A Delicate Balance (1973) 1080p YIFY Movie

A Delicate Balance (1973) 1080p

A Delicate Balance is a movie starring Katharine Hepburn, Paul Scofield, and Lee Remick. A well-to-do Connecticut family is upended when the grown daughter's godparents, seized by a nameless terror, decide to come live with them.

IMDB: 6.90 Likes

  • Genre: Drama |
  • Quality: 1080p
  • Size: 2.57G
  • Resolution: / fps
  • Language: English
  • Run Time: 133
  • IMDB Rating: 6.9/10 
  • MPR: Normal
  • Peers/Seeds: 26 / 34

The Synopsis for A Delicate Balance (1973) 1080p

In Connecticut, Agnes and Tobias are an upper-class married couple whose relationship has been uneasy for many years, since at least the time their son died; but they've managed to find a certain comfortable pattern of uneasiness. Agnes's sister, Claire, lives with them and insists that her perpetual drinking is not alcoholism but willfulness. Their daughter, Julia, poised to have her fourth divorce, has come back home. Unexpectedly, her room has been taken over by Harry and Edna, best friends of Tobias and Agnes. Seized by a nameless terror that propelled them out of their own house, Harry and Edna have decided to stay.

The Director and Players for A Delicate Balance (1973) 1080p

[Director]Tony Richardson
[Role:]Katharine Hepburn
[Role:]Kate Reid
[Role:]Lee Remick
[Role:]Paul Scofield

The Reviews for A Delicate Balance (1973) 1080p

Far-out Psycho-dramaReviewed bydirector-201Vote: 8/10

A film with that name simply has to deal with a marriage. Most especially if it's from the 1970s and stars Katharine Hepburn and Paul Scofield. This drama concerns the most fragile relationship we could imagine, a sharp edge of lost youth and icy pain tinging the whole narrative from the very beginning. It's an Edward Albee play and it won a Pulitzer, so the writing is effective, the relationship mechanisms are intricate and run deep, the characters introduced into to the realm of the sad couple are perfectly cast, and alcohol has a strong presence. I found myself fascinated by how the delivery and contents of the conversations made me cringe uncomfortably.

Let's compare it to John Cleese, but let's skip the humor

I suspectthat A Delicate Balance would not quite be recommended by today's media-happy cinema, it would simply be acknowledged as a masterpiece, albeit a depressing one. Here are some of my favorite quotes from the film:

"They say we dream to let the mind go raving mad."

"There's nothing here but rust and bones."

"Such silent sad disgusting love?"

The following dialogue snippet plays the control and submission game well:

Agnes (Hepburn): You are NOT young now, and you do NOT live at home.

Tobias (Scofield): Where do I live?

Hepburn: In the deep dark place?

So, there is quite a bit of malice and strange ticks that come from years of not speaking about what needs attention, and instead dealing with only the perceived pleasant, which eventually becomes unpleasant and slowly rots. In the end, some marriages end up this way- if you decide to rent this movie, be warned that some of the tactics of subliminal knife-throwing are dangerously poignant and we can recognize them, if not in ourselves, but in the couple next door, or that guy that we know, or the newlyweds bickering in the grocery store.

Love is attainable- be assured. There is effort to life, however, and we can only get better if we continue to strive towards enlightenment, and it starts at home and with our close ones.

This film came out in 1973, which is my favorite time of cinema, perhaps because that decade was my first, and I know that I was influenced by all types of signs of the times at the time- music, literature, cinema, news, clothing. There was a stoic way of looking psychotherapy in the eye and not being afraid of getting a little depressed or depressing, embracing the dull and dysfunctional, if you will: like the storyline of the Ice Storm, or Bergman's Cries and Whispers. (As I understand, even Bergman declined to direct the movie version of A Delicate Balance- perhaps he was in a bad marriage himself?) Hollywood of the 1970s was more about truth than the bottom line, making it an excellent time for Albee and his keen sense of the psycho-drama.

Watch it: A Delicate Balance. It will leave you dumbfounded and with a metallic taste in your mouth, as if something unwanted but ever-present entered your soul to remind you about the perils of lost youth and unspoken love.

Upper class WASPS trading sharp remarksReviewed bymnfriedVote: 6/10

The scene is an upper class house in Connecticut. The residents are an old married couple who've had a mostly sexless marriage, an alcoholic sister, a much married daughter and a pair of irksome neighbors who've had a major anxiety attack and move in with their friends. The text is very witty and insightful, but it does not contain a single original idea. It was not original when first presented, but had I seen it in 1973 I would have given it a kinder review. We get wiser and more honest as we get older. The cast is excellent, save for Katharine Hepburn, who can only play herself. I have seen every film she ever made and have come to the conclusion that the secret of her success lay in always having been cast as a character whose personality was very close to hers. Paul Scofield, Joseph Cotten, Kate Reid, Betsy Blair and Lee Remick were true to the spirit of the text and executed their roles very well. Edward Albee's interview is an important part of the DVD. I very much enjoyed his penetrating comments about casting and the choice of Mike Nichols as director.

Mediocre in spite of top flight castReviewed bybandwVote: 7/10

After seeing this I tried to figure out why it is considered at all above the ordinary. The characters are: a domineering wife, a docile husband, an alcoholic sister, a daughter working on her fourth divorce, friends in a crisis of anxiety. I suppose this exaggerated mix is interesting to a playwright, but maybe not to an audience, at least to this member of the audience. My interest flagged while spending over two hours watching these unhappy people work through their long-standing problems.

Katharine Hepburn as Agnes, the wife, is, well, Katharine Hepburn. That is good as far as it goes, but her performance here seemed overly rehearsed--every body movement and spoken line struck me as anything but spontaneous. If I had not known that it was Paul Schofield as Tobias, the husband, I would not have found his performance all that remarkable. Kate Reid's performance as Claire, Agnes' alcoholic sister, might play well on stage, but here it struck me as embarrassingly overacted, perhaps exaggerated by the extreme close-ups and silly script elements like the accordion playing. Lee Remick did add some spark as Julia, the much-divorced daughter. Betsy Blair, as Edna, a supposed friend, gave little indication why Agnes and Tobias should find her of value (not sure if this was a result of her performance or the script). Joseph Cotton, as Harry, Edna's husband, turned in the most sincere performance, making me think that he has been under-appreciated as an actor.

I liked the question raised of when love for friends equals, or even trumps, inherent family bonds. This play gives credence to Robert Frost's quote, "Home is the place, when you have to go there, they have to take you in," and submits that this quote is not as nearly a given when applied to friends.

I found some character behaviors unfathomable. Consider Julia's reaction to Harry and Edna's taking over her bedroom. She was insulted by this from the beginning, but about midway through the play she went ballistic and finally flew upstairs in a rage. Later Harry reported that Julia had become hysterical and was blocking a doorway with her arms outstretched. I fully expected that in subsequent scenes Julia would be carted off to the nut house, but no, the next morning she was calm and collected. When Harry and Edna came in to the house uninvited, with the intention of moving in, they appeared to be disconnected from reality. But then overnight they became rational.

Spending time with these people would be something that I would not look forward too, but neither did I want to spend two hours with them in this movie, being confined to a house with nothing to entertain but conversation. On the other hand, I would not want to spend time with George and Martha of, "Who's Afraid of Virginia Woolf" either, but I found that movie spellbinding.

Rather than the filming of a stage play, this movie is an adaptation. No matter how director Richardson tries to break up the monotony by mixing close-ups and two shots and using different vantage points for the camera, he cannot overcome the essential staginess, particularly given Albee's stricture that his text was not to be changed. I think that the filming of a stage production of this might have been preferable, since there is no pretense there of a realistic setting. It was a delicate balance for the family in this play to stay together but the movie fails to achieve the delicate balance of turning a stage play into an engrossing movie.

I think only those who appreciate stage productions will truly appreciate this movie.

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