Husbands

1970

Comedy / Drama

51
Rotten Tomatoes Critics - Certified Fresh 64%
Rotten Tomatoes Audience - Upright 80%
IMDb Rating 7.4 10 4,665

Synopsis


Downloaded times
July 19, 2020

Cast

Ben Gazzara as Giuseppe 'Joe' Coppola
John Cassavetes as Gus Demetri
Peter Falk as Dominick Capisco
720p.BLU 1080p.BLU
1.28 GB
1280*720
English 2.0
PG-13
23.976 fps
131 min
P/S N/A / N/A
2.37 GB
1920×1080
English 2.0
PG-13
23.976 fps
131 min
P/S N/A / N/A

Movie Reviews

Reviewed by LJMJCollins 5 / 10 / 10

What a letdown

I am a fan of Cassavetes. He's never easy. He is fascinating, trenchant, profoundly perceptive. His movies don't allow you to get too comfortable but keep you off balance as you watch the stories unfold in unexpected ways. Repeat viewings of his movies reveal subtle hidden treasures. I have liked every movie of his I have seen, until now. Husbands has some tremendous, insightful moments in powerful scenes, but these are mired in discouragingly extended sophomoric stretches and a surprising lack of heart. There's more to Cassavetes than this. As I watched this movie I couldn't help wondering if it was filmed by someone who was trying to imitate Cassavetes' style, but not quite making it.

Reviewed by shepardjessica 10 / 10 / 10

One of Cass' Best!

One of Cassavetes 3 best (along with FACES and A WOMAN UNDER THE INFLUENCE). Middle-class successful husbands turning 40 are frightened after the death of another good buddy. They carouse, drink, swear, pick up women, fly to London, and basically show their camaraderie while inside they're dying a slow death (especially B. Gazzara). All performances are phenomenal, especially Gazzara, and Jenny Runacre in London gives a lovely nuanced characterization as the woman Cass hooks up with for a night of fun. Cassavetes was one of our best and sorely underappreciated by most Americans. A real crime! It may seem long (especially the bar scene), but he didn't make ENTERTAINMENT as he so often said. He cared about people and relationships and their frustrations and disappointments. Don't miss this one!

Reviewed by desperateliving 10 / 10 / 10

10/10

There is something cathartic in Cassavetes' films, in how he gives his audience tough love, a kind of love that scrapes off any inessential, false emotion. He loves us enough to show us new things -- he gives us gifts he wants us to use. He is just as much interested in OUR emotional truth as that of his characters, a physical filmmaker who wants us to experience his film bodily, so scenes go on for lengths unseen in a Hollywood film. It's a common thing to label Cassavetes' films as cinema verite, and while that makes sense in terms of the feeling of spontaneity, Cassavetes' composition is sometimes unparalleled; it is very intelligently used and deserves to be examined. The camera has a vitality of its own -- it is not used as a character, but it is absolutely essential as film (unlike the claims that Cassavetes is uncinematic), weaving in and out, capturing images that gain a new significance, yet are never highlighted or indicated. There is one image of such beauty in the film that it's stayed with me for weeks: after Gazzara tells Cassavetes that he loves him and Falk more than his wife, we see Gazzara's face from the side, just slightly out of focus. Like Bergman, Cassavetes is a poet of the human face. Like Dreyer, his film, and his characters, are utterly sincere. That sincerity can be off-putting to people who prefer a barrier between them and their art, who need a distance. Cassavetes doesn't believe in that. Watching the film, I was overcome with this feeling, not from the intense emotions of the characters (though that is important) but from the presence of the film itself. You watch it and you realize the truth and the greatness of it, stripped bare of any trickery, any cinematic evil: mockery, stereotypes, clichés, "answers." To call Cassavetes a truthful artist is itself a cliché, but watching this, you're in the presence of genius. Not in the way we normally think of genius, and that's its earth-shattering effect: this is the closest thing to soul on film. It's far too easy and too glib to view this as sledgehammer acting -- there are such subtleties and profound realizations of emotional truth that you will have a hard time watching Dustin Hoffman or men of his ilk after seeing this. (Nick's acting is a sore spot -- showing off for pop.) Very few actors have more to give than these three men. Nothing in the movie is expected. Every cliché is turned on its head, but it's not merely the opposite of expectation: it's something new. (Where else have you seen a sex scene like THAT?) We hear statements like "don't believe truth!" "from the heart!" "too cute!" The tone of the film changes innumerably, silently. The only dubious aspect of the film is in how we're made to almost root for the husbands as they frolic in England without their wives. If it makes any sense, I think Cassavetes cures himself from any charges of misogyny by bringing out the femininity in his males -- the brotherly love goes so far beyond the accepted roughhousing and backslapping into something so pure, so loving, that it could only be feminine. You begin to understand Cassavetes' code of men in a real, physical way. I can't push it home enough: you FEEL it. 10/10

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