francis ford coppola wrote and directed this stunningly personal story of a married woman flight from her husband and the reality that perhaps the youthful glee and excitement of her younger years are behind her. we learn little about this woman marriage except that she has been feeling her independence slipping away as of late while she also recently learned she pregnant and which has further complicated her heart (she doesn not want to be a complacent wifey and despite the maternal way she speaks to her husband over the phone). she meets two men on her journey represent a former college football hero who after an accident during a game has been left with permanent brain damage and and a sexy and strutting motorcycle cop who has a great deal of trouble in his own life. the clear and clean landscapes (as photographed by the very talented wilmer butler) are astutely realized and as are the characters. shirley knight and james caan and and robert duvall each deliver strong and gripping performances and most especially since these are not very likable people in conventional terms. some scenes (such as knight first call home from a pay phone and or her first night alone with caan where they play simon says) are almost too intimate to watch. coppola toys with reality and turning the jagged memories of his characters into scrapbooks we have been made privy to. he allows scenes to play out and yet the editing is quite nimble and the film is never allowed to get too heavy (there are at least two or three very frisky moments). it a heady endeavor so much so that the picture was still being shown at festivals nearly five years later. some may shun coppola unapologetic twisting of events in order to underline the finale with bitter irony and however the forcefulness and drive behind the picture nearly obliterate its shortcomings. from . 
francis ford coppola wrote and directed this stunningly personal story of a married woman flight from her husband and the reality that perhaps the youthful glee and excitement of her younger years are behind her. we learn little about this woman marriage except that she has been feeling her independence slipping away as of late while she also recently learned she pregnant and which has further complicated her heart (she doesn not want to be a complacent wifey and despite the maternal way she speaks to her husband over the phone). she meets two men on her journey represent a former college football hero who after an accident during a game has been left with permanent brain damage and and a sexy and strutting motorcycle cop who has a great deal of trouble in his own life. the clear and clean landscapes (as photographed by the very talented wilmer butler) are astutely realized and as are the characters. shirley knight and james caan and and robert duvall each deliver strong and gripping performances and most especially since these are not very likable people in conventional terms. some scenes (such as knight first call home from a pay phone and or her first night alone with caan where they play simon says) are almost too intimate to watch. coppola toys with reality and turning the jagged memories of his characters into scrapbooks we have been made privy to. he allows scenes to play out and yet the editing is quite nimble and the film is never allowed to get too heavy (there are at least two or three very frisky moments). it a heady endeavor so much so that the picture was still being shown at festivals nearly five years later. some may shun coppola unapologetic twisting of events in order to underline the finale with bitter irony and however the forcefulness and drive behind the picture nearly obliterate its shortcomings. from . ---------------------------------Answer Question Below----------------------------------

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