Micki + Maude (1984)

Micki + Maude (1984)

“Come on, Micki – just one child? A small one?”

A TV reporter (Dudley Moore) married to an overly busy lawyer (Ann Reinking) has an affair with a cellist (Amy Irving) and soon finds himself about to become a father with both women.

Genres, Themes, Actors, and Directors:

  • Amy Irving Films
  • Blake Edwards Films
  • Dudley Moore Films
  • Feminism and Women’s Issues
  • Infidelity
  • Love Triangle
  • Pregnancy
  • Romantic Comedy

Blake Edwards directed this enjoyable if too-far-fetched romantic comedy about a “nice guy” who manages to juggle two marriages (and pregnancies) at once. Having just written a post on accepting the wild narrative logistics of Back to the Future (1985), it may sound odd to hear that the most challenging aspect of Micki + Maude for me — and ultimately its undoing — is its improbability. There is no way a man can shift from one household to another, with a job in between, and simply suffer from “too much sleep” (?!?!). The fact that the only give-away clue to bed-ridden Reinking that her husband is a bigamist is a green sweater (gifted by Irving) which has “I Heart You” hand-written on the label is meant to be amusing, but belies her intelligence.

With that enormous (and critical) caveat aside, the screenplay is delightfully wacky and clever. It’s to Edwards’ and screenwriter Jonathan Reynolds’ credit that we maintain an interest and investment in these characters, all of whom are well-written and sympathetic. Meanwhile, fans of farcical comedy sketches will surely enjoy the extended sequences in which Moore must deftly shift between caring for one woman, then the other (in the OB-GYN’s office, and then at the hospital).

The ending is reasonable, if a bit of a let-down — but then again, what other way could this type of situation be resolved?

Redeeming Qualities and Moments:

  • Ann Reinking as Micki

Must See?
No, but I do think it’s worth a look if you enjoy this type of movie.


One thought on “Micki + Maude (1984)

  1. First viewing. Not must-see.

    The sort-of-good news: I was pleased to note during the credits that Edwards did not write the script. (Huge sigh of relief.) Still (and the reason for ‘sort of’), it’s a rom-com that manages the rom but very little of the com. It’s just not that funny a film.

    There is one genuinely successful sequence: the OB-GYN office. Very nicely handled all-round – and even witty; I smiled. (Unfortunately, going for the same shtick at-length later at the hospital results in a sequence overdone – except for the welcome, surprising discovery that the large, meddlesome nurse really *is* having an affair with her doctor/boss; a nice touch.)

    A comedy shouldn’t be this draining, or feel this long. Still… feminists are likely to enjoy the film’s closing shots.

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