Retrato do autor

Ulu Grosbard (1929–2012)

Autor(a) de The Deep End of the Ocean [1999 film]

11 Works 100 Membros 2 Críticas

Obras por Ulu Grosbard

The Deep End of the Ocean [1999 film] (1999) — Director — 35 exemplares, 1 crítica
Falling in Love [1984 film] (2002) 25 exemplares, 1 crítica
True Confessions [1981 film] (1981) — Director — 13 exemplares
Straight Time [1978 film] (2007) — Director — 11 exemplares
The Subject Was Roses [1968 film] (1968) — Director — 6 exemplares
Georgia (1996) — Director — 2 exemplares
True Confessions 1 exemplar


Conhecimento Comum

Nome canónico
Grosbard, Ulu
Nome legal
Grosbard, Israel
Data de nascimento
Data de falecimento
Belgium (birth)
USA (naturalization, 1954)
Local de nascimento
Antwerp, Belgium
Local de falecimento
Manhattan, New York, USA
University of Chicago
Yale University
film director



Meryl Streep, as always, is excellent in this film. And it's nicely made, with Robert de Niro providing a good foil for her. We soon realised it's quite old, as films go - the lack of mobile phones, and the presence of old-fashioned dials on house phones rather gave it away. It was in fact made in 1984.

However the subject-matter is all too modern. Frank and Molly bump into each other in a bookshop, while Christmas shopping. Each is happily married to someone else - and although a predictable switch of parcels happens, they might not have met again but for the coincidence of being on the same train.

A friendship starts... and escalates far too quickly, each convinced they have found their soul-mate. I didn't like the message conveyed - that the promises of marriage can be thrown aside, even when the marriages are, basically, pretty good.

Still, it was reasonably entertaining, very well done, and even mildly amusing in places. Five stars for the production, three - or a little less -for the storyline. Four overall.
… (mais)
SueinCyprus | Mar 23, 2022 |
Beth Cappadora (Michelle Pfeiffer) is at her high school reunion when her 3-year-old son disappears from his brother's care. The little boy never turns up, and the family has to deal with the devastating guilt and grief that goes along with it. Nine years later, the family has relocated to Chicago. By a sheer fluke, the kid turns up, living no more than two blocks away. The authorities swoop down and return the kid to his biological parents, but things are far from being that simple. The boy grew up around what he has called his father, while his new family are strangers to him; the older son, now a teenager, has brushes with the law and behavioral problems. His adjustment to his lost brother is complicated by normal teenage churlishness, and the dad (Treat Williams) seems to expect everything to fall into place as though the family had been intact all along. It's a tightrope routine for actors in a story like this, being careful not to chew the scenery while at the same time not being too flaccid or understated. For the most part, the members of the cast deal well with the emotional complexity of their roles. Though the story stretches credulity, weirder things do happen in the real world. The family's pain for the first half of the film is certainly credible, though the second half almost seems like a different movie. Whoopi Goldberg plays the detective assigned to the case; casting her is a bit of a stretch, but she makes it work. All in all, a decent three-hanky movie in the vein of Ordinary People. --Jerry Renshaw… (mais)
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schotpot | May 13, 2007 |


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½ 3.4

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