Viveca Lindfors stars as Bea, a Swedish-born woman who yearns to begin a family with her photographer boyfriend Al. But the two things to which Al has devoted his career (weddings and babies) are the very things he cannot make room for in his life.
With Weddings and Babies, Morris Engel continued his investigation into the politics of relationships in addition to further developing the refreshing new aesthetics of his independent cinema. The result? A marvelous observational vision of romantic struggle, led by two unforgettable performances.
Test for invisible cap: you've succeeded in making an intimate véritéish drama when viewers peer lost around themselves as if they entered the wrong door, aware they don't belong as third parties in this domestic argument, that harmonious respite, amidst affective neuralgias and quiet cris de coeur, fitting in Anne Sexton's definition of writer as a spy, only now it's the watcher blending with the prying all-eye air.
A perfect slice of 1950's New York and of a couple who haven't quite cut their piece out of the American dream. John Myhers and Viveca Lindfors are both stunning here as a wedding photographer and his girlfriend. He is restless and wanting more while she just wants to settle down and start a family and not wait for the pie in the sky to fall. Timeless in a way that many films should aspire to be.
I loved this movie... Not because of any happy endings. But because it was real. And made me feel. I agree w the other reviewers that Bea and the mother were the most interesting characters. The main actor played a supremely self-involved character. Bea deserved much better. And so did his mom who was so sweet. Bravo to the film-makers!
(2.5 stars) Very ho-hum drama about a couple bickering over love and marriage. Hubby doesn't want to get married, wifey does. Viveca Lindfors ,who is radiant, acts circles around her counterpart John Myhers who is an absolute TERRIBLE actor. The mother plotline was the one I was most interested in throughout the film. It had the most emotional heft for me. The rest was just mundane and uninteresting.
Splendid! If it's at all autobiographical, wonder if it explains Engel's subsequent absence from film... perhaps he chose to devote his time to Orkin instead? Romantic notion, but he strikes one as the type. Also, if you feel John Myhers did a terrible job because he spends the film pouting and sulking and complaining and generally being a big baby... well I believe that was the point.
Légèreté, naturel, images, quotidien des années 60 le début d'un nouveau style comme une nouvelle vague qui va venir.
Un noir et blanc très photogénique des acteurs qui jouent comme on vit Mais le plus beau Morris Engel reste quand même Le Petit Fugitif car l'histoire contrairement à ici y est beaucoup moins futile