The biggest problem with MARRIED LIFE, the movie not the state of existence, is the tone set by its title. Before even setting foot in the theatre, your mind is filled with preconceived notions about the likelihoods the film will deliver. You cannot expect a film called MARRIED LIFE to show long term couples just as happy now as they were when they first met. In fact, in these cynical times, you might likely be disappointed if you didn't see spouses abusing each other, scheming and plotting against the other or, if you want to be old fashioned, just plain cheating on each other. Perhaps to offset these expectations, writer/director, Ira Sachs, sets his story in the 1940's, a supposedly simpler time when people were married and stayed that way despite their personal unhappiness. Even a setting as delicately composed as this one is not a good enough disguise for its contemporary sensibility. The film's fate seems sealed as soon as the opening credits begin to roll. Similar in design and manner to television's "Desperate Housewives", a show that has built its reputation on couples scheming, they seem to announce Sach's intention to give us exactly what we expect. Only when the final animated frame settles on a city skyline and you expect the real thing to take its place, Sachs reveals that it is in fact a reflection. With the lens pointing inward now, I wonder if I've spoken too soon.

Like the beginning of a marriage, for a while, it is good. The strings of the score swell and sweep you up into the sentiment like a warm wind taking you for a dance in the sky overlooking a quiet family-friendly suburban street. This particular street is home to Harry and Pat Allen (Chris Cooper and Patricia Clarkson). The two have been married for what might as well be forever and they still cherish and respect each other but whether they still love each other is a question that looms over their lives like a heavy cloud. Harry believes that love is defined by the desire to give constantly to the other person. Pat believes that love is sex. Despite their definitions being categorically on different pages, they are a solid, functional couple. However, Harry has found another woman, Kay (Rachel McAdams in a refreshing return that is more tender and vulnerable than past performances) for whom continuously being doted on is the perfect compliment to her lonely life. I suppose it doesn't hurt that she is younger and beautiful but Harry conveniently avoids seeing this as the motivating factor for his affection.

And so Harry finds himself in quite the pickle. He doesn't want to burden his wife with the embarrassment of a divorce but yet he cannot deny that he is no longer in love with her. Harry is a sensible businessman who lives his life with order and reason and is still able to embrace his more romantic sensibility, wanting his life to embody the love he feels. He racks his brain to come up with the tidiest, most logical solution to his dilemma and somehow, the best plan he can come up with is to kill his wife. He rationalizes that this will cause the least amount of pain to all involved, including his children. Is it me or is this the least rational course of action? Essentially, this becomes MARRIED LIFE's main storyline and as it is ridiculous in concept, it also serves to undermine the intelligence of what was otherwise a fairly engaging film. Even Sachs seems unsure of this whole direction as he throws in a couple of painfully obvious scenes about how death can take away misery rather than add to it. If Sachs isn't buying it, I'm not sure how he thought anyone else would.

Despite its shortcomings, MARRIED LIFE does plant a few seeds of wisdom in its perfectly tended garden. The banalities of spending every day of your life with the same person are accepted by most of the characters as a perfectly normal piece of the pie. With decades past between their time and ours, have we really changed all that much? There are so many things happening and left unsaid in any marriage with both partners none the wiser. Subsequently, we have fine-tuned an uncanny ability to exist in a state of comfortable misery. We may look elsewhere for distraction but so many never walk away from what they know isn't working. Applying that same logic makes sitting through MARRIED LIFE entirely acceptable while you wonder what's playing next door.

The DVD package says this is "a sly & smart comedy", but I have to warn you, that's not exactly what you get. To me, a sly & smart comedy would be "Dirty Rotten Scoundrels" or "Deathtrap" or even "Fargo". While this movie has the same bizarre, criminal elements and intelligent dialogue as the above, I never sensed any outright comedy.

Still, it's well done & definitely worth a watch. Rather than a comedy, I would describe it more as a "drama of errors". The subject of murder is actually handled quite seriously although its casual nature might come across as odd (hence the humour?). There are no real laughs, but the strangeness of the story might elicit a few snorts, chortles, and possibly even a harrumph. But no guffaws.

The acting is excellent, the script is good, the style & direction is smooth & suave, like the 1940s setting it depicts. Some might consider it slow, but I'd say that's a plus because it gives us time to digest the complex themes that are presented such as the incompatible definitions of 'love', the value of loyalty in marriage as well as friendship, and of course the morality of murder.

Overall I liked this film. It's just the dag blasted ending that left me feeling cheated. I won't talk about it except to say that you should watch the alternate endings included on the DVD instead. In particular, Alternate #1 is closer to the book, and it gives us the thematic closure that the theatrical version omits. Alternate ending #1 also has a great piece of acting by Pierce Brosnan which, if it were in the actual movie, would've definitely made me bump up my rating by 1 or 2 stars.

"Married Life" is definitely worth the $2 rental fee. It deviates from the book on several key elements (such as the ending) and as a result doesn't quite wrap things up convincingly. But as far as movies go, it's entertaining, engaging and showcases some great acting talents.

Harry has a big surprise in store for his friend Richard. The invitation to lunch is only an excuse for Harry to reveal to Richard he is in love with another woman, Kay. At the same time, Harry confesses his doubts of how Pat, his wife, will take the news he will be leaving her. Harry strongly believes Pat is too dependent on him and the shock his betrayal will have on her. Harry wants to come clean to Richard, even introducing the young woman to his friend for what appears to be his approval. What Harry does not count on is that Richard will take a fancy to Kay!

Pat, the suburban wife, suffers from a bad stomach. The medicine she takes to relieve her problem presents an opportunity for Harry to plan to murder her. Richard is shocked when he finds Pat at their cottage in the company of another man. She also comes clean to Richard, who realizes Harry's guilt is unfounded and that Pat is much stronger than she is given credit for. Richard, who is the narrator of the story, is instrumental in triggering guilt in Harry's mind, when he catches Kay with the man he thought to be his real friend and makes him think twice before committing a crime that will carry a prison sentence.

Ira Sachs, the director of "Married Life" shows an affinity to the master of the melodrama, Douglas Sirk. The screenplay, co-written with Oren Moverman, has a style that makes the viewer recall that genre in which Mr. Sirk made valuable contributions. Mr. Sachs directed with an eye for style. The late 1940s are recreated faithfully in dining rooms for executives drinking dry martinis and smoking, as well as the decor of the era. The film is a mixture of melodrama and suspense as Harry concocts his plan to get rid of the situation he finds himself in. The film is based on a novel by John Bingham "Five Roundabouts to Heaven".

Chris Cooper plays against type. He is does not appear to be comfortable with the Harry he is supposed to portrait. Patricia Clarkson, on the other hand, proves here she cannot do wrong in anything she plays. Her Pat is another triumph for the actress. Pierce Brosnan makes an excellent Richard, working with great economy to show what this man is like. The only disappointment is Rachel McAdams who appears to be much younger for both the men she is to be attracted. Appearing as a blonde, she fits well in the context of the story even if one cannot believe for a moment she feels anything for either man in love with her.