Another Woman (1988) - Rotten Tomatoes

Another Woman (1988)



Critic Consensus: No consensus yet.

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Movie Info

Grad-school administrative head Marion Post (Gena Rowlands) is in the midst of writing a book. The walls are thin in the apartment she's taken for work purposes, and soon Marion begins listening to the sessions conducted by her neighbor, an analyst. One of the patients is Hope (Mia Farrow), whose marriage is in tatters. As Hope prattles on, Marion begins flashing back to highlights (and lowlights) of her own marriage. Her musings are constantly interrupted by the memory of the man (Gene Hackman) she'd once ardently loved. Later on, chance encounters with old friends force Marion to face the fact that she has lived her life sheltering herself from her true emotions. Director Woody Allen's career-long indebtedness to Ingmar Bergman is underlined in Another Woman via Bergman's frequent cinematographer Sven Nykvist.more
Rating: PG (adult situations/language)
Genre: Drama
Directed By: ,
Written By: Woody Allen
In Theaters:
On DVD: Jun 5, 2001
France 2 Cinéma

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Gena Rowlands
as Marion Post
Gene Hackman
as Larry Lewis
Ian Holm
as Dr. Ken Post
Martha Plimpton
as Laura Post
John Houseman
as Marion's Dad
David Ogden Stiers
as Young Marion's Dad
Michael Kirby
as Psychiatrist
Bernie Leighton
as Piano Player
Jack Gelber
as Birthday Party Guest
Dana Ivey
as Engagement Party Gue...
Fred Melamed
as Engagement Party Gue...
Alice Spivak
as Engagement Party Gue...
Heather Sullivan
as Little Marion
Stephen Mailer
as Young Paul
Josh Hamilton
as Laura's Boyfriend
Kathryn Grody
as Cynthia Franks
Show More Cast

News & Interviews for Another Woman

Critic Reviews for Another Woman

All Critics (20) | Top Critics (7)

Film that emerges is brave, in many ways fascinating, and in all respects of a caliber rarely seen.

Full Review… | March 23, 2009
Top Critic

A piece of posturing phoniness designed to awe spectators who like their psychodramas third-hand and upscale.

Full Review… | March 23, 2009
Chicago Reader
Top Critic

Rowlands' perfectly pitched approach to a demanding role is particularly stunning.

Full Review… | June 24, 2006
Time Out
Top Critic

Mr. Allen is becoming an immensely sophisticated director, but this screenplay is in need of a merciless literary editor.

Full Review… | May 20, 2003
New York Times
Top Critic

Once again, Allen has mistaken unfunny for serious, feeling the breath of immortality on his shoulder.

Full Review… | January 1, 2000
Washington Post
Top Critic

The storytelling is fluid and dramatic -- almost theatrical -- the film glows with light and the design is economically artful.

Full Review… | January 1, 2000
Washington Post
Top Critic

Audience Reviews for Another Woman

Not a film for everyone, but one that's well written and affecting, with some good performances on show.

Sophie Burgess

Super Reviewer


Slow think piece but a dynamite showcase for the great talents of Gena Rowlands.

jay nixon

Super Reviewer

It's no secret that Woody Allen idolized Bergman (which shouldn't come as much of a shock, since lots of people, myself included, share the same sentiment). He has tried, with mixed results, to make a true homage to the legend with Interiors and September, but with Another Woman, he finally made a film that not only hits the examining, existential notes that Bergman hit routinely, but one that remarkably feels like a Woody Allen film in terms of its incredibly astute screenplay and beautiful staging.

Some have called Another Woman a Wild Strawberries remake, but I would argue that it isn't a remake as much as it is a reimagining, or more to the point, a "repurposing" of the Bergman classic. It is a story of a university professor, played SPECTACULARLY by Gena Rowlands, in whom something stirs when she overhears a therapy session with a young 30-something woman who is discontent with her life. The professor, Marion, feels an emptiness rise inside her -- an emptiness that had settled there years before, that she can consciously feel now. Little by little, like in Interiors but better plotted in Wild Strawberries, the world she has constructed for herself, a cold, cerebral world, deconstructs.

Marion despairs, enters into conflicts with herself, and questions endlessly trying to reason her way out of her malaise. But the cure for her malaise is not rational resolution and she, realizing that her strongest characteristic (namely her rational intelligence) is not enough to untangle what worries her, finds herself entirely helpless in the face of an unraveling existence.

Her drama is very much like the drama of Professor Isak Borg from Bergman's film, a man on his way to receive a medal for his lifetime achievements. And, on the road, he also succumbs to the same malaise as Marion, the same questioning and the same painful re-evaluation. The horror shared by both Marion and Professor Borg, of course, is that despite their highly lauded accomplishments and their intellectual self-satisfaction, they feel a void. There must, in other words, be something else to life than strictly intellectual work, however satisfying it may be.

Another Woman is a testament to the fact that Woody Allen was still at the top of his game in the late 80s. It is a brilliant, honest and perceptive film. It makes one wonder how different Bergman's films would have been if he didn't dismiss the visual sophistication that Allen spent most of his early career developing.

In addressing the criticism of Another Woman, sure, a few beats feel contrived and forceful, but considering the heavy questions being posed, and the unrelenting commitment that Allen has to the material, this film had plenty of opportunities to fall flat on its face, and to its credit, it never does. In fact, it excels thanks to a fantastic script, brilliant performances, and a wise small dose of visual styling. This is Woody Allen at the height of his powers.

Jonathan Hutchings

Super Reviewer

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