O Último Casal Casado

When I was watching "The Last Married Couple in America" recently, I made note of the uninhibited anything-goes attitudes that it exhibited, so typical of the late 1970s. There were open relationships, bawdy parties, rampant divorce, and all manner of outrageous behaviors that typified that era.

Mari (Natalie Wood) and Jeff (George Segal) are a happy married California couple that stays together despite all of their friends going through divorces and various personal crises. When Jeff cheats on Mari with a mutual acquaintance (Valerie Harper), the couple separates and tries the single life. Naturally, they reunite after discovering that being single isn't so great after all, and all is happy with their family and the world.

This movie certainly has a great cast (including Richard Benjamin, Priscilla Barnes, Bob Dishy, and Dom DeLuise) but its story line is almost like a TV show transplanted into an R-rated movie. There are plenty of laughs and some pretty good scenes (including a crazy party scene toward the end), but I was left feeling that I had just watched a 1970s sitcom with some salty language and sex scenes thrown in. The supporting cast is very good, with Richard Benjamin outrageously funny as one of Segal's divorcing friends, and a very young and attractive Priscilla Barnes. Watching the film was a pleasant experience and it was nice to re-live early 1980, but in the end it wasn't anything really special.

A fun take on the aftermath of the sexual revolution but could have been better. Natalie Wood and George Segal are a 40ish couple who are happily married but seem to be the only ones left in their circle of friends who still are. They are under constant peer pressure from their friends to seek out extramarital affairs. Eventually Segal is seduced by Wood's friend Barbara played by a blonde Valerie Harper (cast against type from her long TV role as Rhoda Morgenstern) The supporting cast are stellar, a who's who of comedic actors of that era; Richard Benjamin, Alan Arbus, Bob Dishy and Priscilla Barnes but its the effortless chemistry between Natalie Wood and George Segal that are the backbone of the movie. Natalie's performances in her later years were far better than she's been given credit for. Her entire career were various snapshots of the mores of the times. She ultimately always made America feel good about its moral center even in her tragic roles. The sitcom feel of the whole film does it a disservice because it could have held up better over time if the script was better. Seeing this in 2020 is more like an archeological excavation digging up bones of a long lost civilization instead of a witty character study like Annie Hall or Manhattan. All and all its a worthwhile watch even just to see Natalie's last completed theatrical release.

One of the most underrated movies of late seventies.Good direction by Gilbert Cates in a witty screenplay the players are excellent.The chemistry between Wood and Segal are a gift from heaven.The scenes between the main characters are touching.The supporting players are nice too specially Dom DeLuise and Marilyn Sokol.A movie to be discover.

George Segal and Natalie Wood portray an upper-class married couple in Los Angeles who find they are the last of a dying breed: all the men and women within their circle of friends are separated from their spouses, divorced, or on the make. Occasionally smart and amusing screenplay by John Herman Shaner doesn't take a righteous stand on the sexy goings-on, though Shaner is quick to point out the pitfalls of the swinging middle-ager (impotency, venereal disease, unfulfilled coupling). Gilbert Cates directs it like an R-rated TV show, though some of the intended bite (laced with grown-up, witty humor) manages to come through, and the cast is good--however less of hammy Dom DeLuise would have been an improvement. Wood, in particular, shows a great deal of growth since her not-dissimilar dalliance with sexual inhibitions in 1969's "Bob & Carol & Ted & Alice"; she's surprisingly loose and physical here, and works comfortably with Segal, though George himself is rather wrung-out. With the sexual revolution of the 1970s fading fast upon its release, the film didn't stand a chance at the box-office, but parts of it are very funny and trenchant and have held up well. ** from ****

See "The Last Married Couple in America" with "Serial" (released around the same time...) and you get a good idea of what ideas were floating around during the late 70s and early 80s.

Though both films are not very good and they are horribly dated (in a fun way) they reflect a post 60s hangover attitude that's interesting in light of what occurred in 1980 with the election of Ronald Reagan.

Many thought that the 60s was going to usher in a whole new perspective and enlightenment to the masses. The use of drugs and free love was supposed to push all people's barriers down and out and a new world was to be created. Most people may not have completely shared in that feeling but there was a strong feeling of new and better things were going to happen.

But of course it didn't. People were burned out in the 70s and reality settled in: drugs, free love...it didn't change much at all. And in some cases, it made things worse by making it all so confusing. People who thought that the 60s were going to make everything better were disillusioned to find that nothing fundamental had really changed at all.

That's where "The Last Married Couple in America" and "Serial" take their cues. Both movies start off by trying to be "risky", "edgy" and "daring" by using a lot of four letter words and pseudo-risqué sex scenes (all pretty conventional, actually). The jokes are just sitcom material spiced up with "naughty" words.

In the end, both movies end with a very comfortable reaffirmation of the family/marriage unit and a rejection of the sexual revolution.

OK...so there might be some ripe material made out of this. But neither of these two is it, especially "The Last Married Couple in America". It's another one of those lame 70s comedies like "Silver Bears" with Cybil Shepherd. These are the types of films that even when they were released, I couldn't figure out who would pay money to see them.