Two Weeks in Another Town
Two Weeks in Another Town

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- 64/100 based on 2,829 votes

Former film star Jack Andrus is released from a sanitarium where he has lived for the previous three years, suffering from alcoholism, a traumatic automobile accident, and a severe mental breakdown. He's been offered two weeks of work in Rome by Maurice Kruger, his old director, who himself is near the end of his fading career and under pressure from his parsimonious Italian producer to finish his picture on time and under budget. Jack is also pressed from a manipulative ex-w... (Full plot summary below)

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Actors in Two Weeks in Another Town:

Kirk Douglas
Edward G. Robinson
Cyd Charisse
George Hamilton
Claire Trevor
Daliah Lavi

Full Plot Details

Former film star Jack Andrus is released from a sanitarium where he has lived for the previous three years, suffering from alcoholism, a traumatic automobile accident, and a severe mental breakdown. He's been offered two weeks of work in Rome by Maurice Kruger, his old director, who himself is near the end of his fading career and under pressure from his parsimonious Italian producer to finish his picture on time and under budget. Jack is also pressed from a manipulative ex-wife, a rising but self-destructive young star, the director's shrewish wife, and a temperamental Italian diva who requires handling with kid gloves. When the Kruger suffers a heart attack, Andrus views the opportunity as a last chance at the redemption of his personal life and professional career.

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Movie Reviews

Creative Loafing - 8/10 by Matt BrunsonThe overwrought nature of the film actually suits the larger-than-life canvas on which broad strokes are frequently painted.
Seanax.com - 8/10 by Sean AxmakerBoth intimate and outsized, it's a strange product of the era, a Hollywood white elephant of a movie straddling self-awareness and self-parody ...
Ozus' World Movie Reviews - 7/10 by Dennis SchwartzThe film borders on soap opera but manages to get beyond it because of Minnelli' skills as a director and the fine acting from the two male leads.
7M Pictures - 6/10 by Kevin Carrshows the industry in that transition, and in that respect, it's fascinating to watch
User Review - 10/10 by Alex BThis may not be the best movie about the film business but it's probably my favorite. The links to Minnelli's earlier and more critically lauded "The Bad And The Beautiful" are strangely incestuous. It's not a direct sequel, here Douglas plays an actor, not the wildly driven producer of the earlier film. In fact Douglas' character here is actually supposed to be the actor who played his character in "TBATB". (Confused? Best not to think about it too much and go with the flow.) This is revealed when Robinson, who we are told directed "TBATB", screens a print of the film as an example of great work. If Minnelli lacked anything it certainly wasn't ego, not many would have the balls to make a movie about how great the one you made ten years ago was. Few would agree but I feel this superior to the 1952 film. There's something beautifully melancholic about this movie. In 1962 Hollywood was undergoing a radical change, competition was coming from TV, Rock & Roll, and from Europe where movies could be made for a relative pittance. A whole new breed of performers were changing the craft of acting. Realism was becoming key, audiences wanted to see movies shot in a glamorous location rather than a warehouse in Los Angeles. If any movie can serve as a farewell to old Hollywood it's this one. Douglas, Robinson and Charisse all play characters who know the game is up, all three on the verge of becoming dinosaurs. Douglas is the only one who faces up to it with dignity. He ends a brief May to December fling with the stunning Daliah Lavi, pushing her back to the handsome but troublesome young actor Hamilton who she claims was her first love. In doing this Douglas is speaking for Minnelli's generation, passing the reigns onto the new young Hollywood which would emerge over the following decade. Relapsing into alcoholism after a wild night with Charisse, Douglas speeds off in his Maserati with her in tow, threatening to kill both of them by driving wildly. Minnelli filmed this on stage in front of a rather obvious projection screen which gives the scene another level. Douglas at this point doesn't want to face reality so subconsciously is trying to escape into the movie world, the only place he ever felt safe. It recalls a similar scene from "TBATB" where Lana Turner sped off after being rebuked by Douglas. This is probably the last great role for Robinson before he was swept away in a sea of TV bit parts and he's on fire here as the bitter director who can't accept his time is up. Douglas is great as always and really generates sympathy as he attempts to keep his dignity while all around him lose theirs. It makes sense that this was a commercial failure as it legitimizes the movie's theme. What I can't understand is the overwhelming critical bashing it took. Perhaps it was Minnelli's undeserved stigma as a director of musicals. I can't help think if this had been made by Wilder or Sirk it would have far greater standing. Don't believe the anti-hype, this is one of the best movies of the sixties and a must see for fans of old school melodramas.
User Review - 8/10 by Private URhâ, film sur le cinéma + mélo en technicolor : c'est tout à fait mon truc ! Franchement, quand le réalisateur dans le film parle de sa peur de perdre sa capacité à s'émouvoir, c'est poignant. Et quand Cyd Charisse, en blonde, fait des propositions indécentes à Kirk Douglas sur des draps en satin, c'est... autre chose...
User Review - 8/10 by Renaud Mla dolce vita trash one year after don't like some of the cuts as minnelli but really good it'could be the second part of "les ensorceles " from minnelli
User Review - 8/10 by Caleb MA compelling, enlightening, and (most of all) entertaining look at the Hollywood system and it's powerful grip on both directors and actors. Two Weeks in Another Town reeks of 60s anachronisms, but at times that makes it feel like it the Hollywood-Story version of La Dolce Vita (with a happy ending). The style here is tremendous, though it never overshadows Kirk Douglas' performance. Douglas is fantastic here, playing a semi-forgotten Hollywood star, discovering his hidden talent for directing. The scenes with him directing the film begun by Ed Robinson's tyrannical director Kruger are exhilarating. While the film ends on a happy note, it isn't without it's dark spots, and even it's ending doesn't tie everything up in a bright bow. This is a fantastic film on Hollywood at an awkward time in its life, transitioning from grand spectacles showcasing gorgeous actors to creating more "realistic" and "relatable" characters and stories. It's old Hollywood cinema telling a newer, more conflicted story. At times it's breathtaking, but mostly, it's entertaining.
User Review - 6/10 by William MBoth intimate and outsized, it's a strange product of the era, a Hollywood white elephant of a movie straddling self-awareness and self-parody ...
User Review - 4/10 by Scot COverly-long, meandering, somewhat senseless drama marred by bursts of overacting from Douglas and Charisse. On the upside, George Hamilton looks fantastic!

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