This type of movie has simply not been done for 40 or 50 years. Comedy based upon timing, script, and coincidence (the "screwball" part) is very rare.
Unlike today's comedy, based on the outrageous, the actors in this genre have to know how to deliver the lines, keep the pace. The resurrection of a genre.
One of the unusual parts of this film worth noting is the score. The music moves the action a great deal of the time. And the composer kept the sound from the era almost flawlessly: big band jazz of the late 1930's. (there are a couple of slips into later jazz styles, very minor - musicologists may be annoyed - but no one else will notice) The music becomes one of the characters of the plot, interacting almost as much as the actors do. That alone is a brilliant device, tried by many, mastered rarely, especially in period.
Amy Adams and Frances McDormand have a wonderful interplay, both sides of the romantic slide: young, desired, older, having past love by.
great movie if you like your comedy a little faster, but with no one who's eating anything disgusting for a laugh.
Unlike today's comedy, based on the outrageous, the actors in this genre have to know how to deliver the lines, keep the pace. The resurrection of a genre.
One of the unusual parts of this film worth noting is the score. The music moves the action a great deal of the time. And the composer kept the sound from the era almost flawlessly: big band jazz of the late 1930's. (there are a couple of slips into later jazz styles, very minor - musicologists may be annoyed - but no one else will notice) The music becomes one of the characters of the plot, interacting almost as much as the actors do. That alone is a brilliant device, tried by many, mastered rarely, especially in period.
Amy Adams and Frances McDormand have a wonderful interplay, both sides of the romantic slide: young, desired, older, having past love by.
great movie if you like your comedy a little faster, but with no one who's eating anything disgusting for a laugh.