Two for the Seesaw


Action / Drama / Romance

Rotten Tomatoes Critics - Rotten 60%
Rotten Tomatoes Audience - Spilled 52%
IMDb Rating 6.7 10 1202


Uploaded By: FREEMAN
Downloaded 501 times
June 14, 2016 at 04:24 AM



Shirley MacLaine as Gittel 'Mosca' Moscawitz
Robert Mitchum as Jerry Ryan
Ann Morgan Guilbert as Molly - Dance Student's Mother
720p 1080p
849.38 MB
23.976 fps
1hr 59 min
P/S 2 / 2
1.79 GB
23.976 fps
1hr 59 min
P/S 3 / 4

Movie Reviews

Reviewed by FlickersRULE 10 / 10

Surprisingly Great.

I call this film surprisingly great not because I was shocked that Mitchum or MacLane delivered fine performances, it's surprisingly good because of everything else this film has... in addition to M&M's delicious performances. I had no idea what to expect before watching this, just the way I like it. Because then I get the 5-10 minute rule to takeover -- either I'm hooked or I'm not.

Well it started right away. This thing was shot in B&W anamorphic, and shot beautifully. The opening shots drew me in for their wide angles and good framing and nice dramatic lighting(ie what normal people call a good mood setter)... noirish in some respects. And then it sucked me right in.

Maybe because it started on the stage and the scenes were so long but the dialogue was so well crafted that you just had to pay attention.

Maybe the fantastic real life portrayals by M&M - not straying nor betraying.

But I found myself constantly wanting to talk some sense into Jerry and Gittel -- ah thats what cinema is -- the desire to find out how it ends. And what an ending it is... I'll leave it at that.

I give it a 10 because it maybe is among the very best of this category - the "realistic character dialogue romance featuring two very odd strangers (think Stewart and Novak in Vertigo)". Shot well, acted well... kept me glued to the end. I give it 10 and not 9 because well, without spoiling it -- they didn't go where they could have gone. And I think that most audiences won't understand that final point once they see it. Thats a shame. But those who understand will agree - brilliance all around.

10 from me. And thats saying a HELLUVA lot.

Reviewed by dedmedved 10 / 10

remarkable time capsule

The post-beatnik / pre-hippie party scene is truly spectacular as a snapshot of a time/place rarely caught on film. While most of America was still living a black & white Eisenhower existence, this film shows the cutting edge NYC scene that had already moved beyond bebop and Kerouac and was just about to stumble full tilt into the Warhol Factory. The party scene probably seemed about as weird to middle America as the alien bar scene in Star Wars, fifteen years later. But one kid in every high school across the country changed their plans to attend 'State' and filled out last minute applications to NYU; they knew that they would grow old waiting for that world to reach their hometown.

A little known treat for anyone into the early days of "alt".

Reviewed by editorbob 7 / 10

Beautiful but frustrating

This film is a good example of why I love black & white movies.

Director Wise, cinematographer Ted McCord, and production

designer Boris Leven craft light, shadow, and line into two hours of

absolutely lovely images, making the most of such elements as

the contrast between MacLaine's hair, eyes, and skin, and the

juxtaposition of the hard lines of doorframes and shadows with

the softness of rumpled fabric and fluid dancer's movement. (And I

loved the split set.) Total eye candy for B&W lovers, and an

incidental, abrupt reminder of what a beautiful woman the young

Shirley was.

Unfortunately, the script seems very dated here in the twenty-first

century. The characters' relationship is frustrating, and (reported

offscreen chemistry notwithstanding) MacLaine and Mitchum look

very much mismatched. (Supposedly it was originally to be Liz

Taylor and Paul Newman. I can't see Liz here, but a MacLaine- Newman pairing could have been hot. But we'll never know.) I

found MacLaine's character to be much more believable--more

rounded, containing more nuance--than Mitchum's. While this

seems mostly the script's fault, I do feel that MacLaine here brings

more quirky humanity to her work than does Mitchum (who I like

very much in general).

"Seesaw" stands out for me as one of those films that, because of

its meticulous attention to visual detail, becomes an archetypal

period piece as it ages--firmly among the films everyone making a

movie set in the early 1960s should study carefully.

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