Facing a mid-life crisis, 50-year-old college dean Marion Post takes a sabbatical and rents an apartment next to a psychiatrist's office to write a new book, then is drawn to the plight of a... Read allFacing a mid-life crisis, 50-year-old college dean Marion Post takes a sabbatical and rents an apartment next to a psychiatrist's office to write a new book, then is drawn to the plight of a pregnant woman seeking that doctor's help.Facing a mid-life crisis, 50-year-old college dean Marion Post takes a sabbatical and rents an apartment next to a psychiatrist's office to write a new book, then is drawn to the plight of a pregnant woman seeking that doctor's help.
- Awards
- 1 win & 3 nominations total
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Did you know
- TriviaWoody Allen is not known for complimenting his actors, saying that the fact that he casts them is proof that he considers them great. However, he has said that the scenes between Gena Rowlands and Gene Hackman, particularly in the flashback of the party, were "electrifying."
- GoofsWhilst it is true that the tune of Gymnopédie No. 1 is played at the beginning of the film, it is not the piano version but rather the orchestral version orchestrated by Debussy. For some unknown reason, Debussy changed the numbers of the Gymnopédies: thus the orchestral version of Gymnopédie No. 3 bears the tune of Gymnopédie No. 1!
- SoundtracksGymnopédie No 1
Music by Erik Satie
Performed by Orchestre de la Société des Concerts du Conservatoire
Conducted by Louis Auriacombe
Courtesy of EMI Pathé-Marconi/Capitol Records Special Markets
Featured review
Devastating, unlike anything I've seen from Woody Allen so far. This was a very quiet, deliberately paced exploration into a woman facing a mid-life crisis, played with extraordinary skill by Gena Rowlands. It leaned maybe a little too much on narration when it could have utilized her talent as an actress instead, but that's a small complaint when the final result is so powerful.
Rowlands' Marion Post rents an apartment in order to work on her novel and, through hearing the patients of the psychiatrist's office next door, slowly begins to examine her life and the choices that she has made. We see her interact with those surrounding her, be it her husband, her daughter, her brother, but she always feels a level removed from all of them. Over the years she has isolated herself from everyone around her and examines them rather than interacts, and Rowlands plays this with a knowledge so fitting and serene.
There's an extended dream sequence a little over halfway through the picture that is one of the most surreal, emotional and illuminating experiences I've had in a Woody Allen picture and one of my favorite moments in the twenty or so films of his I've seen. It imagines her life as a stage play that she watches take place, and it opens the world back up to Marion, which is displayed in master strokes on the all-telling face of Rowlands. She gives a performance for the ages here, working mostly from the inside out, although there are a few devastating scenes of her letting herself fall apart.
I was surprised at how little Mia Farrow was in it, given that she's on the cover for it and the plot synopsis makes her part seem a lot more major, but she manages to leave an impression, although the most surprising of the supporting cast was Gene Hackman. I'm used to seeing him (and loving him) in varying crime pictures, so it was nice to see him take on a more grounded and every day character, which despite only appearing for a brief time he manages to leave a lasting impression with his emotionally conflicted portrayal. You can really feel this character that he displays, feel his love and heartache in every breath.
Still, the film absolutely belongs to Rowlands, who resonated so deeply inside of me and will surely stick there for a while. She knocks it out of the park in a film that is so unique, cerebral and magnificent from Woody Allen.
Rowlands' Marion Post rents an apartment in order to work on her novel and, through hearing the patients of the psychiatrist's office next door, slowly begins to examine her life and the choices that she has made. We see her interact with those surrounding her, be it her husband, her daughter, her brother, but she always feels a level removed from all of them. Over the years she has isolated herself from everyone around her and examines them rather than interacts, and Rowlands plays this with a knowledge so fitting and serene.
There's an extended dream sequence a little over halfway through the picture that is one of the most surreal, emotional and illuminating experiences I've had in a Woody Allen picture and one of my favorite moments in the twenty or so films of his I've seen. It imagines her life as a stage play that she watches take place, and it opens the world back up to Marion, which is displayed in master strokes on the all-telling face of Rowlands. She gives a performance for the ages here, working mostly from the inside out, although there are a few devastating scenes of her letting herself fall apart.
I was surprised at how little Mia Farrow was in it, given that she's on the cover for it and the plot synopsis makes her part seem a lot more major, but she manages to leave an impression, although the most surprising of the supporting cast was Gene Hackman. I'm used to seeing him (and loving him) in varying crime pictures, so it was nice to see him take on a more grounded and every day character, which despite only appearing for a brief time he manages to leave a lasting impression with his emotionally conflicted portrayal. You can really feel this character that he displays, feel his love and heartache in every breath.
Still, the film absolutely belongs to Rowlands, who resonated so deeply inside of me and will surely stick there for a while. She knocks it out of the park in a film that is so unique, cerebral and magnificent from Woody Allen.
- Rockwell_Cronenberg
- Jan 29, 2012
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Details
Box office
- Budget
- $10,000,000 (estimated)
- Gross US & Canada
- $1,562,749
- Opening weekend US & Canada
- $75,196
- Oct 16, 1988
- Gross worldwide
- $1,562,749
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