In London, stuffy statesman Carter Harrison meets Toni, a Bohemian artist with a hot Italian temper. The two impulsively marry and then find that they disagree on everything. Shortly afterward they separate. We then meet them five years later on the eve before their divorce becomes final. After seeing each other again, sparks are reignited and they spend the night together. Reality sets in when morning comes and they begin arguing again. Once again, divorce proceedings are on, until Carter that an important promotion hinges on whether he's married. He schemes to win back Toni and eventually succeeds. But can he keep her from destroying his career by posing as Lady Godiva in a protest movement?
Writer:Norman Panama (story), Melvin Frank (story), Melvin Frank (screenplay), Michael Pertwee (screenplay)
In London, stuffy statesman Carter Harrison meets Toni, a Bohemian artist with a hot Italian temper. The two impulsively marry and then find that they disagree on everything. Shortly ... . You can read more in Google, Youtube, Wiki
Brooke H (kr) wrote: Amazing. A true masterpiece!!!
Panos M (de) wrote: The first part of the film is an excellent psychological study...In the second part though, the director loses her goal and the film gets pointless and insignificant...
Simon M (us) wrote: Mmmm... not terrible.
Logan M (nl) wrote: Cameron Crowe's script and actors' performance compliment each other in this quirky comedy-drama.
PJ P (es) wrote: Gradually filling in movies I should have seen long ago. Amodovar visibly gets his ducks in a row here, comfortable moving into the credible (if barely) from the incredible (if barely) of Dark Habits. Wonderful heroic housewife Gloria (Carmen Maura), battling against the travails of working class life in 1980s Madrid, employs a range of strategies which include casual adultery, amphetamines, giving her young son to a paedophile dentist, playing voyeur for her ~puto(TM) friend and killing her husband with a ham (and hey this was made before Bigas Luna made Jamon, Jamon " that Iberian ham is dangerous stuff). With lots of lovely witty sub-plots, this is a must-see for us Almodovar fans. Watch it as well as 'The Skin I live In' boys and girls.
Curtis b (it) wrote: A 70's required viewing
Lucresia S (nl) wrote: A timeless classic that deserves a space in your movie collection. Death Takes a Holiday is now permanently included in my list of All-Time Favorite Movies. The film is unique, morbidly funny, and every scene is just so delicious to watch. To see Death as a human, tasting emotions, questioning his building feelings for a woman, and his leniency or indulgence of human idiosyncracies - it's truly delightful. Each scene I was engrossed, both by the dialogue and acting, as well as the lavishness of the setting that immediately transports me into that world. I also loved the opening credits, quirky fun.While I have liked Meet Joe Black despite of its flaws & cop out feel-good ending, Death Takes A Holiday is far more superior in its execution.. the script may be a bit stilted, the plot more straightforward and simple, but what made this film better in my opinion is the cast and its morbid humor. Pitt's pretty boy, slightly insipid Death could never compete with March's sexy-in-a-Cary Grant/Sean Connery-way, charming naivete, & charismatic portrayal as Death.
Joe R (kr) wrote: The women are the only thing the film has going for it. Everything else is awful.
Alex M (de) wrote: It's impossible to deny Judd Apatow's ability to incorporate comedy, romance and friendship marvelously. It also helps that the actors portray their characters with perfect comedic timing and unbelievable charm. Highly recommend this movie to anyone who enjoys comedies but also appreciates for the movies' romantic core. But I do NOT recommend you see this movie on a first date.
Alex K (ag) wrote: Me And My Brother Jesse Krajci Were 12 Years Old In 2006.
David T (it) wrote: Story was bad, but I liked it anyway!
Edith N (nl) wrote: Music directors ought to pay a little more attention to the fact that "My Country 'Tis of Thee" is to the same tune as "God Save the King" (or, currently, queen). The great dramatic flag-raising scene here is made a little ludicrous because of it. It's most likely that these people would only have known "God Save the King," in no small part because I'm not sure the other had been written yet. The point is, we are celebrating that the Americans won the war, that the US is its own country now (leaving aside the failed experiment of the Articles of Confederation), and so we're raising our flag--to the strains of our opponnents' national anthem. This is part of the pre-war patriotism. Just before the US got into World War II, when isolationism was at its height, you get a lot of movies about America's Great Past. Sometimes, what you get is something like this. John Ford, in his first colour film, brings us part of Our Glorious Revolution. We have a young, loving couple--heck, we have Henry Fonda and Claudette Colbert!--who are building a new life together against the backdrop of the American struggle for independence. Their farm is burned, but they persevere. We can [i]all[/i] persevere against the hordes of those who would oppress us, right? Right. Now, I don't know and can't look up what Ford's pre-war politics were, but given his post-war politics, he was probably pretty strongly anti-Hitler. I think Ford was trying to indicate that we had to fight for our freedoms. I think Ford really wanted us to know that, as is tediously repeated by certain factions these days, freedom isn't free. Yes. Absolutely, you have to fight for your freedoms. But not everyone, even Ford knew, had to actually take up guns in actual fights. Check out his defense of Joseph Mankiewicz and defiance of Cecil B. DeMille one of these days. Oh, I don't even know. It's hard to examine films of this era to know what they're actually trying to say. Well--[i]Gone With the Wind[/i]. And this is another film which had its few Oscar nominations swamped by [i]that[/i] little juggernaut. But [i]Drums Along the Mohawk[/i] is a mediocre film. It's not bad. It's not good. It's good enough so that I'm not actually giving it a bad rating. The use of colour is less glaring than in a lot of other early films. Henry Fonda's always worth watching; I think this is one of the movies that made his actual children pretty angry, because he's a pretty good father here. And Claudette Colbert is delightful as always. But don't spend too much time analyzing the politics. It's easy to do, and in some ways, it's pretty fun. Just don't overdo it. It'll take away from your enjoyment of what's a decent little film, and that sort of analysis is best saved for more thoughtful films. Like [i]Invasion of the Body Snatchers[/i].