Married Life (2007)

I like the storyline of this show,it attract me so much

Excellent, Without a doubt!!

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

This little gem isn't about plot; it's a little slice of life, a drawing room comedy mixed with some Hitchcockian noir, a black comedy set in postwar America, a time when society deemed marital responsibility and happiness a given, when the norm was largely unquestioned. In this slightly fiendish little cat-and-mouse game, the plotted crime really isn't the point--better to engage with four excellent actors at the top of their game interact with one another, backed up by a splendid, haunting score, period sets that are manage to be both authentic and colorful, and unobtrusive direction. Some viewers seem to want this to be an action picture, with tension pounding in every frame; they will be disappointed; instead, this look at folks going about their business is an intelligently written, leisurely explication of human interaction, peppered with wit and leavened with dark humor

The well to do, middle-aged American couple, seems to be in a middle of a marital crisis. The husband is in love with a much younger women and seeks complete happiness. Well it has to be a fly in that particular ointment. " Married Life" tries to be a clever pastiche set in 1949, when women were glamorous and desperately needed protection, or that's what martini swilling, two pack a day smoking men,liked to think. So, the movie tries to be smart and amusing and a bit suspenseful, but it fails in that endeavor. With all the stirred emotions and betrayals and deceptions, in the end it doesn't go anywhere. It just fizzles and expects us to feel buzzed and refreshed.Sorry, I definitely wasn't.

Married Life is set in 1949; the story opens into a picturesque, affluent suburb where Harry Allen (Chris Cooper) resides with his wife, Pat (Patricia Clarkson). But there's trouble brewing beyond the perfect picket fences. Harry has fallen deeply in love with a blonde beauty named Kay (Rachel McAdams). He confesses his secret to his longtime bachelor friend, Richard (Pierce Brosnan), and even introduces Richard to the lovely Kay. Unfortunately for Harry, Richard is instantly smitten, and makes up his mind that he will do whatever it takes to win Kay for himself. Harry, meanwhile, continues to plot ways to escape his marriage, though he fears leaving Pat will destroy her. He soon decides the most humane thing would be to dispose of her the old-fashioned way, with the aid of a little poison. While he debates on when to make his move, we learn that Pat actually has a few secrets of her own. Married Life is a very clever take on the trials and tribulations of marriage. It's a dramatic piece that shows what people do for love and the extreme lengths they go so that they can be with someone. One can never truly know what is going trough their partner's mind and people will always have secrets. The film has a very tense atmosphere and could be just as easily described as a psychological thriller. Visually, the film is stunning and the recreation of the era is mesmerizing. The set design is tremendous and so are the costumes. However, the film biggest strength relies undeniably in the extremely talented cast. Chris Cooper is terrific, specially in the second and third act of the film. Rachel Mcadams is adorable as usual and Pierce Brosnan is very charming. Patricia Clarkson also delivered a very solid performance. Overall, a beautifully crafted and highly entertaining film.7.5/10

I think director/co-writer Ira Sachs' subtle 2007 homage to the old-fashioned studio melodramas of the 1940s and 50s could have used more of the Baroque feverishness of a Douglas Sirk ("All That Heaven Allows") to make the adultery-driven plot more intriguing stylistically - perhaps a face slap here, a gun confrontation there, even a shouting match in a restaurant. Instead, Sachs, along with co-writer Oren Moverman ("The Messenger"), downplays the overripe theatrics in favor of a more Hitchcockian approach to their noirish fable about the transient rules of love and deception. The resulting film is fun to watch due to its faithful period depiction but sometimes little more than a moral exercise in punishing the subversive thoughts and actions of the seemingly staid protagonist.It's 1949, and the plot centers on Harry, a middle-aged and very married Manhattan executive, who finds himself in love with the much younger Kay, a WWII widow who enjoys the attention of a man so devoted to her. Harry decides he cannot divorce his wife Pat for fear of breaking her heart. In fact, he thinks it's more charitable to murder her by poisoning her digestive powder which she takes religiously every day. Harry's best friend Richard is aware of Harry's intentions and gets caught in the middle trying to save the marriage while finding himself becoming attracted to Kay as well. Not quite the victim she would seem to be, Pat has secrets of her own, which leads to a roundelay of events befitting the increasingly uneasy blend of treachery and absolution. Sachs capably keeps things afloat even when the suspense factor appears overly muted.A smart quartet of actors has been cast beginning with Chris Cooper ("Adaptation") effectively embodying the crushed soul that Harry has become. Providing the voice-over narration from his character's limited perspective, Pierce Brosnan ("The Matador") uses his naturally erudite manner to great wry effect as Richard, while Patricia Clarkson ("Whatever Works") gives added dimensions of knowingness and cunning to Pat. With her hair dyed an unflattering peroxide blonde, Rachel McAdams ("The Notebook") looks poised to play the femme fatale, but her character is more ingenuous than she looks. That basically means McAdams has little bandwidth to add any complex shading to Kay. The 2008 DVD offers an informative commentary from Sachs, the theatrical trailer, and three alternate endings, each flash-forwarding the story sixteen years later to O. Henry-type resolutions. While interesting, none really add that much to the ending used in the movie.