An Unmarried Woman

Jill Clayburgh gives the performance of her life in this dramedy about a recently divorced woman adjusting to her new existence. Extremely funny, sad, touching & very, very real. Alan Bates is great....& sexy as hell. The last scene is a hoot.

I miss 70s films where everyone looked so normal. Clayburgh's husband and subsequent suitors are just a buncha dudes. This film depicts female friendship in a way that would have felt new in 1978. Clayburgh gives a great complex performance. I am kind of surprised this film seems forgotten by modern audiences.

there's definitely a level of bravery involved here, both in the subject matter chosen, and the way the issues are explored. i can't imagine there being a lot of female-centric films prior to this one, and this set precedent for an entire genre and movement of film. having said that, it lacked emotional authenticity and was unoriginal in terms of filmmaking and visual language. it's a shame that a film that was a pioneer in so many ways, failed on such a basic level. such wasted potential.

Estreava há 45 anos em Cannes. Me parece que para 1978 esse filme surgiu como uma aula de como viver a vida, de ser independente, de não depender de homem para nada. É possível dividir a vida com um outro homem depois de ver seu idílio destruído? É. Mas é preciso tratar a situação sem voltar a se colocar num conto de fadas. Vejo muitos mulheres ainda caindo nessa armadilha e isso ainda acontecer em 2023 é bem desesperador. A cena final é maravilhosa. Box Versátil Nova Hollywood Volume 4.

Clayburgh is splendid. Murphy very good too (in obviously a most thankless role indeed). First half was better than the second, more natural and real-feeling; started to seem a bit Hollywoodish toward the end there. A bit talky and encounter-groupish (and I definitely could've done without that terminally mellow therapist spouting her no-doubt quite pricey inanities). The daughter seemed rather sitcommy at times. Btw what was "Maybe I'm Amazed" doing in there?...I have no idea.

I eventually gave in to Jill Clayburgh, but I'll never trust Alan Bates with anything. Bill Conti had me immediately. Interestingly, this hallmark film of '70s feminism only barely passes the Bechdel test (in the first scene with the psychiatrist).

More a diagrammatic than a dramatic account of a woman on the rebound, this movie is like a profusely illustrated version of one of those self-help, consciousness-raising manuals that traipse unendingly through the nonfiction best-seller charts. It's overly balanced, systematic, and universalized, but at the very least it makes a widely accessible lunch-hour or cocktail-hour discussion topic. Mazursky, possibly making up for his culturally ingrained male chauvinist piggism, seems a little cowed.

A bona fide chick flick and with what I find to be a very dislikable protagonist, but nevertheless a neglected gem. Substantial and thought provoking.

When Erica's (Jill Clayburgh) marriage ends abruptly, she finds adjusting to unmarried life no easy task--especially re-entering the world of dating. Paul Mazursky's only Best Picture nominee is one of his better films, aging better than most (though definitely of its time), thanks in large part to Clayburgh's smart, touching, wholly believable performance. Michael Murphy, as her ex, Alan Bates, as her new beau, and Lisa Lucas as her daughter provide good support. Fine score by Bill Conti.

Boring.

Deliberately paced drama works best in the first half, as Clayburgh deals with the heartache and uncertainty of a collapsing relationship; interactions between spouse and spouse (as well as mother-daughter) are blistering, painful and feel all too authentic. It's a shame that the second half meanders, becoming far more conventional (with Bates' sensitive artist a little too good to be true). Still a compelling experience, with Clayburgh's extraordinary, shaded performance a highlight throughout.

Because of the way its written and done it has the trappings of a rather special drama about urban women of its time. But there's also a chick-flickness about it that cheapens it. Like a populist film in a smarter package.

This takes a more balanced view of marriage and divorce than I think most modern films would.