My Love Affair With Marriage YIFY

My Love Affair With Marriage YIFY

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I haven't seen this film since 1975 when I was 17, and although the starring players - Katharine Hepburn and Laurence Olivier - were 50 years older than me, their characterizations of two lovers who had met and fallen in love at the age I was at the time, had separated - but not for lack of love, and now are reunited under the most awkward of circumstances drew me in and held me.I'm going to tell you upfront I intend to spoil this movie to the extent my memory allows because it impressed me so much and because it is such a shame it is not available on DVD.The basic story is that Katharine Hepburn is a famous retired actress, Jessica Medlicott, now widowed, who takes up with a young man because his romantic interest in her revives her feeling of youthfulness. However, his interest is only her pocketbook in the end, for he sues for breach of promise, since back in turn of the century England - and America for that matter - a proposal had the force of a contract. If he wins he will take a significant portion of her wealth with him, plus at that time the winner of a civil suit is afforded the cost of legal representation from the winner, which could be significant.So Jessica hires the best barrister in England - Laurence Olivier as Sir Arthur Glanville-Jones. Sir Arthur recognizes her immediately as his first and really only love from decades before. The problem is, she seems to have no recollection of him at all! She doesn't seem to recall their torrid love affair when he was a law student and she a struggling actress, and how she ran out on him when she decided to marry a much older wealthy man out of the blue. Sir Arthur never explicitly asks her about this, but from her demeanor he can tell she does not recognize him.The memory of the affair may seem to be gone, but the chemistry is still there and sparks fly. Sir Arthur warns Jessica to show up to court looking old, haggard, and dressed plainly so that the jury can see how ridiculous it would be for such a young man to have such an old woman as his bride. She rebels by entering court in a bright red gown with plumes, a hat with even more plumes, and an ornate parasol. Her entry wows the jurors (I believe they were all men) as well as the judge and the rest of the court as she winks and collectively flirts with them.Sir Arthur is furious, but during his cross examination of Jessica, and in his final argument to the jury ,he talks about how ridiculous the idea of any real marriage between the two could be. He asks the jury if they can see the two having children?, growing old together?, doing anything that a newlywed couple can look forward to? Part of the reason his argument is so impassioned is you can just tell he is thinking of the future that he and Jessica lost so many years ago - the past that could have been.If you can ever find it, I'll let the legal decision be one secret I do not tell. However I will tell you that Jessica's memories are not as dead and buried as Sir Arthur believed. This one is absolutely worth your time end to end. Highly recommended.

Both Sir Laurence Olivier and Katharine Hepburn were born in 1908 which would have had them make their earthly debuts during the reign of Edward VII. I guess it's fitting that they do their one an only film together in a romantic comedy about two elderly people brought together by a lawsuit.Hepburn's solicitor, Richard Pearson, brings Hepburn and Olivier together. Hepburn is being sued for alienation of affections by a young man who swears she promised marriage to him, he who is old enough to be her grandson. Olivier is a barrister of great repute and they happen to be neighbors on the same block in London.What Pearson doesn't know and Hepburn seems to have forgotten was that a long time ago, almost forty years, Olivier was a young law student in Toronto who was crushing out big time on young actress Hepburn. Like a good stage door Johnny, Olivier waited for her and had evening out with her and never saw her after that. She married a wealthy title and Olivier went on to a great legal career, but he's been crushing out on her since.In today's terminology they would call the suit against Hepburn palimony. The trial portion of the film is the best with Hepburn almost seeming to work at cross purposes with her own attorney. The opposing barrister is Colin Blakely who played a lot of sleazy types in films. If the British have lawyer jokes in their culture, Blakely would seem like a great candidate. The man just oozed shyster from his very pores.Thirty years earlier had this film been made it would have had a theatrical release. Movie public tastes change so it got relegated to the made for TV status. Still though with the presence of those two star names it should not be missed.Love Among the Ruins was directed by George Cukor and deserved Emmys were won all around, by Cukor, Olivier, and Hepburn. They should all get our thanks for showing that quality still had an audience.

Katharine Hepburn is on sparkling form as "Jessica"; an elderly widow who is being sued for breach of promise by her toy-boy ex-fiancée. She seeks the legal services of veteran Sir Arthur Glanville-Jones (a superbly entertaining Sir Laurence Olivier) without realising - as he most certainly does - that they had a romantic past some years earlier in Canada. The ensuing court room drama provides the perfect setting for the legal antics as he tries to win the case for her - and to save her fortune and reputation - but also for the battle between the two former lovers as they, frequently sparkily, put their personal lives in order. The two stars are exactly that, and working with a witty and clever script under the creatively indulgent eye of George Cukor, it is hard to see how it could go wrong - and it doesn't! It's quite astonishing how rarely this sees the light of day these days, but if it does then give it a go - a great opportunity to see great acting delivering from a strong script from James Costigan with plenty of charisma on the screen and a typically charming John Barry score.

No, there's nothing jolly about the plot line of this version of the classic British TV series where the characters suddenly break into the original recordings of the 1930's, lip-syncing to the original performers. While there's a lot of the music missing from the T.V. series (particularly memorable to me was a scene where the women tap-dance on the hero's coffin in a fantasy sequence to "I'll Be Glad When You're Dead, You Rascal You!"), what remains is pure musical joy even though the plot is no laughing matter. Sheet music salesman Steve Martin is depressed over the state of affairs in his marriage (to the dour Jessica Harper) so he begins an affair with sweet school teacher Bernadette Peters. But evidence points to Martin being a murdering rapist while Peters faces disgrace as a result of the affair.Yes, the depression was depressing, and in addition to Bonnie and Clyde, bread lines and chants of "Brother, Can You Spare a Dime?", there was all that wonderful music, through the movies, Broadway and radio. After being turned down for a loan, Martin and the banker suddenly kiss (in Martin's fantasy) and break into "Yes, Yes, My Baby Said Yes Yes" (a song first performed in the Eddie Cantor musical "Palmy Days") while Bernadette quiets her kiddies down with "Love is Good For Anything That Ails You", also sung in "Hit Parade of 1937". Christopher Walken is a pimp who strips to "Let's Misbehave" and Vernal Bagneris shows humanity as the tramp who sings the title song. Broadway veteran John McMartin appears briefly as Peters' boss.Another amazing highlight is the fantasy sequence where Steve and Bernadette turn into Fred and Ginger while watching "Follow the Fleet" and take over "Let's Face the Music and Dance", filmed in black and white with the two wearing the exact same outfits that Fred and Ginger were wearing. It's a magical moment in post-classic era cinema that is rare to be sure. The songs don't really move the plot along (as they aren't meant to) but represent the element of hope Martin keeps hidden away as his life falls apart. The ending is a bit jarring and unbelievable, but was probably necessary to prevent a bad word of mouth from spreading. This would certainly be a project worth considering for Broadway, but then again, with all the other movies having been musicalized, you have to say, why bother?

It's 1934 Chicago. Sheet music salesman Arthur Parker (Steve Martin) can't get any love from his wife Joan (Jessica Harper) both in the bedroom and in the bank book. She wants to keep her inheritance for a rainy day but he wants to use it for his business. He befriends penniless hitchhiking Accordion Man. He falls for school teacher Eileen (Bernadette Peters) and they have a short affair as he lies to her about being a widow telling her to "take the pain away". His wife Joan entices him back with sex and money. Eileen is fired for being pregnant out of wedlock. Arthur meets a blind girl calling her beautiful. Later the Accordion Man rapes her and kills her. A desperate Eileen falls into the arms of Tom the pimp (Christopher Walken).This is a sad depressing movie juxtaposed by the bright shiny surreal song and dance show. The story is such a downer. Arthur is a horrible person. Eileen is an innocent that is destroyed. There is a horrible crime. Yet this is a fantasy with dance reminiscent of the 30s except darker. It's a very odd mix and is almost experimental in its nature. It's definitely not a comedy.

The cowboy Bud Davis (John Travolta) moves from his homeland of Spur to Houston to work with his Uncle Bob (Narry Corbon) in a refinery. During the night, they go to the Gilley's Club where Bob introduces his nephew to his friends. Bud meets Sissy (Debra Winger) at the club and soon they fall in love with each other and get married. Sissy is an independent working girl and Bud is a male chauvinist that believes in the traditional role of the wife, cooking, ironing and making love. When Gilley's buys a mechanical bull for the clients, Bud likes to ride it and does not allow Sisy to ride. However she goes to the club in the afternoon and the ex-convict and operator of the bull Wes Hightower (Scott Glenn) teaches her how to ride. When Bud learns that Sissy lied to him, Bud becomes jealous and has a love affair with the wealthy Pam (Madolyn Smith) and Sissy goes to Wes' trailer. Along the days, they fight each other and try to make the other jealous. When Gilley's announces a mechanical bull's dispute, Bud wants to win Wes. Will he succeed? "Urban Cowboy" is a silly film with unlikable and immature characters. Bud Davis is an unbearable character and Sissy is immature and fool. But the music score and the dances are highly entertaining. In addition, it is delightful to see Debra Winger very young. My vote is six.Title (Brazil): "Cowboy do Asfalto" ("Asphalt Cowboy") 781b155fdc