the audience applauded

It's an amazing and heartbreaking story.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Great movie. Not sure what people expected but I found it highly entertaining.

Audrey Hepburn is one of my favourite movie actresses. Unfortunately, many of her movies were clunkers and this is one of them.The central theme is that the two main characters are considering divorce after several years of marriage. Somehow, the plot is supposed to tell the viewer how they got to that point, but it does so in a haphazard way. I found it difficult to tell which stage of their relationship each particular scene was supposed to portray. The only way I could figure that out was by the clothes each character wore, which car the couple was driving, and Ms. Hepburn's character's hair style. But even that was often vague.In addition, the overall plot itself was poorly developed and I was often confused due to the frequent switching back and forth between some previous event and what was supposed to be the present.The supporting cast added little to the story. I found Eleanor Bron's attempted American accent irritating and poorly executed, William Daniels' character came across like a Monty Python upper class twit, and their daughter was, quite simply, a spoiled brat, behaving accordingly.My first attempt at watching this movie was several months ago and I changed channels after about an hour. I tried again earlier today and managed to persevere to the end. I should have spared myself the effort and done something else during that time.Ms. Hepburn's previous collaboration with director Stanley Donen, "Charade", was delightful fun and well-written. This movie, however, was simply awful. It reminds me a lot of another Hepburn stinker, "Paris--When It Sizzles".

TWO FOR THE ROAD is an authentic road movie, with opening credits of miscellaneous traffic signs bode the marital turbulence of a couple, the architect Mark Wallace (Finney) and his wife Joanna (Hepburn), who has been married for twelve years, and through the haphazard narrative jump-cuts, as the title suggests, the film presents them in a continuously mobile fashion, mostly in flashbacks, whether they are hitchhiking, carpooling with another married couple (including a fast-forwarding sight-seeing in Chantilly), or later they can afford to travel on their own, their trips in the magnificent European land evokes an evident whiff of lyricism intermingled with their personal romances and crises. Directed by the legendary Stanley Donen, and enabled by Frederic Raphael's wickedly astringent script, with golden maxim like "Marriage is when a woman asks a man to take off his pajamas because she wants to send it to the laundry." or "I still want a child, I just don't want that child."; and more strikingly, Donen discards the traditional linear account, instead he disarrays the over-one-decade time-span with sharp editing to hop erratically onto their various en route encounters and happenings, the film essays a full spectrum appraisal of what could happen during a relationship, from the budding romance, the unrestrained passion, the blithe squabbling alters into the bitter snide, the fatigue of bringing up a child, the extramarital affairs and finally spilling the beans of their dissatisfactions with blatant betrayal. Donen does go out on a limb to test the patience of its audience in this connubial fable. While the narrative can be problematic to grasp at times, for first-time viewers sometimes can barely be aware of which period our two protagonists are in the story, the movie's composition is as frequently changed as Ms. Hepburn's wardrobe, all too dashing and hasty to comprehend. The weightier challenge now falls on the shoulders of the two leads, which thankfully turns out to be truly amazing, despite of their seven-year age difference (in a rare case the woman is older), the Hepburn-Finney (aka. the bitch vs. the bastard) pair generates a waft of tangy chemistry on screen. There are good times when they are young and free, succumb to involuntary infatuation which can be viscerally affecting; in the bad times, they quarrel, dis each other. Hepburn contrives to give off a presence of corporeal concreteness instead of her more goddess-like persona, she is tormented by her ingrained insecurity and although we can tell youth is slowly eluding from her countenance, she holds on well throughout the varying phases due to her immaculate flair and unblemished self- respect projected in Joanna. Finney's Mark is flippant, volatile, flirty, even verges on male chauvinism, reeks of gentleman-like snobbishness, but his inner child never grow up during all these years.A young and gorgeous Jacqueline Bisset has a five-minute role in it, (auspiciously heralds her reunion with Finney in John Huston's UNDER THE VOLCANO 1984, 5/10), but the most joyous one in its merger supporting cast is William Daniels' Howard, the husband of Mark's ex-lover, he is a rigorous efficiency expert, surely the best expedition companion one can ever find if fairness is all you care. TWO FOR THE ROAD makes good use of the irrevocable fluidity of road-trip as a metaphor of one's tumultuous marriage journey, and it also shows audience a different Audrey Hepburn under the same dignified decorum, another good reason that the film should not be obliterated from a younger age group.

Two For The Road was the last and least of the films that Audrey Hepburn did with Stanley Donen. It's a matter of taste, but I don't think it is anywhere as good as either Funny Face or Charade.The film is the story of the marriage of Albert Finney and Audrey Hepburn told in jigsaw puzzle style, disjointed at different select times of their marriage and what they go through. You date it by the different hairstyles that Audrey Hepburn has and by the various cars that they drive. They're always on the road and if you know from cars and from women's hairstyle trends than you can follow the film a whole lot easier. Me, I'm not an expert in either.Some parts are quite memorable and the best scenes are with another married couple, Eleanor Bron and William Daniels and the little brat monster from hell that they're raising. Bron used to be involved with Finney and she'd like to keep some kind of tie there. But as parents the two are absolute flops, they're very liberal types who don't believe in disciplining their little sugar plum. In fact Audrey has to take a hand in there when the situation becomes intolerable.According to The Films Of Audrey Hepburn, Finney's part was originally schedule for Michael Caine. I could certainly have seen him in the role. I don't think the cinematic jigsaw was necessary. It would have been a better film just done as a straight linear narrative. Still fans of Audrey Hepburn and Albert Finney should be pleased.

A wonderful,wonderful movie. I saw it first when it was released and could never get enough of it. I try to see it whenever I get the chance. The script by Frederic Raphael is sublime and the direction superb. Donen makes a great job of this movie I love it and his" Charade" also starring AH. All the supporting actors are just that-they support the leads and give the movie the atmosphere it needs to succeed.A special mention for Eleanor Bron who has been sadly underused in film (maybe her choice). One would have expected a film like this to have dated badly but I do not find that-it seems fresh every time I see it. It is funny,touching, romantic and above all witty. A really apt look at a relationship/marriage through several years. It says so much about male/female relationships without hitting its audience over the head with a metaphorical hammer.