ScenicRoute Who needs blood and guts when you can watch more interesting destructive behavior? George Segal embodies studied amorality perfectly. There is no God, no religion, no moral sensibility, only what I do and what I can get away with. But it's not just George. All the men in the film are just in it for themselves, down to the kvetching neighbor complaining about George's crab-grass. We are a long way from Puritan New England in this cold portrayal of suburban hustle set in Westport, CT. Some of the women, especially Eve Marie-Saint, still think the old rules - middle-class conventions - still have meaning, value, and valor, but not the men and certainly not two of the women (Mistress and Fling for discussion purposes herein). We get no inner life of George, he just communicates his superiority as an artist, his ability to hustle accounts (in a bizarre cameo by Sterling Hayden, who plays an embodiment of Lincoln), and his ability to have a wife, a mistress, and whatever Fling stirs him at the moment, which becomes the essential plot device of this otherwise aimless movie, aimless if you don't see the trainwreck coming at breakneck speed, despite the movie's studied languor. We would have no movie, however, if only George was amoral - and you know George is amoral, that the part was a cakewalk for him, because that is who he is. Yuk! I will certainly research any movie that stars George Segal before deciding how much degradation and loss of tradition I want to experience.Of course, to him and his ilk, there is no other reality. Life is to be lived through their gimlet eyes, and my job is to identify these types early, and thence to avoid them. I am not even going to look up the name of the "party-host husband" who casually schtupes a drunken guest (that would be Fling #2 for George, but he doesn't get to her) while his wife vainly tries to keep the party upscale, only to have her husband tee up live-pornography for his guests. As my secretary says, you can't make this stuff up, and this movie perfectly illustrates what happens when you believe in nothing other than the primacy of your own sexual prowess.Thoroughly distasteful but an essential watch for those who need to understand why we have a new religion in this land, one whose commandments consist of micro-aggression "Shalt-nots," identity politics, and a belief that government must make laws enforcing all this BS, and must take care of us from cradle-to-grave. For those rejecting the traditions of our ancestors, it is George jungle out there unless we abide by our new religion. It's an easy choice for me (the ol' time religion), but not for most, with their obsession with "truth," and hence our new religion. In this religion, all that matters is your posturing, and your obeisances to the identity politic gods (and police), even if the world is falling down around you. I'll take the old-time religion always.Performances are excellent throughout. The children - the poor children: their suffering isn't shown, but it is forboded - are superb. The hard-bitten Mistress, angling for George to divorce, is perfect in her callous disregard for other's feelings. And the two Flings are the cynical embodiment of George - they are also just in it for the momentary pleasure George is living for. In fact, the only moral judgment ever passed in this movie is when Fling #1 (Fling #2 having passed out upstairs where the host gets her) accuses George of being middle-class for wanting his pants back before going back into the house to get food and drink for their outside tryst. Double yuk.But powerful. After traditional religion but before our new Neo-Victorian secular religion enforced by the state (and its high priests), this movie is a must-see for American cultural history.

moonspinner55 George Segal (not as scruffy as he typically had been at the start of the decade) plays a troubled husband and father suffering through career uncertainty who cheats on his wife (Eva Marie Saint, cast yet again as a doormat-spouse). Segal is an affable screen presence, but we never learn much about what makes him tick, what causes him to hurt the ones he loves. Talented director Irvin Kershner hit a few snags in his career; here, the semi-improvisational ground he's treading desperately needs a center, or a leading character we can attach some emotions to. The dramatic finale is well-realized, and Segal's comeuppance is provocative and thoughtful--at least something is HAPPENING; overall, it's a cynical slice of the marriage blahs, one that probably played a lot fresher in 1970 than it does today. ** from ****

wrongjohn I caught this film on late night cable (maybe even the 'romance' movie channel) and it left a deep impression. There is a gap between this type of melodrama in European cinema at the time and the 'revolution' that was happening in American cinema, particularly the suspension of moral judgment outside of epiphany. The main character is having a typical middle age, middle class crisis and we are allowed to see it unfold unencumbered by a personal transformation, a complete crash. This type of screen writing is having a revival in shows like 6 feet under on HBO. I would recommend it to anyone interested in that dark, muddy 1970's American cinema that seems to put the middle class of the 1960's to rest but doesn't become another 'desert road trip' film.

Daniel Humphrey (saltsan) In the great Jean Renoir classic "Rules of the Game", a character played by the director himself comments that "everybody has his own good reasons." This rightly has been taken to be the great humanist director's basic philosophy of life. Seeing, over and over again, this understanding, non-judgmental attitude by a narrative artist toward his characters' weaknesses is what makes art film audiences love Renoir's work and consider him one of the greatest filmmakers of the 20th century. Irvin Kershner's "Loving" is one of the rare Hollywood films worthy of being called Renoirian, and it is for just this reason. Even though "Loving" is filled with highly-flawed characters making seemingly disastrous choices about their lives, its genius is how it puts the audience in a position where it cannot (or at least cannot with any decency) judge them. This may be more than many audience members can handle, being so used to films with heroes and villains about whom they are allowed to feel smugly superior. The legendary "New Yorker" critic Pauline Kael, in her rave review of the film, wrote that it "looks at the failures of middle-class life without despising the people; it understands that they already despise themselves" and that there's "a decency in the way that Kershner is fair to everyone." We could use a few more films like "Loving" out there in the American film cannon. If you every get a chance to see this film, don't hesitate to do so!