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Blume in Love
Blume in Love
Actors: George Segal, Susan Anspach, Kris Kristofferson, Marsha Mason, Shelley Winters
Director: Paul Mazursky
Genres: Comedy, Drama
R     2007     1hr 55min

George Segal stars as a Beverly Hills lawyer who discovers he's madly in love with his ex-wife and frantically tries to undo the damage he has done to their relationship. Chasing her around the world, he attempts to prove ...  more »


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Movie Details

Actors: George Segal, Susan Anspach, Kris Kristofferson, Marsha Mason, Shelley Winters
Director: Paul Mazursky
Creators: Paul Mazursky, Bruce Surtees, Donn Cambern, Anthony Ray
Genres: Comedy, Drama
Sub-Genres: Romantic Comedies, Love & Romance
Studio: Warner Home Video
Format: DVD - Color,Widescreen - Closed-captioned,Subtitled
DVD Release Date: 02/06/2007
Original Release Date: 01/01/1973
Theatrical Release Date: 01/01/1973
Release Year: 2007
Run Time: 1hr 55min
Screens: Color,Widescreen
Number of Discs: 1
SwapaDVD Credits: 1
Total Copies: 0
Members Wishing: 2
MPAA Rating: R (Restricted)
Languages: English
Subtitles: English, Spanish, French

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Movie Reviews

I adore this movie and hope you will, too
(5 out of 5 stars)

"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."
Perhaps not for everyone, but for those who have experienced
A. Silverman | Fresno, CA United States | 08/14/2000
(5 out of 5 stars)

"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"
A bitttersweet 1970's Los Angeles romance for adults
Stephen H. Wood | South San Francisco, CA | 02/18/2007
(4 out of 5 stars)

When I was a college student in 1970's Los Angeles, I fell in love with Paul Mazursky's bittersweet BLUME IN LOVE (1973). It is now on DVD, and I recommend it to all romantics of the world. Beverly Hills divorce lawyer Stephen Blume (George Segal in a career-best performance) finds himself getting divorced from wife Nina (Susan Anspach) when he stupidly cheats on her with his secretary. Blume befriends a sweet woman named Arlene (Marsha Mason), but still loves Nina. But she now has a hippie boyfriend named Elmo (Kris Kristofferson, who made PAT GARRETT AND BILLY THE KID the same year). Nina met Elmo in a Los Angeles welfare office, where she works. Blume befriends Elmo to try and get to Nina. She keeps telling Blume to get lost, but secretly misses him also.

This is an extraordinarily insightful and superbly acted movie about human relationships and divorce. The dialogue is wonderful. ("I've seen GONE WITH THE WIND eleven times because I know it will be good." "I raped my ex-wife, and her boyfriend beat me up.") Writer/director Mazursky gives it an interesting structure, beginning and ending in Venice (Italy) with a bearded Blume sipping expresso in an open plaza and watching people around him. They are in love, and he misses Nina. In flashback, we learn how the two met and married in Venice, moved to Los Angeles, then several years later how they got divorced in Las Vegas. And we learn how Blume meets Arlene, who kind of resents having him always talking and thinking about Nina during sex. On the other hand, Nina claims she never thinks of Blume after the divorce. That's not true, as the last couple of reels reveal. I personally find the last scene optimistic, but still true-to-life.

Watching a wonderful Sidney Poitier drama called TO SIR, WITH LOVE (1967), I told myself it could only take place in 1967 London because of the character relationships, the dialogue, and the city. Watching BLUME IN LOVE, which was photographed by Bruce Surtees and designed by Pato Guzman, I told myself it is a time capsule of my college heyday in 1973 Los Angeles. I was 22. If it was released in Spring, I was graduating from UCLA; if it was a Fall release, I was just starting at USC's School of Cinema. The characters bed one another freely without condoms in a pre-AIDS age and say "the f--- word" often enough to get an "R" rating; and they smoke pot and use the expression "my old lady" for girl friends.

BLUME IN LOVE is definitely a 1970's movie, one of the finest. I gets 1973 Los Angeles just right, down to the details. I highly recommend it to adult moviegoers.

Retrospective 35 years later
Tulipmedia | Los Angeles, CA | 05/13/2007
(5 out of 5 stars)

"I first saw this film as a new release in 1973, and was, at the time, a 22 year-old licking wounds from his first "lost love", and wondering what the future would bring. What a remarkable opportunity to see it again (for the first time) almost 35 years on, after a life-time of experiences against which to measure my reaction. I simply loved the film in 1973, but simply rejected the ending outright. I am relieved to report that 35 years have left little changed. It is a remarkable film about love, marriage,and the human condition, with superb perfomances and a capture of '70's zetigeist that needs to be experienced and can not easily be described. And the ending is still unfair to the heart and beauty of the film... but that is OK. The many strengths surprisingly more than outweigh Mazursky's curious insistence to assert that "love conquers all"."