Um casal tenta de tudo para que o outro saia da casa em uma feroz batalha de divórcio.Um casal tenta de tudo para que o outro saia da casa em uma feroz batalha de divórcio.Um casal tenta de tudo para que o outro saia da casa em uma feroz batalha de divórcio.
- Indicado para 1 prêmio BAFTA
- 2 vitórias e 9 indicações no total
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- CuriosidadesWhile shooting the scene where Michael Douglas (Oliver Rose) and Kathleen Turner (Barbara Rose) are sitting in the chandelier, director Danny DeVito pretended to break for lunch while the two actors were 30 feet above ground.
- Erros de gravaçãoIn the final scene in the chandelier, Barbara goes from being barefoot, to shod, back to barefoot again.
- Citações
Oliver Rose: I think you owe me a solid reason. I worked my ass off for you and the kids to have a nice life and you owe me a reason that makes sense. I want to hear it.
Barbara Rose: Because. When I watch you eat. When I see you asleep. When I look at you lately, I just want to smash your face in.
- Cenas durante ou pós-créditosThe fanfare in the 20th Century Fox logo at the beginning of the movie segues into the opening theme of the movie.
- Trilhas sonorasOnly You (And You Alone)
Written by Buck Ram and Buck Ram (as Ande Rand)
Performed by The Platters
Courtesy of PolyGram Special Projects a division of
PolyGram Records, Inc.
Avaliação em destaque
DeVito is a hit-and-miss director. He's turned out some very good films and some very bad ones. Sometimes his satire just falls short ("Death to Smoochy," for example); however, "War of the Roses" is his strongest directorial effort to date.
It's got everything - a clever script, great interaction between its two stars, exciting thrills, funny gags (without ever resorting to unnecessary crudity), and to top it all off, the direction is very effective - DeVito is heavily influenced by Hitchcock and that is very clear in the final sequence, which is reminiscent of "Vertigo" and "Rear Window." Michael Douglas and Kathleen Turner play the Rose couple - two once-happily-married people who are now, after many years together, bitter and at the end of their frustration. Deciding upon a divorce, they begin to split apart; however, negotiations regarding belongings begin to go awry as Oliver Rose (Douglas) demands more from his wife, claiming it's his money that purchased their enormous house and all objects inside.
DeVito turns in a performance as the narrator, and Oliver's lawyer, who tells us at the start we are about to watch a sad tale about divorce. By the time the film has ended we've seen events spiral totally out of control - beginning with absolute believability and ending in absolute absurdity.
That's the crucial part of all this. Black comedy relies on whether the dramatic arc of the content - the leap from reality to lunacy - can be believable. Many times in DeVito's film, it isn't. "Smoochy," for example, was clever satire at first, and fairly reminiscent of real-life people and events; then it turned into an over-the-top revenge rampage.
"War of the Roses" is more careful, and the arc is subtler. It's believable because the characters are given such room to grow and their conflict blossoms throughout the picture.
I'd classify "War of the Roses" as one of the funniest, cleverest and most underrated black comedies of the 1980s - it's one of my personal favorite movies and never fails to crack me up. A cult film? Maybe; but I think many more people would enjoy it if they gave it a chance.
It's got everything - a clever script, great interaction between its two stars, exciting thrills, funny gags (without ever resorting to unnecessary crudity), and to top it all off, the direction is very effective - DeVito is heavily influenced by Hitchcock and that is very clear in the final sequence, which is reminiscent of "Vertigo" and "Rear Window." Michael Douglas and Kathleen Turner play the Rose couple - two once-happily-married people who are now, after many years together, bitter and at the end of their frustration. Deciding upon a divorce, they begin to split apart; however, negotiations regarding belongings begin to go awry as Oliver Rose (Douglas) demands more from his wife, claiming it's his money that purchased their enormous house and all objects inside.
DeVito turns in a performance as the narrator, and Oliver's lawyer, who tells us at the start we are about to watch a sad tale about divorce. By the time the film has ended we've seen events spiral totally out of control - beginning with absolute believability and ending in absolute absurdity.
That's the crucial part of all this. Black comedy relies on whether the dramatic arc of the content - the leap from reality to lunacy - can be believable. Many times in DeVito's film, it isn't. "Smoochy," for example, was clever satire at first, and fairly reminiscent of real-life people and events; then it turned into an over-the-top revenge rampage.
"War of the Roses" is more careful, and the arc is subtler. It's believable because the characters are given such room to grow and their conflict blossoms throughout the picture.
I'd classify "War of the Roses" as one of the funniest, cleverest and most underrated black comedies of the 1980s - it's one of my personal favorite movies and never fails to crack me up. A cult film? Maybe; but I think many more people would enjoy it if they gave it a chance.
- MovieAddict2016
- 23 de out. de 2005
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- The War of the Roses
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Bilheteria
- Orçamento
- US$ 26.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 86.888.546
- Fim de semana de estreia nos EUA e Canadá
- US$ 9.488.794
- 10 de dez. de 1989
- Faturamento bruto mundial
- US$ 160.188.546
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By what name was A Guerra dos Roses (1989) officially released in India in English?
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