Two for the Seesaw (1962)

Calificación de los usuarios:

6.6/10   

Director:

Robert Wise

Escritores:

William Gibson (play)
Isobel Lennart (screenplay)

Fecha de Lanzamiento:

24 noviembre 1962 (USA)

Género:

Drama | Romance

Frase comercial:

a square from Nebraska? an off-beatnik from Greenwich Village? It just didn't figure... that they would... that they could... that they did!

Plot:

Jerry Ryan is wandering aimlessly around New York, having given up his law career in Nebraska when his wife asked for a divorce...

Plot Keywords:

Dancer | Divorce | Dysfunctional Marriage | Divorcee | Businessmen

Premios:

Nominated for 2 Oscars. Another 1 win & 1 nomination

Comentarios de los usuarios:

Beautiful but frustrating

Reparto

Robert Mitchum	...	Jerry Ryan
Shirley MacLaine	...	Gittel 'Mosca' Moscawitz
Edmon Ryan	...	Frank Taubman
Elisabeth Fraser	...	Sophie
Eddie Firestone	...	Oscar
Billy Gray	...	Mr. Jacoby

También conocida como:

Cualquier día en cualquier esquina (Mexico) (cable TV title) (Spain) [es]

Duración:

119 min

País:

USA

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

2.35 : 1

Sonido:

Mono (Westrex Recording System)

Clasificación:

UK:12 (DVD rating) | Spain:15 | West Germany:16 | Finland:K-15 (new rating: 2001) | Ireland:PG | France:U | Finland:K-16 | Sweden:15 | USA:Approved | UK:PG (video rating) (2004) | UK:X (original rating)

Locaciones de Filmación:

Brooklyn Bridge, New York City, New York, USA

Compañía:

Argyle Productions

Trivialidades:

Based on the Broadway play, which starred Anne Bancroft and Henry Fonda.

Errores:

Errores cometidos por los personajes (posiblemente errores deliberados por los cineastas): Gittle pours milk into a pan so she can make warm milk - but she only leaves it on stove for about five seconds.

Conexiones de Película:

Referenced in The Sound of Music: From Fact to Phenomenon (1994) (V)

Banda de Sonido:

Gitana

Beautiful but frustrating

This film is a good example of why I love black & white movies.

Director Wise, cinematographer Ted McCord, and production

designer Boris Leven craft light, shadow, and line into two hours of

absolutely lovely images, making the most of such elements as

the contrast between MacLaine's hair, eyes, and skin, and the

juxtaposition of the hard lines of doorframes and shadows with

the softness of rumpled fabric and fluid dancer's movement. (And I

loved the split set.) Total eye candy for B&W lovers, and an

incidental, abrupt reminder of what a beautiful woman the young

Shirley was.

Unfortunately, the script seems very dated here in the twenty-first

century. The characters' relationship is frustrating, and (reported

offscreen chemistry notwithstanding) MacLaine and Mitchum look

very much mismatched. (Supposedly it was originally to be Liz

Taylor and Paul Newman. I can't see Liz here, but a MacLaine- Newman pairing could have been hot. But we'll never know.) I

found MacLaine's character to be much more believable--more

rounded, containing more nuance--than Mitchum's. While this

seems mostly the script's fault, I do feel that MacLaine here brings

more quirky humanity to her work than does Mitchum (who I like

very much in general).

"Seesaw" stands out for me as one of those films that, because of

its meticulous attention to visual detail, becomes an archetypal

period piece as it ages--firmly among the films everyone making a

movie set in the early 1960s should study carefully.