I Do and I Don't

I Do and I Don't

A History of Marriage in the Movies

Book - 2012
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"From one of our leading film historians and interpreters: a brilliantly researched, irresistibly witty, delightfully illustrated examination of "the marriage movie": what it is (or isn't) and what it has to tell us about the movies--and ourselves. As long as there have been feature movies there have been marriage movies, and yet Hollywood has always been cautious about how to label them--perhaps because unlike any other genre of film, the marriage movie resonates directly with the experience of almost every adult coming to see it. Here is "happily ever after"--except when things aren't happy, and when "ever after" is abruptly terminated by divorce, tragedy. or even murder. With her large-hearted understanding of how movies--and audiences--work, Basinger traces the many ways Hollywood has tussled with this tricky subject, explicating the relationships of countless marriages from Blondie and Dagwood to the heartrending couple in the Iranian A Separation, from Coach and his wife in Friday Night Lights to Tracy and Hepburn to Laurel and Hardy (a marriage if ever there was one). A treasure trove of insight and sympathy, illustrated with scores of wonderfully telling movies stills, posters, and ads"-- Provided by publisher.
Publisher: New York : Alfred A. Knopf, 2012.
Edition: First edition.
ISBN: 9780307269164
0307269167
Branch Call Number: 791.43655 BAS
Characteristics: xxviii, 395 p. : ill. ; 25 cm.

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Elaine212
Oct 06, 2015

Jeanine Basinger enlightens us to the movie business and its inability to market movies about marriage as such. Instead the marketers choose the broad appeal path. This approach is motivated by production companies' fears that audiences don't want to watch what they already know. Marketers focus their energies on escapism--capitalizing on glamour, romance, and star power. Nonetheless, an unsuspecting audience is stil treated to the ups and downs of matrimony from the moments of dislike and disapproval, job loss, tragedy, appreciation , and love. Whether the screenplay's subtext is digested or not, the audience walks away moved by a marvelous film. A few examples: Penny Serenade, Brief Encounter, Gaslight, Summer Wishes Winter Dreams, and Guess Who's Coming to Dinner.

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