Chica para matrimonio

George Cukor-directed comedy-drama, written by the estimable team of Ruth Gordon and Garson Kanin, features Judy Holliday and Aldo Ray as a married couple on the rocks, explaining to a divorce court judge when, how, and why they fell out of love. Initially, the pairing of the leads (Ray in his debut) doesn't quite convince, but Cukor does a fine job at building up a rapport between these two which is pretty convincing by the picture's midway point. Still, for a film touted as being an honest, daring look at modern marriage, the set-up seems suspiciously safe and glossy--with the married couple sleeping in separate beds! There aren't many surprises in the screenplay, though there are witty lines in the fast-talking, streetwise vein and the wrap-up is sweetly accomplished. **1/2 from ****

The story follows a young couple through courtship, honeymoon, parenthood and breakup.

The movie looks like a worthy experiment that doesn't quite work. The problem—as others point out—lies with the abrupt change of tone in the movie's middle that causes a radical re-adjustment on the viewer's part. To that point, the style is generally charming and light-hearted, appropriate to the couple's courtship and honeymoon period. I love the way each remembers the past the way he or she wants it to be, while the camera in flashback shows quite the opposite. It's pretty funny. This early part also provides Holliday with opportunity to show off her inimitable comedic style.

But then the tone goes deadly serious, befitting, I guess, the tragedy and troubles that enter the Keefers' life, eventually leading to a breakup. Note in this half how much of the staging has the couple in various stages of unglamorous undress while yelling at one another. Clearly, the idea is to show the other non-cute, deglamorized side of marriage that old Hollywood in its preoccupation with escapism didn't often show. In that sense, the movie's a rather daring stab, for its time, at marital reality.

The trouble, however, is that the two halves clash with one another in both style and content, creating the impression of two movies instead of one. I wish director Cukor had tried shaping the second-half material to the entertaining style of the first half. That might have worked, given his legendary level of expertise. But the way things stand, not even Holliday's talent can paper over the mis-match. Also, I noticed that the actress's comic book voice, so well adapted to comedy, becomes shrill and annoying in the heated exchanges with movie husband Ray. From that standpoint, she was wise to stick to laughs in what remained of her tragically short career.

This is not to say the movie's without compensations. It certainly has its funny moments, while actor Ray's boyish appeal looks just right for an engaging average guy. However, the central problem remains, despite the talent and gutsy stab at reality.

The dizzy title of this film might suggest a screwball comedy, but it's deceptive. Despite claims to the contrary, this is definitely not a screwball comedy. It starts with plenty of jokes and humorous moments, but among other things, the pacing is all wrong. Also, screwballs often involve moneyed folk with big houses and good accents, and these are working-class characters in a small and under-furnished apartment. Knocking a few drinks back is an amusing foible in screwballs: here it usually complicates the lives of the characters. Instead of driving places, they take the bus or feel guilty about spending money on cabs. Screwball couples may have a pet dog or a leopard in tow; how many of them have small children (as here) whose sleep is interrupted by the bitter arguments of their parents? This might even be called anti-screwball.

The unevenness of tone certainly disconcerted me the first time I saw it, and it has clearly worried several of the other people who've commented on the film. Though Judy Holliday is great (as usual), it helps an appreciation of the film if one does not expect a replay of Born Yesterday's raucous laughter or even the gentler-paced humour of Bells Are Ringing.

Scenes of the discordance and trials of married life are played for laughs, but with an increasingly harder edge until the comedy has very nearly been wrung out of the whole thing. Slowly, the humour departs from the story and we're left with a very watchable study of a marriage spiralling into crisis, even if the treatment does become rather soapy at times.

After several viewings of this strange film, I'm still not sure if I've enjoyed the experience, though I constantly feel that I've been watching something significant. I can't give it a score, as I really don't know how to estimate an accurate score. It's worth seeing, even if you don't expect to like it: that's the only way I can summarise it.

Some reviewers note that any couple thinking divorce should see this film and while that is good advice, the truth is few husbands about to leave are as conflicted as this one who really never wants to go and whose affection is demonstrated by the jealousy that is the last straw. I agree with those who say Judy is a charmer. That is a fact with which no one should even quibble. By the way, the accent was exaggerated here and elsewhere and could easily have been tamed had it not been in keeping with her roles. Aldo on the other hand is a revelation. He is natural, impressive and very believable. More's the pity that his career was so uneven but here he happens to be perfect. He is blond (not unusual in Hollywood's past, think Steve McQueen) but rare now for a macho star. It turns out that his look is perfect for this part and his manliness comes through just fine. In this role this reviewer thinks he was perfect and the facial expression when buying the whirly-gig is proof that had his career and persona been better managed he would have been a far bigger star. That said, watch, enjoy and remember how much love can survive and endure when people understood that divorce was the cowardly way out and usually bad for all concerned. Again, highly recommended.

It's widely known that Judy Holliday was the greatest comic actress of all time, but did you know she was also a subtle and moving tragedienne? This movie begins as a screwball comedy about a sparring couple, and all I'll tell you is, it turns into something quite different -- and it pulls it off. Judy's beautiful playing has much to do with this, as does Cukor's deft direction. Aldo Ray is a revelation: You may not think of him as a leading actor of his generation, but with Cukor's touch, he hits all the notes of tenderness, childishness, and bewilderment written into his character. Husband-and-wife screenwriters Kanin and Gordon supply funny lines, ingenious dream sequences, a "Rashomon"-type narrative, and much hard-earned insight into marital discord. Also, unusual for a Hollywood film from the '50s, the kids come off as real kids, not synthetic little dears or bratty little monsters.

Despite all the high-priced talent, it's a cheap-looking movie, with almost verite glimpses of 1952 New York. And the abrupt shift of tone may be off-putting to some. Me, I appreciated the film for treating adults like adults, and for suggesting that life and marriage are not wrapped up in neat little packages. An offbeat movie, and very rewarding for those willing to accept it on its own terms.