Newman is a successful driver who marries a small-town divorcée (Joanne Woodward), soon after they've met
As usual, he devotes too much time to his career and ignores everything else, and, as in "From the Terrace," Woodward turns in desperation to another manhere a rival driver (Robert Wagner). Newman finds them in bed, and becomes estranged from her (again, as in "From the Terrace"), but after winning the big race, he realizes his life is empty, and attempts a reconciliation (the theme of the "winner" who's really a loser).
The relationship is superficially written, but Newman and Woodward make us care about it Their first film together since "A New Kind of Love," it's their best since "The Long Hot Summer." They exude a naturalness, intimacy and spontaneous affection that one suspects come from their own feelings for each other It is apparent in their first scene, where he is slight1y drunk, delightfully playful, and confident (but no longer unpleasant) in his attempt to pick her up; and she responds with smiles and applause at his tricks with a fireman's hat, but looks slight1y uncertain about this glamorous stranger
Following their wedding, they sit on a swing, drinking beer from cans, talking and laughing quietly She describes her previous loneliness, and he responds, typically, "Beer's a lot less complicated." They smile, she rubs his back and leans her head on his shoulder: these are people who really know each other, and who have attained a maturity about themselves
Newman exhibits this maturity throughout His loose, casual style, evident in "Cool Hand Luke," has given way to an almost complete mellowness Perhaps because of the confidence gained from his directing experience, he has gotten rid of his mannerisms; and except for the intense determination he shows while racing, he's more relaxed than ever before Although the script tells little about his past, there's a wealth of experience etched into his face, especially in his brilliant, silent reaction to finding the couple in bedone of quiet resignation that suggests a lifetime of pain and frustration
Newman has many fine scenes of quiet underplaying: his camaraderie with Wagner early in the film; his solitude after the race; his genuine warmth in the relationship with his stepson (Richard Thomas). The scenes in which they drink champagne and come home drunk together project for the first time in Newman's career a really paternal feelingonly vaguely suggested in strikingly similar scenes in "Hud."
The relationship is superficially written, but Newman and Woodward make us care about it Their first film together since "A New Kind of Love," it's their best since "The Long Hot Summer." They exude a naturalness, intimacy and spontaneous affection that one suspects come from their own feelings for each other It is apparent in their first scene, where he is slight1y drunk, delightfully playful, and confident (but no longer unpleasant) in his attempt to pick her up; and she responds with smiles and applause at his tricks with a fireman's hat, but looks slight1y uncertain about this glamorous stranger
Following their wedding, they sit on a swing, drinking beer from cans, talking and laughing quietly She describes her previous loneliness, and he responds, typically, "Beer's a lot less complicated." They smile, she rubs his back and leans her head on his shoulder: these are people who really know each other, and who have attained a maturity about themselves
Newman exhibits this maturity throughout His loose, casual style, evident in "Cool Hand Luke," has given way to an almost complete mellowness Perhaps because of the confidence gained from his directing experience, he has gotten rid of his mannerisms; and except for the intense determination he shows while racing, he's more relaxed than ever before Although the script tells little about his past, there's a wealth of experience etched into his face, especially in his brilliant, silent reaction to finding the couple in bedone of quiet resignation that suggests a lifetime of pain and frustration
Newman has many fine scenes of quiet underplaying: his camaraderie with Wagner early in the film; his solitude after the race; his genuine warmth in the relationship with his stepson (Richard Thomas). The scenes in which they drink champagne and come home drunk together project for the first time in Newman's career a really paternal feelingonly vaguely suggested in strikingly similar scenes in "Hud."