Title: BLUME IN LOVE
Year of Release: 1973
Director: Paul Mazursky
Genre: Drama
Synopsis: After his wife Nina catches him in a compromising position with another woman and leaves him, divorce lawyer Stephen Blume engages in a relentless quest to win her back.
Within a film history context: Films which revolve around womanizers, being either single or married, have been featured throughout cinema history. One of the first to deal with the theme is 1928's BEWARE OF MARRIED MEN, directed by Archie Mayo, and starring Richard Tucker as a charming womanizer. In Alfred Santell's amusing BREAKFAST FOR TWO (1937), Barbara Stanwyck tussles with playboy Herbert Marshall, and wins him over in her own distinctive way. In Michael Curtiz's MILDRED PIERCE (1945) a man takes advantage of a mother and daughter, loving and manipulating each until he meets his demise. Charles Walters' THE TENDER TRAP (1955) featured womanizer Frank Sinatra and his liaisons, the same premise for Mr Sinatra examined in George Sidney's PAL JOEY (1957). Fielder Cook's HOW TO SAVE A MARRIAGE AND RUIN YOUR LIFE (1968) was a farce with Dean Martin as a bachelor running into love dilemmas.
Other notable films with a womanizing protagonist include Richard Quine's STRANGERS WHEN WE MEET (1960), with its glamorous locales and discreet views of adultery, Tony Richardson's TOM JONES (1963) a raucous film about an 18th century Libertine, and Lewis Gilbert's ALFIE (1966) about a Cockney heel with a penchant for loving and leaving women at his whim. The 1970s brought Ivrin Kershner's fine LOVING (1970) with George Segal as a married commercial artist with a roving eye. Jack Haley Jr.'s THE LOVE MACHINE (1971) was a drama with John Phillip Law as the bed-hopping Robin Stone, television executive on the road to ruin. THE CHRISTIAN LICORICE STORE, directed by James Frawley, also from 1971, was about a tennis player who had issues with fidelity.
SHAMPOO (1975) was a comedy-drama with Warren Beatty as a Beverly Hills hairdresser with a big impartiality for the ladies, with varying results. BLUME IN LOVE differed from these movies in that the character was on a mission to win back the love of his wife, no matter the cost to anyone else. The other films took a more relaxed view of infidelity, and fidelity than this movie, but here the lead character appeared to believe that true love is his calling, despite his drastic methods at winning back his ex-wife.
Within a film history context: Films which revolve around womanizers, being either single or married, have been featured throughout cinema history. One of the first to deal with the theme is 1928's BEWARE OF MARRIED MEN, directed by Archie Mayo, and starring Richard Tucker as a charming womanizer. In Alfred Santell's amusing BREAKFAST FOR TWO (1937), Barbara Stanwyck tussles with playboy Herbert Marshall, and wins him over in her own distinctive way. In Michael Curtiz's MILDRED PIERCE (1945) a man takes advantage of a mother and daughter, loving and manipulating each until he meets his demise. Charles Walters' THE TENDER TRAP (1955) featured womanizer Frank Sinatra and his liaisons, the same premise for Mr Sinatra examined in George Sidney's PAL JOEY (1957). Fielder Cook's HOW TO SAVE A MARRIAGE AND RUIN YOUR LIFE (1968) was a farce with Dean Martin as a bachelor running into love dilemmas.
Other notable films with a womanizing protagonist include Richard Quine's STRANGERS WHEN WE MEET (1960), with its glamorous locales and discreet views of adultery, Tony Richardson's TOM JONES (1963) a raucous film about an 18th century Libertine, and Lewis Gilbert's ALFIE (1966) about a Cockney heel with a penchant for loving and leaving women at his whim. The 1970s brought Ivrin Kershner's fine LOVING (1970) with George Segal as a married commercial artist with a roving eye. Jack Haley Jr.'s THE LOVE MACHINE (1971) was a drama with John Phillip Law as the bed-hopping Robin Stone, television executive on the road to ruin. THE CHRISTIAN LICORICE STORE, directed by James Frawley, also from 1971, was about a tennis player who had issues with fidelity.
SHAMPOO (1975) was a comedy-drama with Warren Beatty as a Beverly Hills hairdresser with a big impartiality for the ladies, with varying results. BLUME IN LOVE differed from these movies in that the character was on a mission to win back the love of his wife, no matter the cost to anyone else. The other films took a more relaxed view of infidelity, and fidelity than this movie, but here the lead character appeared to believe that true love is his calling, despite his drastic methods at winning back his ex-wife.
Overview: Paul Mazursky directed fifteen features in his career, beginning with the well-received BOB & CAROL & TED & ALICE (1969), and finishing with 1996's FAITHFUL. In between these films, he also guided motion pictures such as HARRY AND TONTO (1974), AN UNMARRIED WOMAN (1978), DOWN AND OUT IN BEVERLY HILLS (1986), and, SCENES FROM A MALL (1991). Mr Mazursky's work was generally comedic in nature with some drama as a balance, and BLUME IN LOVE is no different, if slightly higher in the dramatic element.
BLUME IN LOVE begins brightly, with Stephen Blume reminiscing about his marriage whilst in Venice but from then onwards, quickly becomes tedious. The writing of the main character, Stephen Blume, with his aggravating mindset and attitudes does not make for particularly entertaining viewing. His treatment of women as chattel is also a turn-off, and the film itself does not present its female characters as strong protagonists, generally to be used and abused before being left out in the cold. This also pertains to Marsha Mason's character Arlene who is wasted, and mainly utilized for unnecessary topless nude scenes, as are two other actresses. The movie has many scenes which could have been edited out such as the party scene where Nina finds Stephen with Arlene, and quite a few others that take up screen time to an inordinate degree.
Having two men battling over a woman friendly, while a good idea, did not provide the film with more drama. It also did not help that the characters did not have any chemistry, particularly Nina and Stephen, Nina and Elmo, and Elmo and Stephen. The conflict is muted between the characters, and nothing exceptionally striking takes place until the rape scene, but even this is glossed over. While BLUME IN LOVE does contain some watchable moments, it is hampered by a slow pace. A tightening of the film, and the writing of a more sympathetic lead would have assisted it immensely, making it more palatable.
BLUME IN LOVE begins brightly, with Stephen Blume reminiscing about his marriage whilst in Venice but from then onwards, quickly becomes tedious. The writing of the main character, Stephen Blume, with his aggravating mindset and attitudes does not make for particularly entertaining viewing. His treatment of women as chattel is also a turn-off, and the film itself does not present its female characters as strong protagonists, generally to be used and abused before being left out in the cold. This also pertains to Marsha Mason's character Arlene who is wasted, and mainly utilized for unnecessary topless nude scenes, as are two other actresses. The movie has many scenes which could have been edited out such as the party scene where Nina finds Stephen with Arlene, and quite a few others that take up screen time to an inordinate degree.
Having two men battling over a woman friendly, while a good idea, did not provide the film with more drama. It also did not help that the characters did not have any chemistry, particularly Nina and Stephen, Nina and Elmo, and Elmo and Stephen. The conflict is muted between the characters, and nothing exceptionally striking takes place until the rape scene, but even this is glossed over. While BLUME IN LOVE does contain some watchable moments, it is hampered by a slow pace. A tightening of the film, and the writing of a more sympathetic lead would have assisted it immensely, making it more palatable.
Acting: The main roles in the film are inhabited by seasoned actors who, unfortunately, are miscast, but with one notable exception. As BLUME IN LOVE's protagonist Stephen Blume, George Segal was not allowed by the script to fully display his gifted acting attributes on display in his other films. In this movie Mr Segal was saddled with a character who was largely without a conscience, and somewhat one note. His one-sided pursuit of his ex-wife Nina in the movie was without much opposition from other characters, something which in his other films did not occur. In these films Mr Segal not only pushed against other characters, but they pushed back, and this brought out his unique defensiveness and nasal snarling, always a delight to witness. Here he really has no one to take him on, and this creates a flatter portrayal than expected.
As Stephen Blume's ex-wife Nina, and the object of his undaunted obsession, Susan Anspach is also stuck with a colorless character. The script does not allow Miss Anspach, like George Segal, to exhibit a proper performance, painting her character as a whiny and unappealing. After seeing Susan Anspach in THE LANDLORD as Beau Bridges' wacky sister, and her turn as Jack Nicholson's amour in FIVE EASY PIECES, her performance in BLUME IN LOVE is disappointing. The film's best acting is by Kris Kristofferson as Stephen Blume's rival, and Nina's new partner, Elmo. With his subtle mannerisms, inquisitive eyes, and laid-back, charismatic aura, Mr Kristofferson offers the film's standout, most sympathetic performance.
As Stephen Blume's ex-wife Nina, and the object of his undaunted obsession, Susan Anspach is also stuck with a colorless character. The script does not allow Miss Anspach, like George Segal, to exhibit a proper performance, painting her character as a whiny and unappealing. After seeing Susan Anspach in THE LANDLORD as Beau Bridges' wacky sister, and her turn as Jack Nicholson's amour in FIVE EASY PIECES, her performance in BLUME IN LOVE is disappointing. The film's best acting is by Kris Kristofferson as Stephen Blume's rival, and Nina's new partner, Elmo. With his subtle mannerisms, inquisitive eyes, and laid-back, charismatic aura, Mr Kristofferson offers the film's standout, most sympathetic performance.
Soundtrack: The classical music which is featured at various points in the film, particularly at the movie's start and finish, provides it with an amusing atmosphere, and as a link for the action in the film as a whole. Aside from this, there are other music pieces employed throughout the movie which act as a commentary on the characters, and what is taking place in the story.
Mise-en-scene: The views of Venice which are highlighted at various moments throughout BLUME IN LOVE are visually beautiful, and can be contrasted with Stephen Blume's character, and his unorthodox motivations. The other settings are serviceable, with Stephen Blume's office, and the office of his psychiatrist, quite elegant and tasteful. The Blumes' kitchen is not the most attractive set in the film, filled with a dark red hue that gives it an ugly ambience. The living room of Nina and Stephen is, thankfully, slightly easier on the eyes, a set that is a tad scruffy, but realistic, reflecting as a sub-text the mixed-up lives of Nina and Stephen Blume.
Award-worthy performances in my opinion: Kris Kristofferson.
Award-worthy performances in my opinion: Kris Kristofferson.
Suitability for young viewers: No. Infrequent coarse language, brief female nudity, adult themes, medium-level violence.
Overall Grade: C
Link: IMDB Page
Trailer
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