Loving (1970)

“Do it your own way, your own style — have fun with it. “

A commercial illustrator (George Segal) hoping to land an account with a local business owner (Sterling Hayden) cheats on his wife (Eva Marie Saint) with his friend’s niece (Janis Young) while flirting with his neighbor’s sex-crazed wife (Nancie Phillips).


The primary element to recommend about this portrait of a privileged man in midlife crisis is Gordon Willis’s typically evocative cinematography. (I’ve learned over many years of writing reviews for this site that cinematography is often the saving grace of an otherwise irreedemable film. I’ve also learned that nearly any film showing a parent slipping in to wistfully watch their child’s school play performance is a lost cause.) Now, Loving isn’t quite irredeemable — it simply doesn’t feel necessary, unless you want to watch a man obsessing over his lost artistic potential (never mind that he’s making excellent money in a field notoriously challenging to crack into), and neglecting his lovely family on behalf of his young mistress who — in the movie’s dialogue-free opening sequence — clearly just wants him to go away and leave her alone. Do such conflicts consume some people? Sure. Are they worth watching and empathizing with? No, not really. At least Segal is made to look utterly ridiculous in the film’s final sequences, which is something.

Redeeming Qualities and Moments:

  • Gordon Willis’s cinematography

Must See?
No. Listed as a Sleeper in the back of Peary’s book.


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