I was invited to the screening of this movie, and I decided to see how an Indy movie (low budget) was made. It's a comedy about a group of friends and their relationship. I have to tell you that i was surprised to see that contrary of low budget movie this movie looks like a movie that you see in a regular theater, with a famous director and famous actors. I would not be surprised to see the director or most of the actors in this movie become really famous. I am glad that people like Stan Schoefild takes time to do movie like this one, where you can see that it does not take millions of dollars and famous actor to enjoy a movie and have a good laugh. thanks for inviting me...
6 Reviews
A truly entertaining film!
coatway7 October 2006
I was invited to watch the premier of this movie at the Directors Guild Theater in NYC. That was nice in that the theater was packed with movie-goers who come to watch a movie as opposed to chit-chat and socialize with their friends. The story-line was fantastic. As a thirty-something, I was able to relate to the actors, although I have never had a similar offer made to me! The characters were well developed, the film was well directed and edited, and the screenplay was very well written.
As a movie-goer who has the opportunity to read many screenplays, look for future success from this group and in particular, the newcomer Ned Crowley.
As a movie-goer who has the opportunity to read many screenplays, look for future success from this group and in particular, the newcomer Ned Crowley.
This is a great film!
Spacebaby116 January 2009
Warning: Spoilers
See this film! (Spoilers follow.) I luckily watched this gem on local TV in New York city. It is one of the best indie films I have ever seen. The plot, set in working class New Jersey, involves three buddies, countered by a fourth who happens to be female, played by Elizabeth Regen. Their conventional marriages contrast violently with this alternate picture of the male-female relationship. All the actors are phenomenal, delivering seamless performances, so real that you might as well be a fly on the wall. The story is so powerful that very quickly the trappings - setting, social class, culture, time - fall away and the viewer is confronted with a story that is practically biblical and at least epic. - Regen playing Laura occupies the position akin to Mary Magdalene, Princess Diana, Cleopatra, or a similar type of figure - a woman who is compulsively loved, marginalized, and sacrificed in the name of preserving the mundane conventions of everyday existence. Regen's presence in this film is absolutely brought to life by the positive and negative reactions of the male and female characters around her. The male actors here - especially Narciso and Giordano - electrify the scenes by progressively ramping up the tension with their lust, squabbling, love, friendship, and general chaos and confusion, all buzzing around the honeypot. They are unable to resolve their different roles in different situations. Narciso's performance as the soulmate who, due to some unseen but irreducible weakness, does not manage to save his beloved, encapsulates the quandary that every man worth his salt must confront in his lifetime. The wives' curdled friendship with Regen's character emphasizes that she mirrors everything they cannot be.
Regen's role is similar to that played by Natasha Richardson in two other movies, both from 2005: 'Asylum' and 'The White Countess.' But this film unites all perspectives split across those two films into one explosive package.
Regen's role is similar to that played by Natasha Richardson in two other movies, both from 2005: 'Asylum' and 'The White Countess.' But this film unites all perspectives split across those two films into one explosive package.
Exploring the confluence of friendship and love in working-class Hoboken
robcuny4 January 2009
No words of praise can be too high. This is a story without pretense: real friends among real people in a real Italian Hoboken neighborhood playing out, through a plot of unexpected depth, the reality of their relationships -- well or ill -- in real dives and real laundromats. It's not a movie of profound ideas; it's a movie of profound emotions: of complex affections and loyalties, of substantial characters surprised at their own feelings and confused by their own unchecked actions, of intricacy out of the simple, nobility from the ordinary. The only pretense here is the studied lack of all pretense.
Before another word: all the roles, all of them -- wives, buddies, parents, priest, gangster, cop and boss -- are played here with the robust sensitivity, depth and perfection, that allows no space between actor and role, a credit also to director, cinematographer, writer and editor who have orchestrated, captured and rendered them in exquisite and moving detail.
I could offer dozens of examples. Here's one: at moments of rapid emotional crisis among the characters in dialogue and plot, the camera time and again includes distantly among the commotion Angela Pupello's wordlessly expressive glance (how does she express such specific response with just her eyes and a bit of lighting?) -- blink twice and you'll miss it -- a quick, silent contrapuntal reminder of the delicate web that touches every role with a stake in this story. Or Stephie Kurtzuba (whose plays defensive, vapid meanness with irresistible relish; as repulsive and richly hateful as it is, you just want to see more of her and her cigarette) sitting bust forward like a fortress, her formidable armor ready to take on the worst. It's a little detail -- again, blink and it's gone -- but wonderful. There are many, many more such, ranging over every actor.
Special mention must be made of the central role, because it is this role that carries the whole. Elizabeth Regen, working from an ideally naturalistic script, has created a woman this viewer will not soon forget. I believe I have never been so moved by a character in drama. The operatic premise helps, of course, to pull on the heartstrings, but this is sublime acting in a role of almost unbearable beauty. I don't think I could watch it twice. Like love, it's too painful to want to repeat.
So much for the production values.
The story is buttressed by one of the most appealing of all situations, maybe first introduced by Remarque's "Three Comrades" -- three close buddies with a female fourth. Set them in an ethnic neighborhood and give the buddies three wives and you're ready to roll.
Against this background all hung in thick clichés, all endearing, all forgivable, the plot proceeds from the most Pirandellian means: a single act, a few words, the mere existence of a single character, inevitably and irretrievably bends the rigid social framework prying the human roles out of their tight but fragile security, cleaving them from their intimate loves and loyalties, til all exposed before you, they display the emotions that have overtaken them despite themselves and because of themselves. This plot is anything but hackneyed.
The irreversible course of consequences is punctuated by outrageous humor, here and there predictable, but the slyer moments where the humor proceeds from character itself rather than gimmick, wickedly funny, belly-laugh funny. At the moral center stands the familiar polar contrast between cold, fierce, defensive respectability and the heat of genuine, open feeling, warm with reflective compassion.
In a word, the movie explores the confluence of friendship and love, that vague, welcoming climate home to both where the two, loyalty on the one side and desire on the other, can't be distinguished. It is the achievement of this particular exploration that it gives to the players such extraordinary nobility.
Some will love the music. I appreciate the choices, especially the use of a non-operatic voice in the soprano arias, but I'd have enjoyed the movie just as much without any music at all. Unerring screenplay, overwhelming acting, brilliant, incisive cinematography and direction and editing, who needs music?
I loved these people, these actors, these movie-makers. The genuine historic Hoboken, gentrifying quickly and quickly disappearing, can't have been given a better tribute.
--Rob
Before another word: all the roles, all of them -- wives, buddies, parents, priest, gangster, cop and boss -- are played here with the robust sensitivity, depth and perfection, that allows no space between actor and role, a credit also to director, cinematographer, writer and editor who have orchestrated, captured and rendered them in exquisite and moving detail.
I could offer dozens of examples. Here's one: at moments of rapid emotional crisis among the characters in dialogue and plot, the camera time and again includes distantly among the commotion Angela Pupello's wordlessly expressive glance (how does she express such specific response with just her eyes and a bit of lighting?) -- blink twice and you'll miss it -- a quick, silent contrapuntal reminder of the delicate web that touches every role with a stake in this story. Or Stephie Kurtzuba (whose plays defensive, vapid meanness with irresistible relish; as repulsive and richly hateful as it is, you just want to see more of her and her cigarette) sitting bust forward like a fortress, her formidable armor ready to take on the worst. It's a little detail -- again, blink and it's gone -- but wonderful. There are many, many more such, ranging over every actor.
Special mention must be made of the central role, because it is this role that carries the whole. Elizabeth Regen, working from an ideally naturalistic script, has created a woman this viewer will not soon forget. I believe I have never been so moved by a character in drama. The operatic premise helps, of course, to pull on the heartstrings, but this is sublime acting in a role of almost unbearable beauty. I don't think I could watch it twice. Like love, it's too painful to want to repeat.
So much for the production values.
The story is buttressed by one of the most appealing of all situations, maybe first introduced by Remarque's "Three Comrades" -- three close buddies with a female fourth. Set them in an ethnic neighborhood and give the buddies three wives and you're ready to roll.
Against this background all hung in thick clichés, all endearing, all forgivable, the plot proceeds from the most Pirandellian means: a single act, a few words, the mere existence of a single character, inevitably and irretrievably bends the rigid social framework prying the human roles out of their tight but fragile security, cleaving them from their intimate loves and loyalties, til all exposed before you, they display the emotions that have overtaken them despite themselves and because of themselves. This plot is anything but hackneyed.
The irreversible course of consequences is punctuated by outrageous humor, here and there predictable, but the slyer moments where the humor proceeds from character itself rather than gimmick, wickedly funny, belly-laugh funny. At the moral center stands the familiar polar contrast between cold, fierce, defensive respectability and the heat of genuine, open feeling, warm with reflective compassion.
In a word, the movie explores the confluence of friendship and love, that vague, welcoming climate home to both where the two, loyalty on the one side and desire on the other, can't be distinguished. It is the achievement of this particular exploration that it gives to the players such extraordinary nobility.
Some will love the music. I appreciate the choices, especially the use of a non-operatic voice in the soprano arias, but I'd have enjoyed the movie just as much without any music at all. Unerring screenplay, overwhelming acting, brilliant, incisive cinematography and direction and editing, who needs music?
I loved these people, these actors, these movie-makers. The genuine historic Hoboken, gentrifying quickly and quickly disappearing, can't have been given a better tribute.
--Rob
We worked as extras for this
sueshaw9 July 2006
As extras we saw bits and pieces of the movie but from an actor's stand point my daughter and I were treated well and we enjoyed what we saw of it. If they didn't cut out the feet running in the beginning of the film, that was my daughter but we don't know where we can see it to verify it. The director was really great to work with and the staff treated the extras just as nice as the actors. My daughter was about 11 when this was being filmed in Hoboken, NJ. The lead actress was wonderful with her and since they had the same first name they talked. It was a great experience for her. They did well choosing the location in New Jersey since it is a heavy Italian population in that area which was part of the premises of the film.
Dying woman tells her three best friends she wants to hook up with each of them before she dies
aco-527 July 2010
This movie shows that great writing surpasses name actors and big budgets. It is very funny and clever. There are 4 main characters. The woman is dying. She has three male best friends who all grew up together. She tells all of them she wants to sleep with them before she dies. The story is about how each of them react to this and how it affects their relationships with each other. I was not a huge fan of the music score but it seems to fit somehow. There is not much plot - it is more of a character study. Think of Diner - lots of great banter and relationships between the characters. The vehicle for the plot is sex but the movie is not really about sex at all. It is about real people and how they deal with loss and friendships. This movie is one of the better unknown films I have seen.
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