and Woodward improving on the title roles by adding in their performances subtle shades of character which can't be written into any script. The episodic, slice-of-life structure doesn't allow for any dramatic momentum, and there isn't much of a message beyond the observation that native mid-westerners are emotionally repressed, but under James Ivory's typically graceful direction (and with the help of a first-rate supporting cast) it's an uncommonly rich film, full of privileged moments.

"Mr. and Mrs. Bridge," directed by James Ivory, from 1990, is the story of one American family that represents many of that era, showing them in the period of 1937 until just after the war.

The Bridge family is upper middle class. Walter and India (Paul Newman and Joanne Woodward) have three children: the aspiring actress Ruth (Kyra Sedgwick, so young you can't believe it); Carolyn (Margaret Welsh), and Douglas (Robert Sean Leonard, another baby face). Walter Bridge is a conservative man, one who can't and doesn't show his feelings, an excellent businessman, by the book, and seen today, very old-fashioned, almost Victorian in his attitudes. He loves and respects his wife. India is a sweet, naive woman who doesn't know much of the world, but is exposed to it through her high-strung, independent-thinking friend (Blythe Danner) and her art classes. India takes her husband's opinions and does what he wants. The few times she puts forth other ideas, she is shot down and accepts what he says.

When it comes to their children, both of them are out of it. Walter is a fair man, and when Ruth wants to go to New York, he allows it under certain conditions; when Carolyn wants to marry someone beneath their class, he hears the young man out and gives his blessing; and when Douglas wants to join the Air Force, he counsels his son to stick with his education until he's drafted.

This doesn't mean that Walter and India know anything about their children's' private lives or the sex they're having. Walter is far too rigid to consider such a thing, and India is too naive.

This is certainly a picture of a different time, where the older generation didn't give their emotions much play, when women went to lunch, took art classes, and everything they did revolved around their husbands, and when the man's word was law. Yet we can see the beginnings of change around the edges in their children's' lives of what's coming.

The acting is marvelous, particularly from Paul Newman, who at 65 was still gloriously handsome; and from Blythe Danner, who belonged, perhaps, in a bigger city than Kansas City and among a more liberal crowd. I see where Joanne Woodward's performance has been criticized here; some of it, I gather, was because of her age and also because the character says some things considered out of character as compared to the books on which the film is based. Still, she has the sweetness, the caring, and displays the narrow thought of the character.

If the film is slow, it's because of the time period in which the film is set. You sat in the living room in the evening and listened to Nelson Eddy on the radio; you went to see A Star is Born with Janet Gaynor and Frederic March; it was a more leisurely life and a quieter one. Interestingly, it was a time period in which great self-analysis and deep thought could have emerged, but it wouldn't be until after the war that psychiatry (compared to astrology by Walter), women in the workplace, and changes in morality came into vogue.

Today we live so differently - it wasn't all it was cracked up to be back then, and life today sure isn't all it's cracked up to be now. A film like this does make one long for just a few of the old ways in terms of lifestyle perhaps - the simplicity, the sense of family, but in its repression and views of women, no way.