Two Weeks in Another Town (1962)




Critic Consensus: No consensus yet.

Two Weeks in Another Town Photos

Movie Info

After his career has tapered off, a once-famous actor attempts to overcome his mental and emotional problems to get his life back together. Arriving in Rome to work on a low-budget film, he meets with a fellow actor and the two face a series of problems and setbacks when they try to finish the film project they began. Based on a novel by Irwin Shaw, this drama directed by Vincente Minnelli features Kirk Douglas, George Hamilton, Edward G. Robinson, Cyd Charisse and Claire Trevor among others.
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Kirk Douglas
as Jack Andrus
Edward G. Robinson
as Maurice Kruger
Cyd Charisse
as Carlotta
George Hamilton
as Davie Drew
Daliah Lavi
as Veronica
Claire Trevor
as Clara Kruger
James Gregory
as Brad Byrd
Joanna Roos
as Janet Bark
George Macready
as Lew Jordan
Mino Doro
as Tucino
Vito Scotti
as Assistant Director
Tom Palmer
as Dr. Cold Eyes
Leslie Uggams
as Chanteuse
Edith Angold
as German Tourist
Janet Lake
as Noel O'Neill
Joan Courtenay
as Signora Tucino
Franco Corsaro
as Henchman
Edward Colmans
as Henchman
Edit Angold
as German Tourist
Don Orlando
as Soundman
Red Perkins
as George Jarrett
Albert Carrier
as Electrician
James Garde
as Sound Engineer
Alberto Morin
as Cameraman
Beulah Quo
as Chinese Sister
Cilly Feindt
as Lady Godiva
Lilyan Chauvin
as Bar Girl
Ann Molinari
as Bar Girl
John Indrisano
as Bouncer
Benito Prezia
as Ad Libs in Lounge
Tony Randall
as Ad Libs in Lounge
Joe Dante
as Ad Libs in Lounge
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Critic Reviews for Two Weeks in Another Town

All Critics (6)

shows the industry in that transition, and in that respect, it's fascinating to watch

Full Review… | December 8, 2013
7M Pictures

Both intimate and outsized, it's a strange product of the era, a Hollywood white elephant of a movie straddling self-awareness and self-parody ...

Full Review… | March 25, 2011

The culmination of a great career filled with glorious images and deeply-felt emotions.

Full Review… | February 10, 2011
Combustible Celluloid

Strange, uneven - but stylistically inventive melodrama about movie making.

Full Review… | August 8, 2008
Classic Film and Television

A passable sequel to Minnelli's 1952 Hollywood melodrama The Bad and Beautiful, and while Kirk Douglas and Edward G. Robinson give expert performances, Cyd Charisse is miscast.

Full Review… | June 28, 2007

The film borders on soap opera but manages to get beyond it because of Minnelli' skills as a director and the fine acting from the two male leads.

Full Review… | December 31, 1999
Ozus' World Movie Reviews

Audience Reviews for Two Weeks in Another Town

Both intimate and outsized, it's a strange product of the era, a Hollywood white elephant of a movie straddling self-awareness and self-parody ...

Greg Wood
Greg Wood

This may not be the best movie about the film business but it's probably my favorite. The links to Minnelli's earlier and more critically lauded "The Bad And The Beautiful" are strangely incestuous. It's not a direct sequel, here Douglas plays an actor, not the wildly driven producer of the earlier film. In fact Douglas' character here is actually supposed to be the actor who played his character in "TBATB". (Confused? Best not to think about it too much and go with the flow.) This is revealed when Robinson, who we are told directed "TBATB", screens a print of the film as an example of great work. If Minnelli lacked anything it certainly wasn't ego, not many would have the balls to make a movie about how great the one you made ten years ago was. Few would agree but I feel this superior to the 1952 film. There's something beautifully melancholic about this movie. In 1962 Hollywood was undergoing a radical change, competition was coming from TV, Rock & Roll, and from Europe where movies could be made for a relative pittance. A whole new breed of performers were changing the craft of acting. Realism was becoming key, audiences wanted to see movies shot in a glamorous location rather than a warehouse in Los Angeles. If any movie can serve as a farewell to old Hollywood it's this one. Douglas, Robinson and Charisse all play characters who know the game is up, all three on the verge of becoming dinosaurs. Douglas is the only one who faces up to it with dignity. He ends a brief May to December fling with the stunning Daliah Lavi, pushing her back to the handsome but troublesome young actor Hamilton who she claims was her first love. In doing this Douglas is speaking for Minnelli's generation, passing the reigns onto the new young Hollywood which would emerge over the following decade. Relapsing into alcoholism after a wild night with Charisse, Douglas speeds off in his Maserati with her in tow, threatening to kill both of them by driving wildly. Minnelli filmed this on stage in front of a rather obvious projection screen which gives the scene another level. Douglas at this point doesn't want to face reality so subconsciously is trying to escape into the movie world, the only place he ever felt safe. It recalls a similar scene from "TBATB" where Lana Turner sped off after being rebuked by Douglas. This is probably the last great role for Robinson before he was swept away in a sea of TV bit parts and he's on fire here as the bitter director who can't accept his time is up. Douglas is great as always and really generates sympathy as he attempts to keep his dignity while all around him lose theirs. It makes sense that this was a commercial failure as it legitimizes the movie's theme. What I can't understand is the overwhelming critical bashing it took. Perhaps it was Minnelli's undeserved stigma as a director of musicals. I can't help think if this had been made by Wilder or Sirk it would have far greater standing. Don't believe the anti-hype, this is one of the best movies of the sixties and a must see for fans of old school melodramas.

The Movie Waffler
The Movie Waffler

Super Reviewer

A compelling, enlightening, and (most of all) entertaining look at the Hollywood system and it's powerful grip on both directors and actors. Two Weeks in Another Town reeks of 60s anachronisms, but at times that makes it feel like it the Hollywood-Story version of La Dolce Vita (with a happy ending). The style here is tremendous, though it never overshadows Kirk Douglas' performance. Douglas is fantastic here, playing a semi-forgotten Hollywood star, discovering his hidden talent for directing. The scenes with him directing the film begun by Ed Robinson's tyrannical director Kruger are exhilarating. While the film ends on a happy note, it isn't without it's dark spots, and even it's ending doesn't tie everything up in a bright bow. This is a fantastic film on Hollywood at an awkward time in its life, transitioning from grand spectacles showcasing gorgeous actors to creating more "realistic" and "relatable" characters and stories. It's old Hollywood cinema telling a newer, more conflicted story. At times it's breathtaking, but mostly, it's entertaining.

Caleb McCandless
Caleb McCandless

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