We Don't Live Here Anymore (2004)

Calificación de los usuarios:

6.3/10   

Director:

John Curran

Escritores (WGA):

Andre Dubus (short stories "We Don't Live Here Anymore" and "Adultery")
Larry Gross (screenplay)

Fecha de Lanzamiento:

18 noviembre 2004 (Israel)

Género:

Drama | Romance

Frase comercial:

Ordinary lives. Extraordinary emotions.

Plot:

An indiscretion between two close friends tears down their respective marriages.

Plot Keywords:

Aspiring Writer | Split Up | Profanity | Unfaithful Husband | Plumber

Premios:

2 wins & 3 nominations

Comentarios de los usuarios:

Ferocious and Biting: Where "Bob & Carol and Ted & Alice" Wind Up in Reality

Reparto

Mark Ruffalo	...	Jack Linden
Laura Dern	...	Terry Linden
Peter Krause	...	Hank Evans
Naomi Watts	...	Edith Evans
Sam Charles	...	Sean Linden
Haili Page	...	Natasha Linden
Jennifer Bishop	...	Sharon Evans
Jennifer Mawhinney	...	Audrey
Amber Rothwell	...	Lauren
Meg Roe	...	Lollipop Girl
Jim Francis	...	Joe Ritchie
Marc Baur	...	Plumber
Patrick Earley	...	Jim

También conocida como:

Adultery (USA) (working title)
Ya no somos dos (Spain) [es]

MPAA:

Rated R for sexual content and language.

Duración:

101 min

País:

USA | Canada

Idioma:

Inglés

Color:

Color

Relación de Aspecto:

2.35 : 1

Sonido:

Dolby Digital | DTS | SDDS

Clasificación:

Finland:K-15 | Iceland:16 | USA:R (#40903) | New Zealand:R16 | Netherlands:AL | Singapore:M18 | UK:15 | Argentina:16 | Spain:18 | Brazil:16 | Ireland:18 | Australia:MA | Canada:14A

Locaciones de Filmación:

Vancouver, British Columbia, Canada

Compañía:

Front Street Productions

Citas:

Hank Evans: [to the man who cuckolded him] It's much easier living with a woman who feels loved.

Conexiones de Película:

Apareció en The 20th IFP Independent Spirit Awards (2005) (TV)

Banda de Sonido:

Beethoven's 1st Symphony

Ferocious and Biting: Where "Bob & Carol and Ted & Alice" Wind Up in Reality

Director John Curran's "We Don't Live Here Anymore" is a continuously sizzling, attention-holding drama about two couples - best friends - who are perched precariously in twisted relationships that threaten their marriages and imperil the security of their children.

Jack Linden (Mark Ruffalo) is married to Terry (Laura Dern) and they have two small children, a boy and a girl. Their closest friends, with whom they spend much (too much from my popcorn-munching perspective) time, are Hank Evans (Peter Krause) and Edith (Naomi Watts). They've got one pre-teen daughter. Jack and Hank teach English literature and creative writing at a small college in the rural area where they live. Both aspire to be published authors of fiction.

Jack has a torrid affair going with Edith, who feels neglected by her husband. Maybe at heart she simply doesn't like him anymore, much less love him. Hank's a fellow who thinks that free love is a guiltless and fine option that should co-exist with marriage. He doesn't care if Edith engages in adulterous liaisons, a normal part of his married life. Actually he's an empty-headed ass. He certainly isn't in tune with contemporary legal standards about refraining from sexually-laced comments to female students. In addition to being an ass, it's fair to say he's a pig too.

Terry suspects the affair while also being pursued by Hank. Hank the skirt-chaser is imbued with a touch of sociopathy. No evidence of conscience or feelings about the harm he might wreak disturbs his calm mien. Kudos to Peter Krause for investing Hank with such single-minded devotion to self-gratification that the viewer constantly wonders, "He's got to be a mensch, finally, no?" No.

Terry and Jack's marriage is in a rut. Terry imbibes too much and as contrasted to Edith, as a housewife she's a bit of a sloven, a trait for which she's excessively berated by Jack. Ruffalo is alternately sympathetic and repelling as a guy auto-fast-forwarded to his mid-life crisis.

Surprise-as the relationships become more complex, psychologically and sexually, the kids, all three of them, are in the middle. Only Terry seems to understand, with the desperateness of a shipwrecked sailor clinging to a plank, that preserving her marriage is in her kids' best interests if not necessarily her own.

Naomi Watts, who co-produced the movie, is beautiful and her dalliance with Jack is, for her, much more than a regular tumble for sexual diversity. She's alternately funny and deeply wistful, not fully in control of her world. A fine acting job.

But the emotional core of "We Don't Live Here Anymore" is the stunningly brilliant, ever remarkable Laura Dern, one of the greatest (and shamefully most underemployed) actresses working today. Dern's Terry is confused and desperate at times but her strongest, most ferocious belief is that the center must hold. Her center is her marriage and kids. And she loves Jack as no one else can and as he is too blind to appreciate.

Dern deserves an Oscar nomination for her fierce, gripping performance. Her facial expressions and her desperate pleading with Jack reflect a woman who isn't so much afraid of a marital breakup as she is hauntingly, achingly aware of what it will do to their kids. Pursued by Hank, rejected by Jack, Dern's Terry wavers but always hangs on to an inner strength the other three protagonists never had.

"Bob & Carol and Ted & Alice" decades ago parodied the sexual revolution that included, for some, mate swapping and adultery as - almost - a rite of passage for young, well-educated, affluent couples. "We Don't Live Here Anymore" updates the pseudo-sophistication of that portrayal and blazingly shows the human cost that may or may not make adultery worthwhile. The end here is as reassuring as viewers want (or need) it to be.

The cinematography is excellent. The score, ranging from Beethoven's Symphony No. 1 to bagpipe music to an almost minimalist accompaniment to critical scenes, is well integrated with Larry Cross's crisp screenplay. The original short stories by Andre Dubos are well adapted.

A powerful film, "We Don't Live Here Anymore" takes what could have been a "B" soap opera and through the brilliant acting of the quartet of leading characters brings to life an absorbing and meaningful story.

9/10