Two for the Seesaw

In January 1958, Two for the Seesaw starring Henry Fonda and Anne Bancroft debuted on Broadway and was quite the success. It ran for 750 performances and even was nominated for the 1958 Tony Award for Best Play. Successful stage plays often make the jump to film, and four years later the highly successful Broadway play made that jump with 1962's Two for the Seesaw.

Several months removed from the separation from his wife of 12-plus years, Omaha lawyer Jerry Ryan (Robert Mitchum) has packed up his belongings and with just limited cash has moved to New York City. He's been in NYC, wasting away, saving what little money he has and living day-to-day, often wondering if it's worth going on. One night at a party, he meets Gittel Moscawitz (Shirley MacLaine), a 29-year old young woman living in Greenwich Village. He can't quite put his finger on it, but Jerry is drawn to the quirky New Yorker with an honesty and forthrightness he's never seen before. They bond quickly, finding a common ground through their own past relationships and inner demons, and soon enough they're in an exclusive relationship. Jerry tries to start up his law career again, and Gittel works to open a dance studio, but their past demons threaten to tear the relationship apart before it can even get started.

There's quite a list of worthy stage plays that have made the jump from play to film, ranging from 12 Angry Men to Annie, West Side Story to The Sound of Music, Oliver! to Chicago, and many more. I've never written a thing about stage plays, Broadway, anything, so I can only imagine how difficult the transition is from stage to film, but director Robert Wise pulls it off nicely here. Maybe the biggest key is the choice to film in black and white. This will sound obvious -- maybe even odd/dumb -- but you lose the color, but there's an added depth to the visual. It doesn't hurt either than now in 2013, there's a distinct nostalgic, retro feel as you watch the film. For the most part, 'Seesaw' is limited to just two small sets; Jerry's rinky-dink, poorly furnished apartment, and Gittel's cramped little Greenwich Village studio.

It works in a simple way. The camera is always right there on the floor in these cramped little apartments with Jerry and Gittel. One technique I found particularly effective was the couple talking on the phone from each other's apartment. Wise shoots the apartments as if they were right next to each other, a dark, shadowed wall separating them. They're miles away, but in the visual sense, it's just a few feet. Much like a stage play, his scenes are dialogue heavy and are in no rush to get anywhere. They develop at a natural pace, just two people talking to each other. Some go on too long (more on that later), but it stays true to its stage roots, and that's a bonus. Another obvious plus is Wise shooting on-location in NYC. I knew about two seconds into the movie I was going to like it. The opening shot has Mitchum's Jerry standing on the Manhattan Bridge, and it's a beauty. Over the opening credits, Jerry walks through various parts of NYC, and because it's the best description I can come up with....it looks so ridiculously cool. Big, wide open shots of 1962 NYC is a sight to behold. Watch it HERE at Youtube.

Once again sticking to the stage roots, the cast is primarily just Mitchum and MacLaine. Yes, other supporting parts are around for a scene or two, but the two stars are literally in every single scene, whether it be together or on the phone. There's only a few where they're even separate from each other. Kinda a daunting premise for an actor, huh? Both actors are up to the challenge. Some critics complain that Mitchum is too old for the part, and too old for MacLaine (17 years younger at the time), but I don't get it. I think they're perfect for each other, and they show a chemistry that carries the movie. For all his tough guy antics, Mitchum had great chemistry with many of his on-screen co-stars from Jane Russell to Deborah Kerr and many more. A whole lot of other, deeper and far more specific things could be stated, but it comes down to this. I liked the two performances a lot, and that can fix a lot of issues in a film.

Now that said, there are issues. At 119 minutes, 'Seesaw' is long and lags in the final 30 minutes. That's never good when things are coming together and wrapping up toward the finale. Not just on an emotional level, but the last half hour is painfully slow to watch. The ending gets points for not going for an easy, happy ending, but getting there is a trial. Getting up to that point, it works. We watch a developing relationship with all its flaws and imperfections in both individuals, both wanting things to work out while working through their own issues. I really struggled through the ending, but I very much liked the build-up. A mixed bag, but Mitchum and MacLaine are two Hollywood legends for a reason. Definitely give it a try. Oh, and this isn't the romantic comedy the above poster would have you think it is. Just an FYI.

Two for the Seesaw (1962): ***/****