Husbands and Wives was released in
September 1992, the news was full of the Woody Allen/Mia Farrow/Soon-Yi Previn
scandal, which had recently broken. The studio, Tri-Star, seemingly rushed the
release of the film to capitalize on the gossip, and, as a result, the picture
did pretty good box office (better than Allen’s previous two films). Although
the public found out about Allen’s dalliance with Farrow’s adopted daughter a
little later, Farrow discovered it at some point during the filming of Husbands and Wives. Talk about what must
have been a tense set...!
so this is a case in which a reviewer can’t look at a movie without the
real-life baggage encroaching on the evaluation. In fact, I’ll argue that it’s
impossible not to do so.
said, Husbands and Wives is one of
Woody Allen’s greatest—albeit darkest—works. It might be his most insightful,
honest, and disturbingly analytical treatise on affairs of the heart,
especially as they apply to American—and specifically New York City—upper and
upper-middle-class men and women.
a “reality TV” approach to the way it’s shot and directed, with hand-held
cameras and a narrator/interviewer (the voice of Jeffrey Kurland, the costume designer of the film!), who elicits
commentary from the characters outside the main action of the story. This was a
revelation at the time, since the concept of reality television had been only teased
on MTV during the 1980s and had not fully developed as a primetime phenomenon.
Allen’s regular director of photography, Carlo Di Palma, provides a gritty,
jerky, documentary feel to the proceedings, and it works beautifully.
(Allen) and Judy (Farrow) are married with no children. He’s a college
professor in literature. Their best friends Jack (Sydney Pollack) and Sally
(Judy Davis) are a couple that announces at the beginning of the film that they
are getting divorced. They’re both ostensibly okay with that, but Judy and Gabe
are shocked and upset. Jack and Sally, throughout the film, begin to date
others. Jack sees Sam (Lysette Anthony), a much younger aerobics teacher who is
intellectually incompatible with him. Judy matches Sally with Michael (Liam
Neeson), although Judy has the hots for Michael herself. Sally is too neurotic
and so-not-ready for dating again that it doesn’t work out with Michael.
Meanwhile, Gabe becomes infatuated with a very
young college student, Rain (Juliette Lewis), who has a history of dating
this a film fraught with art-imitating-life syndrome, or what? Without
revealing how these romantic and not-romantic liaisons work out, let’s just say
that Allen consistently shows us ugly truths about lies, trust, and compromise.
Is it a comedy? Yes and no. There are laughs, but mostly this is a biting, dark
satire that is more akin to the works of, say, Jules Feiffer, than Woody Allen.
There are moments of sheer brilliance, and others that are too close to the
headlines for comfort.
the most revelatory statement in Husbands
and Wives is that Gabe, Allen’s character, refuses to take his involvement
with student Rain any further after one kiss (that she asks for on her birthday) because it’s “not right.” It’s
amazing that Allen’s character
performs with wiser moral integrity than Allen himself did in his personal
life, considering that the movie was written and made while he was courting a
much younger woman. Ironic, if anything.
Davis received a much-deserved Academy Award nomination for Supporting Actress
for her performance. Pollack (director of such works as Tootsie and Out of Africa),
too, is exceptional, and it’s a wonder why he never got more recognition for
his occasional acting stints. Jack and Sally’s story is the most engaging piece
of the film. Allen’s script, a striking piece of work, was nominated for
Time’s Blu-ray release looks and sounds exemplary, with its 1080p High
Definition transfer and 1.0 DTS-HD Master Audio soundtrack. The only
supplements are the theatrical trailer and an isolated music and effects track.
The essay in the booklet is by critic Julie Kirbo.
to only 3000 units, Husbands and Wives is
a collectors’ item that explores the hurricane that can exist within a relationship,
and one that blew up in the tabloids.