
Fifty-six year old Jerry Kingsley, the co-owner/co-operator of Lock Lee Fashions, a New York based garment manufacturer and wholesaler, has been widowed for two years. His older spinster sister, Evelyn Kingsley, moved in with him in his apartment following Jerry's wife's passing to take care of him, she who has always assumed the role as family caregiver. One of Jerry's married daughters, twenty-five year old Lillian Englander, believes Evelyn has a neurotic fixation on Jerry... (Full plot summary below)
Enjoy FREE movies and series with your Prime (USA) subscription or when you start a 30-day free trial!
Links compiled using automated software. Availability of offers subject to change / might be region specific / out of date.
Fifty-six year old Jerry Kingsley, the co-owner/co-operator of Lock Lee Fashions, a New York based garment manufacturer and wholesaler, has been widowed for two years. His older spinster sister, Evelyn Kingsley, moved in with him in his apartment following Jerry's wife's passing to take care of him, she who has always assumed the role as family caregiver. One of Jerry's married daughters, twenty-five year old Lillian Englander, believes Evelyn has a neurotic fixation on Jerry, Lillian unaware that her own fixation on her father is just as strong. Evelyn tries to arrange dates for Jerry, primarily with lonely widows, something he resists in wanting to find a woman on his own despite his own loneliness. Unlike his married business partner, fifty-nine year old Walter Lockman, who is always chasing after "tootsies" and "floozies", Jerry wants someone to love. After learning her story, Jerry thinks he's found the woman in Lock Lee's twenty-four year old receptionist, Betty Preisser. Betty, who never had much parental guidance, recently got divorced from her musician husband, George Preisser. There had always been a strong physical attraction between Betty and George, but nothing that she would now consider love. Betty is an extremely sad and confused woman, admits that she misses George, but doesn't want to get back together with him, she needing the antithesis of George as the person in her life at this point in time. Jerry and Betty enter into what ends up being a turbulent May-September relationship, their issues based on their own insecurities: Jerry, who realizes that his love for Betty is illogical due to the differences in their ages, admits he will always have pangs of jealousy in believing that she will be more physically attracted to men her own age; and Betty doesn't know if what she feels for Jerry is love or just a sense of being protected, something she never felt with George. Regardless, they decide to get married. That announcement opens up their relationship to the scrutiny of his family and friends, her family and friends, and their co-workers. The situation gets even more complicated when George reenters Betty's life. The questions then become if Jerry and Betty's relationship can withstand all these pressures, or if there is a factor or factors that will show them that their relationship makes sense at this point in their respective lives.
Leave your thoughts about Middle of the Night.
| User ReviewPat LAn amazing film with excellent casting esp Kim Novac (sp) and Fredrick March. |
| User ReviewAldo GAnything written by Paddy Chayefsky is worthy the attention of movie lovers. The only screenwriter to win three Oscars for scripts written by a sole writer, Chayefsky is a master at many things. One of those is his ability to focus on incongruous romances and deliver sharp observations. Middle of the Night is an honest portrayal of the proverbial May-December romance. The doubts, insecurities and manipulations are all there and director Delbert Mann visualizes it all to near perfection. Iconic actors Fredric March and Kim Novak have the difficult lead roles - especially Novak whose 24 year old character suffers from "emotional immaturity" issues as March's character calls it. At times she struggles with the material, but she still commands with an undeniable film presence. |
| User ReviewAllan CIntelligent, though slow moving Paddy Chayefsky film adaptation of his play, directed by "Marty" director Delbert Mann. Fredric March plays a widowed middle age businessman who starts a relationship with a much younger Kim Novak. March and Novak both learn lessons from one another, while everyone around them frowns upon and is suspicious of their relationship. It sounds like Douglas Sirk's "All that Heaven Allows," but if you know screenwriter Chayefsky's work, you know that your going to get more of naturalistic human drama rather than over-the-top melodrama. I've never been a huge fan of March, but I love Novak and she gives a wonderful and complex performance. I remember recently watching "Jeanne Eagels" and wondering if Novak was out of her depth with heavy drama, but this film definitely reassured me that she is a strong actress who can deliver a complex and three dimensional character. Overall, March and Novak's characters are well drawn and it's an intelligent script, but the pace of the film drags along to the film's inevitable conclusion. |
| User ReviewEvan HThis movie is solid! It has a great cast and a groundbreaking story. It was way better than I thought it would be. Kim Novak is great alongside Fredric March! |
| User Reviewjay nSolid drama of older March falling for young insecure Kim. Both leads are excellent, Kim in her peak years and having just come off of Vertigo is a neurotic mess but it fits her part, and present their flawed but decent characters simply. The people in their lives are shown in dark tones perhaps a little heavily so perhaps to illustrated the disapproval of society to such a relationship in the 50's. It does lend a heavy tone to the film though since almost without exception they are a smothering and cruel bunch. |
| User ReviewDomenico LOlder man/younger woman relationship drama benefits from low key treatment, with Fredric March and Kim Novak doing a fine job communicating the awkwardness and uncertainty of their pairing. Straight forward and well acted, though Novak's performance is, at times, too busy and unconvincing. What really impresses is the convincing sense of time and place and the strong supporting performances. This is a Paddy Chayefsky play, that he himself adapted for the screen, and his typical attention to detail, and turning over every intellectual and emotional rock, makes this a full meal instead of just a empty snack. |