[.ca] Blume in Love

From Amazon.com:
How many people who watch him on television's Just Shoot Me realize that at one point in the early 1970s George Segal was the biggest romance-comedy star in Hollywood? This Paul Mazursky film gives some clue as to why. Segal plays a divorce lawyer who is divorced himself after his wife (Susan Anspach) catches him cheating on her. She, in turn, moves on and falls into an easy-going relationship with an even more easy-going musician (Kris Kristofferson in one of his first film roles). But Blume chooses this moment to fall back in love with his ex-wife and begins to woo her anew. Segal has warmth, but with an edge, and a way with one-liners; this performance is one of his best from this period, which is shortly before his career self-destructed for a decade. --Marshall Fine

Perhaps not for everyone, but for those who have experienced:
some of life and love's ups and downs, inside and outs, a wistful comedy about a shmuck who destroys his marriage with a casual affair and thereby liberates his ex-wife into becoming an independent woman who go on with her life, while he tries to regain that which he had had and lost; Segal, Anspach, and Kristofferson perfect in their roles in this period piece (70's) but with lasting appeal. A woman's movie that appeals to consciousness-raised men as well, with love winning in the end, but between which parties? Ah, there's the rub. Enjoy SHALOM Alex

I just love this movie.:
And Chester... God he was a good ol' goat.

I adore this movie and hope you will, too:
I just watched "Blume in Love" again after a long lapse, and it's held up beautifully. It's about an attorney (George Segal) who still loves his ex-wife (Susan Anspach) even though she no longer loves him and is living with a musician (Kris Kristofferson in his first role). There's so much to savor that I'll just record a few random impressions for you: The closing shot, which is perfectly symmetrical with the opening shot, is one of the most satisfying I've ever seen. It gives me the same kind of transcendent joy I got at the fadeout of "Annie Hall" and "Field of Dreams." There's a rape in the plot that troubles some people, and yet given the era this movie was made and the way the characters themselves deal with the situation in that period, I don't have a problem with it. The visual riffs on "Death in Venice" are very funny and sweet. The idea of a shared cold (very early in the movie and never spoken of, just shown) expresses intimacy as well as anything could. Kristofferson is hilariously laid back and sweet here, and his song about Chester the goat will stay with you a while. If you've never been to Venice, and if after "Don't Look Now" you swore you'd never go, this movie might just change your mind. I hope you see this movie if you haven't.