![]() When I went to see The Fighter, I noticed, as probably most viewers did, that it was made in the full-on, faux-vérité whiplash-handheld mode. Every shot of the movie practically shouted: “Reality alert! Buckle your seatbelts!” The result was that, in Husbands and Wives, you experienced the dislocating oddity of that shaky camera almost more than you should have. ![]() It didn’t seem to me that he really felt the handheld style from the inside out it was more like watching Eric Rohmer trying to be Scorsese. At least part of the explanation, though, may have been that Woody Allen, a classicist, seemed to be trying on jitter-cam as an aesthetic affectation - sort of like his prestige-actor-of-the-moment casting decisions. Given that the movie was released just after the Woody Allen/Soon-Yi scandal broke, I always wondered if that had a little something to do with it. At the time, it became almost trendy to say that Husbands and Wives gave your intestines the willies. ![]() ![]() ![]() A lot of people, it seemed, sat through that movie and ended up feeling shaken and stirred, emerging from the theater in a cold sweat, like James Stewart after one of his rooftop-dread encounters in Vertigo. The first time that I really began to hear the nausea complaint was back in 1992, in response to Woody Allen’s Husbands and Wives. ![]()
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