Potins mondains & amnésies partielles

Porter Stoddard (Warren Beatty) is a successful New York architect married to Ellie (Diane Keaton) with whom he has two children. Unbeknownst to Ellie, Porter is having an affair with a cellist named Alex (Natassja Kisnki). When the Stoddard's longtime friends the Morris' consisting of Mona (Goldie Hawn) and Griffin (Garry Shandling) go through a turbulent divorce after Mona discovers Griffin's infidelity, Porter travels with Mona to Louisiana to help her assess a property she owns and the two end up sleeping together resulting in further complications.

Following British director, Peter Chelsom's initial success on smaller films that garnered critical praise like Hear My Song, Funny Bones, and The Mighty, Chelsom was hired to do Town & Country a modestly budget $40 million comedy with an all star cast for New Line Cinema penned by Michael Laughlin who while more known as a producer, did have some writing credits on films like Strange Invaders and Strange Behavior as well as the 1986 drama Mesmerized. Production was a nightmare from the start with Beatty clashing with director Chelsom, the script was still being re-written as filming was going on (not an uncommon practice in the industry). Beginning production in 1998, production went through 1999 due to Shandling and Keaton needing to leave to work on other films with filming not resuming for another year. In the interim Buck Henry had been paid $3 million to do some "brush up" work that lead to him being credited on the final film alongside Laughlin. New scenes were added in reshoots in 2000 including a divorce mediator played by Henry, closure scenes, and a subplot featuring Charlton Heston and Andie MacDowell resulting in the final production budget being somewhere around $90-125 million. The film was finally released into theaters in April of 2001 where New Line knew they had a bomb on their hands and kept the marketing to a minimum with no press screenings. Critics who reviewed the film were predominantly negative, and the film made a mere $10 million against its budget. Most of the cast and crew were fine. Director Peter Chelsom averted the crashing of his Hollyowood career thanks to the success of Serendipity the same year as Town & Country, but Warren Beatty wouldn't appear in another film until 2016's Rules Don't Apply, and with the simultaneous failure of Shandling's What Planet Are You From?, he'd never headline another movie except for doing voicework in Dreamworks' Over the Hedge. Looking back on Town & Country very little of it has stayed in the minds of those who saw it with the most notable aspect of it being its ridiculous budget. At it's core Town & Country seems like a mixture of Woody Allen-esque midlife crisis relationship dramaedy and sex farce and doesn't do either that well.

When the movie begins it starts by establishing Beatty's Porter as unfaithful to his wife with a scene of Natassja Kinski naked playing a cello, not that you actually see anything as it's very Austin Powers in its handling of nudity. From this scene onward the movie doesn't seem like it knows how to handle this subject because there's not really any indication of any problems in Porter and Ellie's marriage and most of the setup in the beginning is just odd with a weird aspect of humor being the random people living at Porter and Ellie's apartment. When we get the reveal of Griffin's infidelity, the catalyst is a phone call given to Mona and we never find out who was on the other end of that phone call and the same thing happens a few scenes later when Ellie is called by someone, we again don't know who, and the movie just flies off the rails in the last 40 minutes with a weird subplot involving Andie MacDowell's Eugenie whom Porter met on a plane in Louisiana and coincidently ended up running into her in Sun Valley while on a bonding trip with Griffin and the movie just gets dumber and dumber with all these nonsensical turns until it just flatly concludes.

Town & Country isn't insightful enough to be a relationship dramedy like an Allen film, but it's also too leaden to be a sexually charged farce either. The movie feels like two halves of two not particularly good movies stapled together. It's not abrasive annoying or unwatchable (maybe the final 40 minutes come close) but it's very sub sitcom levels of story and humor that are well beneath the talents of its cast.

Warren Beatty is one of those Hollywood icons that has had an inconsistant career. For every Bonnie and Clyde he has made, he has also made Ishtar (which I think is better than this movie). This movie is by far his worst. It feels like a desperate attempt by Beatty to make him feel young by having him sleep around with so many women. The whole cast feels lost in this movie. The characters are all unlikable, especially Beatty's. Why would I sit through a "comedy" where we don't want to be around these people? The usually charming Goldie Hawn and Diane Keaton are rather shrill in this movie. I say read articles about this movie's troubled production. I think that story would be up there with the story of "Heaven's Gate," "Ishtar," "Bonfire of the Vanities," and "Waterworld" as the behind the scenes story is more interesting than the movie itself.

Town And Country definitely isn't as bad as *some* people make out. The film isn't a masterpiece but it was good enough. I felt some bits dragged on a little but others were quite entertaining and there are a couple of funny moments too. The cast including: Warren Beatty, Garry Shandling, Charlton Heston, Diane Keaton, Goldie Hawn and of course Josh Hartnett-The main reason, I actually went to see this film in the first place.are *really* good too. I give Town And Country a 6/10

You have to wonder what combination of roofies and blackmail

New Line's former kingpin Michael DeLuca used to lure Warren

Beatty into this grotesque travesty of a Philip Barry comedy. TOWN

& COUNTRY is one of those rare movies that preoccupy you for

their entire running time with questions bearing in no way on the

story onscreen. Questions like: How did this get greenlit? Why

would someone send a comedy into production with no script?

Why would someone let a comedy finish production with no script?

Did these very gifted people (there are good, hard-working, clean

and industrious performances from Beatty, Diane Keaton, Goldie

Hawn, Jenna Elfman and Nastassja Kinski) think this was funny

when they read it? When they were shooting it? Did the crew just

kind of stand there in stony silence?

Considering the combined ages of the cast, and the movie's

splashy failure in an era where teen mediocrities rule the earth,

and the movie's damage to the career of its director, Peter

Chelsom, a talented man who's not to blame, the whole thing

provokes, not bitchy snickers, but a sigh of profound sadness.

"Town and Country" is a critically panned but mildly amusing flick which tells of the marital misadventures of two of middle aged couples (Hawn/Sanders, Keaton/Beatty) who split up over reasons of fidelity. The flick is top heavy with talent on the audience side of the lens with no evidence of same in screenplay and direction. Fraught with meandering repartee, comedic situation which come off like bad improv, a jerky flow, lack of cohesion, no center of gravity, etc. "T&C" isn't as awful as it is an underachiever. Okay for hard up sofa spuds.