A fifteen year marriage dissolves, leaving both the husband and wife, and their four children, devastated. He’s preoccupied with a career and a mistress, she with a career and caring for four young children. While they attempt to go their separate ways, jealousy and bitterness reconnect them.
Director: Alan Parker.
Writer: Bo Goldman.
Stars: Albert Finney, Diane Keaton, Karen Allen, Peter Weller, Dana Hill, Viveka Davis, Tracey Gold, Tina Yothers, George Murdock, Leora Dana, Irving Metzman, Kenneth Kimmins, Michael Alldredge, Robert Constanzo, David Landsberg, Lou Cutell, James Cranna, Nancy Fish, Jeremy Schoenberg, Aesop Aquarian, Jim Lange, Georgann Johnson O-Lan Jones, Helen Slayton-Hughes, Robert Ackerman, Eucine Suarez, Hector Morales, Morgan Upton, Edwina Moore, Kathryn Trask, Bill Reddick, Bonnie Carpenter, Margaret Clark, Jan Dunn, Rob Glover.
Cinematographer: Michael Seresin.
Composer: George S. Clinton.
1982 Cannes Film Festival – Nominated for the Palme d’Or.
1983 BAFTA Film Awards – Nominated for Best Actor (Albert Finney).
1983 Golden Globes – Nominated for Diane Keaton).
1983 Golden Globes – Nominated for Best Actor in a Motion Picture – Drama (Albert Finney).
Optional English subtitles are available for this film, to enable them click on the subtitles icon (to the left of the cogweel icon), and they will be turned on.
⇓ DOWNLOAD OPTIONS ⇓
ENCODE:
MP4 | 3.20 GB | 1280×720 | 23.976 FPS | 3500 kb/s | AAC 192 kb/s
Language: English | Subtitles: English (soft)
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SOURCE FILE:
MKV | 11.8 GB | 1920×1080 | 23.976 FPS | 13,300 kb/s | E-AC3 224 kb/s & Vorbis 96 kb/s (Commentary by Alan Parker and Bo Goldman)
Language: English | Subtitles: English, French, Spanish (soft)
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(DO NOT USE WITHOUT ADBLOCKER)
RIP Diane Keaton (1946-2025)
Never a huge Keaton fan it is undeniable that this and LOOKING FOR MR. GOODBAR rank up there as some of her finest work. I never understood her being cast in the GODFATHER films. To me, given the time period which it presents, Michael Corleone would have predictably gone for a ‘Tippi” Hedren blonde ice queen “capture” who, appreciative of his essential vulnerability, willingly (if privately) thawed enough to actually love him. (What tuesday Weld showed us in Leone’s ONCE UPON A TIME IN AMERICA tells me she would have been the perfect choice) Instead, Keaton’s odd, quasi-matronly “WASP with the sniffles” is what we got. That preceived by me miscasting is the only glaring blight for me on those first two parts. Other than her wonderfully comic output with Woody Allen it’s these darker hued vehicles where her gifts really shone. Thanks for making this available.
PS Albert Finney, already moving away from his 1960s pretty-boy days, ain’t half bad either 😉 Thanls!
Turns out Weld was indeed the first consideration. Followed by Karen Black (not so sure about that choice) I just found that out. And DANNY THOMAS (!!!) as Don Corleone (along with Carlo Ponti) The sheer perverseness of a performer with such a clean-cut, family man persona as Thomas taking on the Godfather tells me it would have been worth a risky shot. His Lebanese dark looks — let alone his underappreciated professional rigor — would have been a plus. Still love Brando first BUT . . .
Thank you so much for sharing this movie!
I was a kid when this came out, remember not being crazy about it, in spite of all the great reviews. Now I understand why: the movie isn’t the slightest bit interested in why George and Faith split up. All it does is pull the string of giving George a younger woman to leave Faith for, and we’re supposed to accept that this is the way things are: present an older guy with a younger woman, and he’ll leave his wife. Then there are all the predictable fireworks which feel very much like a screenwriter’s contrivances. George smashes his way into the house and assaults one of his children, then we have a series of implausible scenes which occur as though George hadn’t smashed his way in and assaulted one of his children. The smashing and assaulting bit occurs out of synch with what comes after it: I’d get a restraining order against the guy, but the movie goes on from there with George attending his father-in-law’s funeral as Faith’s guest and so on and so forth. George is a bastard and Faith is an idiot, therefore there’s no one to sympathize with.