Two for the Road

A cult movie for the longest time, but no violence, horror, or weird people like you've come to expect from movies with that label. The synopsis makes it sound ordinary, but it's really not; it's a unique tale of two people falling in love, then trying to make their marriage work through the trials of the years. Like many of the works of Robert Benton, this movie works largely because there's no baloney here

It shows both the ups and downs of marriage, in a very clever multi-threaded flashback structure. Skipping freely over time from road trip to road trip allows Donen to draw parallels, establish patterns, point out coincidences and set up amusing juxtapositions. And he's not afraid to undercut a sweet recapitualtion by immediately following it with another harsh confrontation. Finney and Hepburn are both terrific in their exchanges.

I love you, Audrey Hepburn.

Pretty enjoyable, sometimes insightful mix of comedy and drama about a turbulent relationship. Besides the obvious appeal of the leads the editing is the key to making the film work, providing some enjoyable transitions and doing well to contrast expectations with reality and exposing many foibles in human relationships.

Painfully real.

For a comedy, it's not all that comedic. Or romantic, for that matter. There are lots of twos and roads, though, so that's something. I'm not criticizing her looks, but Audrey Hepburn is 38 here playing someone who's apparently in her early 20s. In the flashbacks, at least. Don't get me wrong, she looks great, but you can tell that she's trying a little bit too hard. She doesn't have that youthful naivety from Sabrina anymore. She's too elegant. Mostly, the movie's not funny though.

Great dialogue, interesting time-shifting plot progression, and just beautiful to look at. A must for any Hepburn fan.

A love story with adults. Interesting things I learned: couples had shared passports and kids sat in the front of the car without seat belts. Fav scene: marriage proposal

# 886

I can't see what she finds attractive about him, so the whole thing fell apart for me.

Linklater has to have seen this before making his before trilogy, right?

A film I didn't love, but a film that I will champion. I really like that it felt like an influence on Linklater's Before Trilogy, even if I found the fusing of the trilogy into one film a little hard to follow in parts. While I am unsure of the appeal of Finney's character (is there any moment in the film where he comes across, at best, okay?), there is an obvious chemistry between him and Hepburn. Who knew that all you just needed to find someone not 20-30 years her senior?

A story of a bitch and a bastard..

845

Donen captures so well the style of the era but also knows how to capture the beauty of his leads. Even when their life is circling many drains the angelic beauty leads. A movie willing to gleefully show you the threads of any relationship and how easily they can be unravelled. Is it happy? Is it sad? Is it doomed love? Is it an accurate portrait of marital life? Does it matter if a movie gives you such things?

The stylish opening credits and Henry Mancini's score held the promise of something better, but in the end, this comes off like a badly-dated precursor to Little Miss Sunshine, a road-movie with unbearably quirky characters and tedious running gags that ends up both gooey and cynical.

Albert Finney and Audrey Hepburn make for a very charismatic couple. The usage of a road trip to show different phases in their relationship works very well. Henry Mancini's score sets the mood well.

It drags and drags on an issue I don't really care about. just for the sake of Audrey Hepburn's constant charm distributed sporadically here and there.

Em honra de Albert Finney (1936 - 2019) filme #1. Só uma desculpa para rever esse filme maravilhoso. Tudo neste filme está no lugar certo, na hora certa. Coleção Folha Grandes Astros do Cinema.

A true life adult love story with all its ups and downs. Beautiful Paris cinematography. Hepburn and Finney are a sexy, funny, charming pairing. Sparkling dialogue - even when they swear at each other. Don't watch a bleeped out version, you gotta hear them say to each other, kind of affectionately, "Bitch!" "Bastard!" My favourite scene!A 60s milestone. I saw this when I was 13 instead of the sold-out "The Sound of Music", and am I glad for that decision!

A really good example of very new (for the late 60's) techniques being applied to a fairly standard mainstream story. I liked the film, but it really felt to be about 30 minutes too long. It hits a point where it spins it's wheels sitting in the same spot narratively waiting for the climax to arrive. Both leads are great, but William Daniels kind of steals the film as the world's worst travelling companion.

902

A solid nonlinear look at the ups and downs of a relationship between two people, played by Audrey Hepburn (in an unusual role for her) and Albert Finney. William Daniels is a scene stealer. Nonlinear storytelling was nothing new at this point, and it was a good choice for this material, but for a lot of it the time shifts were so frequent and abrupt that it almost had a gimmicky feel. Good chemistry from the leads, and Hepburn gets to work with a younger male lead! Echoes of Before Midnight.

#958

Even if you only look at certain key elements; the script, acting, observations on relationships and similar themes, you still have a great movie, but from my subjective standpoint, it's nothing that I haven't seen done more poignantly in other films by, say, Woody Allen, Bergman, Cassavettes, and so on. But then you have the editing and story structure, used not just to keep things interesting but also to develop characters uniquely and to compare and contrast different stages of relationships.

Hepburn and Finney are both terrific as they play the members of the couple on the various spectrum stops between smitten and hostile. They're especially good with the bits of Raphael's screenplay that are sharp enough to draw blood, exchanging verbal blows like they're in an especially nasty-minded classic screwball comedy. Not every twist of the relationship is compelling but overall the film represents a fascinating survey of the treacherous contours of a marriage.

Interesting film, edited in different ways, but for me, Albert Finney's character was quite irritating and I didn't enjoy seeing him get to run around grabbing hold of Audrey Hepburn. The days of Audrey having long hair and looking 18 and then having short hair and looking 30 were gone by 1967, but they still tried it. It was a good role choice by Audrey because it was very different to her usual sweet and innocent characters.

By god Finney's too good to be true !