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A Walk on the Moon (1999) HD online

A Walk on the Moon (1999) HD online
Language: English
Category: Movie / Drama / Romance
Original Title: A Walk on the Moon
Director: Tony Goldwyn
Writers: Pamela Gray
Released: 1999
Budget: $14,000,000
Duration: 1h 47min
Video type: Movie
USA, summer of 1969. Man is about to walk on the moon, the Vietnam War is breaking out, and there is the great concert in Woodstock. In a holiday camp for Jewish families not far from Woodstock, Alison and her family are on vacation. Pearl, the mother is young and attractive, but defeated by life, having become pregnant on her first loving relationship, forgetting her dreams to devote herself to her children. Marty, the father is absent because he is busily occupied working at a television repair business. One day a charming salesman arrives at the camp, selling clothes and knick-knacks. He lives an intense life of love and passion, culminating in an escape to Woodstock with Pearl, where events have a deep impact.


Cast overview, first billed only:
Bobby Boriello Bobby Boriello - Daniel Kantrowitz
Diane Lane Diane Lane - Pearl Kantrowitz
Anna Paquin Anna Paquin - Alison Kantrowitz
Tovah Feldshuh Tovah Feldshuh - Lillian Kantrowitz
Liev Schreiber Liev Schreiber - Marty Kantrowitz
Julie Kavner Julie Kavner - P.A. Announcer (voice)
Stewart Bick Stewart Bick - Neil Leiberman
Jess Platt Jess Platt - Herb Fogler
Mahée Paiement Mahée Paiement - Mrs. Dymbort (as Mahee Paiement)
Star Jasper Star Jasper - Rhoda Leiberman
Ellen David Ellen David - Eleanor Gelfand
Lisa Bronwyn Moore Lisa Bronwyn Moore - Norma Fogler
Viggo Mortensen Viggo Mortensen - Walker Jerome
Victoria Barkoff Victoria Barkoff - Selma Levitsky (as Vicky Barkoff)
Tamar Kozlov Tamar Kozlov - Wendy Green

Diane Lane wanted Viggo Mortensen to be in the film so much that she gave up part of her salary so that the production could afford him.

The movie on the lawn at the Jewish summer camp was King Rat (1965).

When Grateful Dead were invited, their manager wanted the promoters to add another act he managed; he offered them two. They tossed a coin, chose Santana, and the rest is history. There is no Santana music in this movie, but perhaps they are subtly represented by the act the promoters did NOT choose, It's a Beautiful Day, with their hit "White Bird"

Much of the licensed music in the movie is by acts who performed at Woodstock, but two famous names associated with it actually were not there. Joni Mitchell felt she had to decline her invitation, but later composed a song ("Woodstock") about the festival. Big Brother and the Holding Company were never invited. Janis Joplin had left them the year before, and she performed there with the Kozmic Blues Band.

Dr. Fogler's Bungalows was based off of a real Catskills Bungalow colony called Dr. Locker's which existed for many years in the sleepy Sullivan County Hamlet of Mountaindale, NY. It was where the Films producer spent her childhood Summers.

Tovah Feldshuh was only 46 when the film was made, and in real life is not quite 15 years older than Liev Schreiber, who plays her son in the film.

Both Liev Schreiber and Anna Paquin have starred in the Scream franchise. Schreiber appeared in Scream (1996), Scream 2 (1997), and Scream 3 (2000). Paquin appeared in Scream 4 (2011).

Reviews: [25]

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    I really enjoyed this movie. I think the soundtrack is amazing and appropriate although "Helplessly Hoping" is a cover of the CSNY classic. Still, we have Jefferson Airplane, Jesse Colin Young, Joni Mitchell, Judy Collins, and Richie Havens to drop a few names. Listen to the lyrics in this movie...apply them to how Pearl, Diane Lane's character is feeling... Diane Lane does a wonderful job of portraying a 60's housewife who, like so many other women of the time, found herself in a life she fell into. She meets a man who reminds her of who she wanted to be...of feelings she forgot she had. Movies aren't obligated to be lessons on morality, rather they are slices of the lives we all lead or dream of leading or hope to never lead. Some of the scenes in this movie are so powerful-they really rattle the soul. The love scene at the waterfall is wonderfully scored with the amazing "Cactus Tree" by Joni Mitchell. One can feel Pearl's guilt and confusion coupled with an excitement and verve for life she truly deserves. We see Pearl come of age metaphorically as she searches her heart to find out who she truly is. I recommend checking this one out and watching with an open heart and an open mind...the music alone is worth it.
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    lets go baby

    A Walk on the Moon was Tony Goldwyn's directorial debut,

    and all I can say is MORE! This is an excellently constructed film. The script was written by Pamela Gray is

    fantastic. If you like a film with characters who could easily be real in believable situations that you come to care about, then you will love this film. Set in upstate New York in the summer of '69 the movie focuses on the choices and the resulting consequences made by a young woman who feels trapped in her role as wife and mother. That setting with the Vietnam War, social unrest, Woodstock, and the manned moon landing is arguably one of the most interesting times of the 20th Century and woven seamlessly into the film. The soundtrack with songs from the era fits perfectly and is great. The casting and performances were flawless. After seeing the film, I can't imagine anyone else in the roles. This was the first time I had seen Liev Schreiber who plays Marty, the husband, and Viggo Mortensen, the carefree lover. Both were terrific. Tovah Feldshuh, the perceptive earthy mother-in-law, and Anna Paquin, the rebellious daughter, were perfectly cast as well. And Diana Lane as Pearl, the lead, plays her multifaceted role well. I believe this film to be worthy of Academy consideration. The category that comes to mind (and there are others) is best supporting actor for Liev Schreiber. This film is a must see for the baby boom generation. Four stars!!!!
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    Warning: Spoilers ahead!

    "Sometimes I just wish I was a whole different person," Pearl Kantrowitz (Diane Lane) tells her friend in an unguarded moment of "A Walk On The Moon". The friend's reaction? "Yuck."


    Long review coming -- so sit, already!

    When this movie's trailers came out in 1999, I cringed, avoided the film, walked past its posters with my eyes averted. I had divorced the year before, within the years of my marriage had unfortunately been a deceived wife, and had no desire to re-visit that pain. Fast-forward to 2003: Having grown a great deal, I decided to rent what I had avoided. I'm so glad I did. "A Walk on the Moon" is a lovely, authentic film with a light-seeming yet solid screenplay, great direction, and fabulous acting by a talented cast. (Watch the expressions of Diane Lane and Viggo Mortensen, which subtly change to portray rainbows of emotions within a few seconds.)

    The Kantrowitzes (culturally though not particularly religiously Jewish) have rented for the umpteenth summer one of many tiny lakeside cottages owned by a Dr. Fogler in the Catskills. Friends they've met over the years there also rent near them. Their children (Alison, 14 -- Anna Paquin in a totally believable performance -- and Danny, 6) stay there during the week while their father Marty (Liev Schreiber) drives back and forth from NYC and his job as a TV repairman. Caring for the children is their paternal grandmother, Lilian (Tovah Feldshuh -- wonderful!), and their mother Pearl (Diane Lane). Pearl is 32, we learn, and Marty perhaps a year or two older. It is the summer of 1969 -- culture, music, mores are changing, and the whole family is caught up in a loss of innocence.

    Into their enclave of mah-jongg and Sinatra comes hippie-ish Walker Jerome (Viggo Mortensen), the new "Blouse Man" -- a relaxed-attitude businessman, he's bought the bus from the former blouse-man, and drives a circuit, making unscheduled stops at Dr. Fogler's to sell blouses and scarves, and later, at Pearl's suggestion (clearly she knows something about retailing, perhaps from her family-of-origin), sunglasses and jewelry. We learn very little about Walker -- who possesses the mannerly, shy diffidence and "that's cool" attitude which characterized some people of the late-1960s but was often used to disguise inner struggle and pain -- although he lives alone nearby, has a vegetable garden, and reads the book "A Place in the Woods" (still in print, this 1969 account by Helen Hoover details how she and her husband left their jobs in Chicago to pioneer back-to-the-land in northwoods Minnesota). We also learn that Walker's soldier-or-spook kid brother has been missing in Southeast Asia for four years.

    Some reviewers below mention that Pearl leads a content, middle- (or even upper-middle-) class life. Not true. The Kantrowitzes do not have much money (why else would Pearl's mother-in-law live with them in what, judging from the neighborhood -- first minutes of the movie -- is an apartment? And did you see the car's interior on the drive up to Fogler's? The reason Pearl walks quite a way to the kosher butcher, getting caught in rain, is that Marty's taken their one car back to NYC.). Marty repairs TVs, but doesn't even own the business.

    The back story, mentioned in passing by the grandmother and Pearl, is that one summer as a teen, Pearl visited one of the posh Catskills resorts with her family (recall the lakeside resort of "Dirty Dancing" or the even posher Grossinger's). Marty worked there that summer as a waiter, earning salary and tips to attend college, then perhaps med school. Marty spotted Pearl, was enthralled, they began to see each other over the weeks, she'd never had a boyfriend before, they made love, she got pregnant the first time. At 17. In getting pregnant then (remember how illegal and dangerous abortion was in the summer of 1954 -- when Alison would have been conceived, if she's now 14 in the summer of 1969), in deciding to marry a young man at whom her parents were probably appalled, given their hopes for the lovely young Pearl, in becoming a wife and mother so very early, Pearl has missed out on a great deal of life. (As has, of course, Marty, who gave up his educational plans to support wife and daughter.)

    Now, this summer, Pearl's daughter has her first period. This is a major moment for a mom, as well. Put anthropologically, Pearl is no longer the only female of reproductive age in the house. Therefore, as happy as she is about her daughter's growth, she also feels older. (At a mere 32, an age when many women nowadays are just marrying.)

    Having personally experienced what infidelity does to a family and to the betrayed spouse from a vantage point similar to Marty's, I'll say right now that the decision to be unfaithful is a poor one. (Cliche but true: You can't solve problems within a marriage by going outside it.) It's clear, however, that Pearl has been trying to let Marty know that there IS a problem. It's just that she doesn't know how to bang him over the head with it, and, like most wives, wants to preserve peace. (What's the price of peace? Oh, yes, eternal vigilance.)

    Several reviewers below (male, I think) sound puzzled: what makes Walker seem so attractive to Pearl? Okay, guys, here's a partial list: Walker Jerome is: handsome and Aryan-looking (in the 1960s, Jewish girls were still taught that sex was the only thing Christian boys wanted); blond, long-haired and semi-bearded, therefore exotic to Pearl; soft-spoken; polite; gracious; good-humored and smiles easily; listens to Pearl; clearly admires her physically; takes her suggestions and thanks her for them; more relaxed than Marty; a man who seems to genuinely like women; courtly; sensual (watch his hands, and his intensity when he and Pearl finally make love); kind to others (e.g., his resolution of the blouse argument between Lilian and Selma), including kids; helpful (as with Danny's wasp stings -- the irony here! since "Walker Jerome" is an incredibly WASPy name, and he's certainly "stung" Pearl). Even Lilian, Marty's mother, displays a certain amount of respect and gratitude toward Walker when his wasp-sting techniques turn out to be better than hers. In fact, Walker really does embody many Boy Scout virtues. (No one in this film is obviously given to evil -- though good people can certainly do unhealthy things.)

    Walker wants Pearl, but she has to make the first move. As he gets to know her, his feelings for her grow -- they're mainly visible through his eyes and mouth. He can't offer her marriage, nor children -- she has the one, and would clearly prefer not to have more kids. He does offer something new: making love outside, sleeping under the stars, a bodily connection and sensuality she's never known. But he knows it's Pearl's decision. Will she remain in her marriage, or not? If she does, will it be from love -- or from obligation? If she doesn't, will she come with him out West? (When he suggests that they take her kids, too, she looks close to melting.)

    Although Pearl feels attracted to Walker from the first time their eyes meet, she does not act on that by phoning to meet him until AFTER:

    -- She asks her husband Marty to request more time off from his boss, so she can be with Marty more this summer at the lake, but Marty refuses even to ask;

    -- She suggests to Marty that they "experiment" a little in their lovemaking, but instead of rejoicing in a sexually-interested wife, he asks what's "wrong with the way we've been doing it", and then, childlike, dresses up in their son Danny's cowboy hat and pistols;

    -- Alison reveals that her first menstrual period has begun, and then that she has her first date;

    -- Marty calls from New York to say that he can't come up this weekend, he'll be fixing TVs for people who want to watch the Apollo moon walk;

    -- Pearl experiences the really yucky part of being a mom (Alison, told she's not permitted to camp out at Woodstock, screams, "I hate you!"), and naturally wants to be perceived as lovable.

    As Marty asks later, was Pearl thinking when she began with Walker? Was she thinking of anyone but herself? Probably not. Yet for her, infidelity is so big, so cataclysmic, that it's the accumulation of little hurts that finally turns her toward Walker.

    Marty finds out from his mother, and the earlier confrontation between Pearl and her mother-in-law is fascinating. Picking blueberries together, Lilian says to Pearl, "You're shtupping someone....the blouse man." Yet she doesn't try to dissuade Pearl so much on the simple basis of betrayal, her son Marty's prospective hurt feelings, "how could you do this to us?". Instead, she challenges her to act ethically, to be a mensch. Lilian tells Pearl about Marty's dreams, too, so that Pearl will know she hasn't been alone in setting aside her own desires for Alison and Danny. It's a wonderful scene, very mature.

    Whether you prefer typical American film conclusions (up) or typical European endings (down), this ending is so bittersweet that, really, you can have it both ways. Pearl and Marty have passed the crossroads. Perhaps they're on a new footing, perhaps they'll learn to be more open with each other. Perhaps not. But they've begun to recognize the truth of their marriage, and how staying stuck in each of their roles has meant the marriage hasn't grown for a while.

    Ten years from now, in 1979, perhaps they'll regard this summer as a terribly painful time -- that led them to rekindle their love and attention to each other.

    "Love doesn't just sit there like a stone; it has to be made like bread, re-made all the time, made new." -- Ursula LeGuin.
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    A WALK ON THE MOON as written by Pamela Gray ("Music of the Heart") and directed by actor Tony Goldman conjures up more atmosphere for the year 1969 than any film to date. Remember Woodstock, the Jewish summer retreats in the Catskills, hippies, face and body painting, threats from the Vietnam era and promises of space habitation by the famous first walk on the moon? It is all faithfully created here as the background for a lovely little sentimental tale about family and fidelity.

    The Kantrowitz family - Pearl (Diane Lane), Marty (Liev Schreiber), Alison (Anna Paquin), Daniel (Bobby Boriello) and Marty's mother Lilian (Tovah Feldshuh) - are spending their usual summer away form New York in a Catskill settlement bungalow along with other Jewish families of the same ilk. All seems swell, except that Marty must spend the weekdays returning to his job as a TV repairman, leaving the family under Pearl's and Lilian's care until his weekend visits. A hippie blouse salesman Walker Jerome (Viggo Mortensen) peddles his wares to the settlement and casually but inevitably Pearl feels an attraction to Walker, the man of adventure who represents all the lost dreams of becoming a mother and wife at the too early age of 17. Life has slipped her by but feels salvageable in Walker's advances.

    Woodstock is close by and Pearl and Walker spend a day of hippie love-in in the crowd, not knowing that teenage Alison is also there observing their free love antics. This crisis event affects the family's unity and the way Pearl faces her moment of indiscretion with Marty and her children builds to a terrific climax.

    Diane Lane, Viggo Mortenson, Liev Schreiber and Tovah Feldshuh completely inhabit these simple characters and pull us into accepting all aspects of the predicament of this family crisis. The confrontation among Lane, Schreiber and Mortenson is a trio of acting not to be forgotten. Tony Goldwyn has paced his film beautifully and proves that he has as great skill as a director as well as an actor. The cinematography by Anthony B. Richmond is as recreative of a special time on our history as has been captured. This little film will stay with you long after the credits are over. Grady Harp
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    I like movies with a good character-centered plot and this certainly qualifies. So many Hollywood movies have a distinctly evil antagonist and a pure protagonist. There is no "bad guy" in this movie. All of the people have a side that I could relate to, but they make mistakes along the way.

    In all a very good film
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    The sixties were a time of great transition. At their beginning was the Peace Corps: a way to help those in need of a better life. At their end it was the me generation: how high can I get or how can I satiate my senses to the fullest. This movie is one of the best "encapsulations" of those events that I've seen.

    The moral overtones of the movie are overwhelming. Wrongs occur. Do we run away from them? Do we trash our lives because of them? This movie attempts to address these questions. It does it well.

    Finally, what brings it all together? In two words: Diane Lane. She possesses a deep but quiet beauty that makes it work. Her character asks, "I'm approaching middle age. I have children and a good but somewhat boring husband. Is this all there is?"

    All ask this question as youth begins to fade. The answer this movie purports makes it exceptional and even classic. A hundred years from our descendants will look at this movie and appreciate its incite in human existence.
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    A touching look at life, human weaknesses, missed dreams, and opportunities.

    Having read all of the posted reviews, what I find most interesting is the overall male consensus that the film portrays the husband as the guilty party for his wife's dissatisfaction. Being male, I find it hard to believe that so many of my gender feel so weak and betrayed.

    Pearl, doesn't blame her husband and only learns to value and understand him better as also having missed out on some of life's potential. Also, I find it hard to accept the moralizing in the reviews. The film is not condoning the illicit relationship, the idyllic couplings and temporary `escape', are photographed as what we dream we've missed. Are acted out fantasies, to be moralized? Pearl knows, the fantasy can't last and a price will be paid.

    Haven't we all missed out from time to time? How many men have fantasized (and acted out) Pearl's actions and expected to be forgiven. Why because they're men??? A well acted, beautifully filmed, and nicely scored remembrance, of the period of self exploration and human frailty.
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    I was 20 in 1969. I wasn't at Woodstock. I was on a Road Trip from New York to Denver and then SF - finding myself - selfishly, just like the people in this movie. The movie encapsulated many experiences in that one summer. Looking back, it took me several years to experience what was covered in this movie. For me, that occurred between 1967 and 1972 -- between Sgt Pepper and Jackson Browne -- between Chicago and Berkeley -- from college, through marriage and divorce, to California freedom. I remember being the guy whose wife needed and found someone else. I remember being the young free spirit dating the divorcée -- or the almost divorcée. Yes, these could have happened to anyone else at any other time. And generational conflicts that marked 1969 - rebellion, loose morals, iconoclasm, etc - did occur at other times in history. But this movie accurately portrayed what I did experience: listening to those songs, attending those kinds of concerts, dating those kinds of girls, just being young, free and ... yes ... selfish. I learned a lot from those experiences. And this movie did an excellent job presenting many of those conflicts, moral choices and learning experiences.
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    The first time I watched this movie, I think I was just captivated by the excellent performances. Viggo Mortenson, like William H. Macy and James Caviezel, is one of those whose roles are understated but so well executed and you anticipate their next work. Diane Lane is gorgeous, and I think that somehow is supposed to drive a pitiful feeling from us that a woman of so much beauty is shackled down to a normal existence. Liev Schreiber's role was the most successful of the principles. The real sympathy in this movie DOES go to him for spending the duration of it separated from his family, and his philandering wife, simply keeping his tv-repair job.

    Rule #1 about this movie, don't see it with your significant other. The passionate scenes of a cheating spouse copulating with a free-spirited, self-centered vagrant under a waterfall will make both of you uncomfortable. The scene that bothered me most was the actual moon-landing, where while he's quarantined to the shop repairing TVs so everyone can watch the event she's making it with the blouse-man on the bus. As others have said in this forum, the main point at the end of the movie is that she was misunderstood by a caring husband, her needs weren't satisfied (we never mention his), and ulimately he'll have to forsake his matured take on life if he's ever going to have his wife back.

    It was the equivalent of watching Dharma and Greg with explicit adultery, where once again the responsible spouse has to pick up the pieces and try to understand their act-before-thinking partner. This isn't a statement of gender specifics, I'm well aware that plenty of men are unfaithful and self-centered as well. I'm just tired of people in this country deciding we can be married and never compromise on anything. It simply won't work that way. Marriage is a give and take, and in order to function right we need movies that emphasize communication. A movie that tries to justify infidelity isn't going to enhance anyone. I love my wife dearly, and I don't need to see a movie like this one as a cautionary tale of what could be if her needs are left ungratified. See it if you like, but I could mention PLENTY more "chick flicks" which will leave you with a warm or sorrowful feeling at the end worth seeing, rather than an akward feeling that neither of you want to discuss.
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    ...But forget about the moon thing for a moment and let's get back to the late 60's Earth.

    Summary: Pearl and her husband Marty take their family on a vacation in the summer of 1969 near Woodstock where all their friends are too, but Marty can only stay on the weekends because he has a job repairing TV sets, which takes up most of his time, especially because people want to see the walk on the moon. Pearl yearns for some excitement in her life. Her daughter is almost grown up, her son is still young, but something seems missing from her life, something she can't even experience with her husband. Enter excitement in the form of the extremely charming "blouse man" Walker Jerome, who spends his time travelling on a bus loaded with blouses that he sells at places such as the cabins. He and Pearl meet and there is an attraction, but after she sleeps with him on the night of the moon landing, everything changes for her...especially when Marty's mother realizes what Pearl is up to.

    No one can be sure of what will happen later in life and as for Pearl I felt sorry for her in a way that she was trapped in the life that she was leading that was slowly dying anyways. I also felt sorry for Marty, who was subjected to his wife's affair, and for the both of them I thought it was sad to see how 2 people's lives were destroyed over a mistake of not using protection which lead to the kids and their dreams left shattered, but I do think that both of them were lucky to get that sort of a wake up call in their lives and yet they still found a way to work things out.

    I rate this 8/10. Nice movie, Viggo Mortensen looked great in this movie as the bong loving hippie Blouse man.
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    This film is the basic story of 1969, Marty and Pearl Kantrowitz a couple who married young and have two children, on vacation in upstate NY. Anything north of the city is "upstate" and they take vacation near the well known "Nevele" and Concord Hotels, only at a more down at heel bungalow campground.

    The atmosphere of the Catskills bungalow and the rather tacky but fun atmosphere is realistic. Tovah Feldshuh as Lillian is excellent, she realizes something is amiss with Pearl and lets her son know, calling him in Brooklyn.

    The Moon walk itself is secondary to the actual story of America in the turbulent 1960's, Woodstock, and social unrest, but the story is not heavy handed.

    Nor is it a complete miss like the faint hearted "1969" film with Robert Downey Jr., which attempts to address the same time period in America, and misses the point. Entirely.

    Pearl Kantrowitz, well portrayed by Diane Lane feels something is missing, she has married too young, and subsequently meets Walker Jerome, a hippie who is known as the "Blouse man" (announced over the intercom by Julie Kavner's unmistakable voice ), when he brings his bus of clothing and jewelry to the camp site. Viggo Mortensen as Walker Jerome, is believable as a young man who eventually gets involved with Pearl, hoping for more.

    The story rings true because it is simple, but believable and even sad. The affair with him, the ultimate fact that she realizes her life is passing by, but she does love her husband and children as well. and its time to say good bye to lofty dreams. There is a decent soundtrack including Joni Mitchell, and many other gems from that era. Liev Schreiber as Marty Kantrowitz is sympathetic and funny, attempting to dance to Jimi Hendrix at the end of the film.

    The story is memorable without cheap sentiment, and a rare thing we see from Hollywood deserves praise. It is not a cheap romantic comedy with over the top actors, just a believable vignette which will touch you as the audience.

    During the credits I noticed it was produced by Dustin Hoffman as well as Tony Goldwyn. Well done. 9/10.
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    When a family spends the summer of '69 in the Catskills, both mother and daughter find new love interests. Diane Lane stars as a wife and mother who turns to the "blouse man" for affection when her husband can't get out of the city and spend any time with his family. Anna Paquin plays her teenage daughter who comes into her own during this time and needs her mother's emotional stability, which isn't there.

    The first thing I ask myself is the reality behind this film. Could this really happen? Yes. Could I believe something like this could happen in Lane's character? Not with her mother-in-law living in the bungalow, as well. It's a nice film based on a time when things were a little simpler, but I don't think the director gave very much opportunity for any of the stars to "give it their all," especially co-star Viggo Mortensen. Bottom line: good plot, great actors, bad fit.

    7 out of 10 stars.
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    I was 16 years old in 1969. This movie caused a lot of memories to come rushing back. I want to thank the director Tony Goldwyn and writer Pamela Gray for recreating some of the vibrations of the time so beautifully. The movie is really about the cultural clash when a young couple trying to live out the 1950's ideal realize that time has passed and they adopt to the new world of personal growth, peace, Moon landings and Woodstock Festivals.

    Some people are complaining that the lead character, Pearl, was a bad role model, being unfaithful or indecisive, not knowing what to do; however, that was the way things were back then. To me the film was incredibly believable and faithful to the times and setting.

    My only complaint is the scene where Ross rejects Alison's request to "go all the way." Being 16 at the time, I had only one desire, to "go all the way" with every teenage girl who would let me. I spent nearly every moment I could trying to convince them and I did find three or four who said yes. If anyone who looked like Anna Paquin had said to me when I was 16, that she wanted to go all the way, I would have been out of my clothes in 10 seconds flat.

    The only other thing perhaps that the movie missed were all the crazy, repulsive, hateful, violent conservatives who were around then threatening and terrorizing progressive, loving, peaceful people. That actually hasn't changed much since 1969. They're still doing the same thing.

    This movie also has a terrific soundtrack and uses popular music from the time better than any movie since "Easy Rider." For those who grew up in the 60's, see it to remember, for those who grew up after the 60's, see it to learn.
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    I have been waiting to see this movie for some time. I was not disappointed. As a woman, from a woman's perspective, I found this to be uncomfortably accurate. I was floored by Diane Lane's performance as a bored "yet not, not in love with her husband" woman who was willing to find new love, to fully be loved by the "blouse man". The love scenes were incredibly truthful and believable, and I just thought this movie was absolutely flawless in it's portrayal of what would have really happened between "Marty" and "Pearl". I thought Diane Lane was awesome, as well as the understated acting feel of the beautiful and beyond sexy, Viggo Mortensen. I cannot say enough how authentic and beautiful I thought this movie was. I give it a 10+. I thought it was a masterpiece, perfect and breathtakingly beautiful, it was human imperfection at its best. It truly made me feel love for each man, I felt sorrow for her decision.
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    The universal theme of coming to terms with the loss of youth and accepting a life of unfulfilled hopes and dreams is explored in `A Walk On the Moon,' directed by Tony Goldwyn. Diane Lane stars as Pearl Kantrowitz, a thirty-one year old mother of two, the oldest of whom, Alison (Anna Paquin), is fourteen; her husband, Marty (Liev Schreiber), is a square shooter who loves his wife and family and provides for them by working long hours in a shop repairing television sets. It's the summer of ‘69, and while on the family's extended vacation-- during which Marty must return to work for the week-- Pearl falls into discontent, and with Woodstock about to happen a mere stone's throw from the campground/resort at which they are staying, she soon succumbs to the siren's song of the ‘60s: The inhibition, freedom and free love-- all of which have been denied her since giving birth to her daughter at age seventeen. There's an honesty to Goldwyn's film, and though he captures the sense of the times in which the story is set fairly well, he nevertheless fails to elicit much sympathy for his leading lady, Lane. Perhaps it's because, though there is much about Pearl with which to identify, her story is just too familiar; her situation is far from being unique, and she has a decent, upper middle-class life, with a loving husband and two great kids. The fact that she started young and that her dreams were never realized is a shame, but it's not like she's the only one to whom such a fate has befallen. And her futile attempt at regaining her lost years comes across as somewhat shallow and decidedly unsympathetic; and without that sympathy the film sputters and finally stalls, even as Neil Armstrong is beginning his historic walk on the Moon. There's no question that Lane is attractive, and physically she fits the role of Pearl perfectly. But she simply doesn't possess the wherewithal to sell her character in this film. The emotional turmoil of what Pearl is experiencing seems restricted to the surface, and she never manages that depth of feeling that would've made the necessary connection with the audience. It's not that Lane is bad in this role, it's just that she's not that good. There are just too many gaps in credibility and too many false moments to be overlooked. It's as if the character throughout remained just beyond her grasp. Liev Schreiber, on the other hand, is outstanding as Marty. You have no trouble believing he is exactly who and what he is supposed to be. This is a character to whom most people will be able to relate, and if only Lane had been able to evoke the same kind or response as Schreiber, it would've made a tremendous difference in the overall aspect of the film. Anna Paquin gives a noteworthy performance as well, successfully capturing the angst of puberty while coping with an ever-changing world. The supporting cast includes Viggo Mortensen as Walker Jerome, the traveling salesman with whom Pearl attempts to reconcile her lost youth; Tovah Feldshuh (Lilian Kantrowitz); Bobby Boriello (Daniel); Stewart Bick (Neil); Jess Platt (Herb); Star Jasper (Rhoda) and Julie Kavner (Voice of the Social Director). There are some poignant moments in Goldwyn's film, and it does generate a certain sense of loss and longing; but overall, `A Walk On the Moon' is at best a momentary diversion that comes across like a finger painting on an impressionist's canvas. That is stays afloat at all is due mainly to Schreiber and Paquin's performances. Other than that, this is-- unfortunately-- a rather forgettable film that never quite attains the level of drama to which it aspires. I rate this one 5/10.
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    Any movie that portrays the hard-working responsible husband as the person who has to change because of bored, cheating wife is an obvious result of 8 years of the Clinton era.

    It's little wonder that this movie was written by a woman.
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    Seeing as the world snooker championship final finished in a premature and disappointing manner with Ronnie O`Sullivan defeating Greame Dott by 18 frames to 8 BBC 2 found a gap in their schedule and so decided to broadcast A WALK ON THE MOON a movie I had absolutely no knowledge off

    I missed a few seconds of the title credits so had no idea Viggo Mortensen starred in it and thought possibly it might be a cheap TVM , certainly the opening with the mawkish Pearl and Marty taking their kids to a Summer camp has that sort of made for TV feel though the brightly lit ( Too brightly lit ) cinematography seemed to suggest this was a cinematic film and it wasn`t until the appearence of Viggo Mortensen as hippy guy Walker that I realised this was a cinema release , after all someone of Mortensen`s stature wouldn`t star in a TVM , I mean that`s like a legend like Robert DeNiro appearing in a straight to video film . Wait a minute , didn`t Bob .... ?

    Some people on this site have mentioned that Pearl and Marty are an unconvincing on-screen couple and I agree . I can understand why Pearl would be attracted to exciting hippy guy but have no idea why Walker would be attracted to plain house wife Pearl . The sixties was before my time but surely if you`ve got the choice between hippy chicks and bored house wives it`s not really a choice at all . Mind you a lot of people took LSD in those days so I guess that explains it

    I feel the major problem of A WALK ON THE MOON comes down to the fact it`s a romantic drama at heart ( Just like you`d expect in a TVM ) with several cloying coming of age scenes so why include a fairly explicit sex scene ? It jars with the rest of the movie and is possibly off putting to the menopuasal women who were 20 something in 1969 . I say possibly because the movie also seems to aim at a teeenage market with the coming of age scenes and those teenagers will probably be bored with the historical and social context of man walking on the moon and Woodstock . In other words A WALK ON THE MOON tries to attract many types of audience but will probably appeal to none of them
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    Okay, so I'm surfing the 63 movie channels on my new digital cable......and I hear a voice... It's the loudspeaker of the Catskills bungalows project announcing some esoteric occurrence... You simply had to be there...And I WAS... Forget the glamour of that upscale Catskills resort on "Dirty Dancing"... This was REAL LIFE circa the I, and I'm sure many others remember it from our childhood... (I won't go much into the plot here...that's been's the FEELING of the movie--the LIFE--that hit me...) Now, I am certain this whole atmosphere will seem bizarre, fairly off kilter to most...But as a Jewish kid born in NYC in 1953, this movie was SO REAL, it was incredible... I swear I was, not in the movie...but in one of those bungalow colonies somewhere in the Catskills in the Summer of '69...close enough to Woodstock to breathe it... And I have never seen a film completely capture the setting as well as this one... Trust me, folks, this is a snapshot in REAL TIME...The characters are right out of my family, my friends...the "resort" is what real life was like for most "working class" NYC families who could squeeze out just enough cash to escape the sweltering NYC summer... There was a point in the "mountains" where my Zayde used to announce "This is as far as the car goes"...He never in his life drove farther from the Bronx than those bungalows... I've watched the movie through twice now and it's just as real every time.
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    In what could have been an otherwise run of the mill, mediocre film about infidelity in the sixties (the subtle "free-love" period), the creators of this film pile on ridiculous scenario after ridiculous scenario and top it all off with a trite little cherry on top, happily ever after ending. At no time did I ever feel sympathy for Diane Lane or Anna Paquin in their troublesome middle-class care free life, nor did I feel for the emasculated Liev Shrieber. The story line plods along slowly to its predictable, pathetic conclusion and the only thing interesting and watchable about this film is the stunning Diane Lane topless. Here's a hint, it occurs about 30 minutes into the film. Fast forward to that part and skip the rest.
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    Tony Goldwyn is a good actor who evidently is trying his hand at directing. "A Walk on the Moon" appears to have borrowed from other, better made films. The present story takes place in the late sixties at a summer resort for working class Jews not far from Woodstock. The screen treatment by Pamela Gray doesn't have much going for it, so it's a puzzle why Mr. Goldwyn decided to tackle this film as his first attempt at direction.

    The Kantrowitz family is spending some time at the resort. We see them arrive at the small bungalow that is going to be their temporary home. Marty, the father, comes only for the week-end; he works in what appears to be a family small appliance business repairing television sets, mostly. In a few days the first man will walk in space, so the excitement is evident.

    The Kantrowitz women are left behind. Pearl, Marty's wife and her mother-in-law, Lilian, spend idle days in the place until the "blouse salesman" arrives. Pearl goes browsing and she finds much more than a shmatte; she gets the salesman as well. It appears that Pearl and Marty have no sexual life at all. After two children, Pearl, who appears to be sexy and with a high libido is ready for some extra marital fun.

    That is the basic premise for the film, which becomes a soap opera when the young daughter, Alison, decides to play hooky and go to the Woodstock festival nearby where, horror of horrors, she witnesses her own mom making out with the blouse salesman! What's a girl to do? Well, stay tuned for the grand finale when all the parties are happily reunited by the little son's bedside when he is stung by wasps and the salesman comes to apply some home remedy, and daddy is called from the city, after knowing about Pearl's betrayal with the younger stud.

    Poor Diane Lane, she went to make "Unfaithful" later on, which is the upscale version of this dud. Viggo Mortensen is the salesman who caters to his lonely female customers whispering little somethings in their ears! Liev Schreiber as Marty, the cuckolded husband, doesn't have much to do. Anna Paquin plays the rebellious Alison and Tovah Feldshuh is the unhappy Nana, who would like to have stayed in the city watching her soap operas instead of witnessing first hand one that is playing in her own backyard!

    Watch it at your risk, or pop the DVD in the telly when you have a fun crowd at home and you really want to have a laugh, or two dishing the film.
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    Recently, I had opportunity to view a working print in Kansas City (Olathe, KS.) of this title. It is difficult for me, being a lover of the art as I am, to report the following, but, the truth sometimes hurts, and quite frankly after sitting through this tripe (I'm using the slang definition here - worthless statements or writing) for an hour and a half, I feel obligated to share (WARN) any interested parties. Let's begin at the beginning, a good place to start as always. The first 15 minutes are not really that bad, a couple of laughs, and decent development, but then it is downhill from there. This is the story of a woman, in her mid thirties, that (as the writer would like for you to believe) is dissatisfied with her life and unfulfilled. The first major difficulty occurs when if you don't know that fact going into the movie, you won't know it when she suddenly risks it all for, in my opinion, a very unkempt and unlikely fling with a local salesman. There is little development (drastically insufficient development) to justify her actions for the affair she has, and when it occurs, one feels, as I did, that she is just of low moral character. The word "slut" comes to mind, hopefully, they'll let that pass the review and post the comment. This, in my opinion, is the first fatal flaw of the film. If you're married or have ever been in love, irregardless of whether you are male or female, its going to turn you off. Quite frankly, I feel that it would have made a much better "blue movie" - that's the level in my opinion of which the screenplay is deserving. The second fatal flaw is the casting, Diane Lane just didn't work for me here, and Viggo Mortensen is not the right man for the job, believe me. The only saving grace to the entire film is Anna Paquin, the depth of her ability as a fine actress shines in places, conveying a subtle yet very blunt (I apologize for the dichotomy but it is accurate) portrayal of an emerging teen. Bravo, well done. I'm not going to give the ending away, but I was disappointed, being billed as a slice of life romance is one thing... but an ending like that.... Well, if that teased you enough to see this picture, don't say I didn't warn you, but you better look fast - if this celluloid is released, I doubt it goes four weeks before bursting into flames. I'd say wait for the video, but the free sex education tapes at most video rental outlets have more entertainment value. Hmmm, Dustin Hoffman produced this, you think he'd learn after Ishtar. This film once carried the working title "Blouse Man" and should have been left on the rack. If you've never in your life wanted to walk out on a film, give this one 35-40 minutes, the only thing worth staying for is Anna Paquin, if you can stomach the fact that you'll find your mind drifting to whether or not you took out the garbage before you left home, which is probably where you should have stayed in the first place if you're off to the movies to see this one. That's my two cents, for what it is worth.
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    Why do people who do not know what a particular time in the past was like feel the need to try to define that time for others? Replace Woodstock with the Civil War and the Apollo moon-landing with the Titanic sinking and you've got as realistic a flick as this formulaic soap opera populated entirely by low-life trash. Is this what kids who were too young to be allowed to go to Woodstock and who failed grade school composition do? "I'll show those old meanies, I'll put out my own movie and prove that you don't have to know nuttin about your topic to still make money!" Yeah, we already know that. The one thing watching this film did for me was to give me a little insight into underclass thinking. The next time I see a slut in a bar who looks like Diane Lane, I'm running the other way. It's child abuse to let parents that worthless raise kids. It's audience abuse to simply stick Woodstock and the moonlanding into a flick as if that ipso facto means the film portrays 1969.
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    I am writing this review as a non-American. I have watched other movies about wives betraying their husbands and have liked them. For example I liked Unfaithful also featuring Diane Lane. This particular movie however, I felt was depicting the process of betrayal in very unnatural way. Main character Pearl decides to have an extra marital affair and even when caught does not show the emotions that I would expect from a character like hers. She decides to leave at night while her mother-in- law is asking her not to go. Mother-in-law finds out that she is having an affair but does very little about it. Daughter finds out that her mother is sleeping with another man and she shows her anger for mere two minutes. Husband finds out that wife is screwing another man and he just throws the milk and drives car fast. At the end all are fine. I personally feel that even in American family in 1969 this is not what happens after an extra marital affair. This movie almost seemed like the director was telling the audience that this is how you should behave after having an affair. Very unconvincing story-line.
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    Walk on the Moon is a slow, predictable, unlikely story of a housewife's unhappiness with not having her husband during a camping trip with her two children and mother-in-law. The camp is visited daily by a women's clothing truck owned and driven by a young stud hippy. Of course, the woman immediately begins to eye him and begins to make sure she is there every time he arrives. One scene has her walking in the rain in the middle of nowhere and, even I , having never seen the film, wondered when that stupid looking passenger bus would round the bend and save "Pearl" from the drenching rain. Hmmm. Give me a break. The camp announcements will drive you crazy. If you think the M.A.S.H. is bad, you ain't heard nothing yet. Folks, save your hard earned money and go see October Sky or Tea With Mussolini. In those great films, you will care about and love the characters. This film had none of that!
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    It's a little hard to figure out why this story was filmed. There's nothing particularly wrong with it. It's just that it strikes me as the sort of romantic drama one might find on afternoon TV. I don't mean to sell it short.

    Diane Lane is no longer an adolescent cutie pie, and passes well for Rose Kantrowitz spending a summer with the kids at a camp in the Catskills. Lane's role is so thoroughly sketched out that we can easily visualize it in the treatment. No-longer-quite-young wife is vaguely bored with husband and domestic life, is beginning to experience a rise is blood testosterone levels, seeks out adventures with Mellors the gardener -- I mean Walker the traveling salesman. Schreiber, as her square but good-humored husband, is suitably crew-cut and satisfied with his domestic life. Their young girl, Anna Paquin, who was the even younger daughter in "The Good-Bye Girl," is winsome and nice, and not a bad actress. Tovah Feldshuh as Bubba is bang on but, when you come to think of it, should keep her nose out of her son's business. Viggo Mortenson I can't quite understand. In both films that I've seen him in, he's woodenly handsome, quietly self confident, and masculine. (Actually, in both films, he's schtupping somebody else's wife.) Here he walks around with fashionably long -- this is 1969 -- fashionably long hair, Gary Cooperishly strong and self contained, his shirt always open down the front so we can see his well-tanned plaque-like pectorals, something I imagine is designed to brighten the eyes and quicken the breath of the women in the audience although it doesn't do a thing for me.

    Of course everyone experiments with the forbidden, even the more mature among us, and Diane Lane's character shouldn't necessarily be condemned on that account. In fact, looking at the entire deal pragmatically, if only Feldschuh had kept her mouth shut after finding out, instead of calling her son and blabbing to him, only Lane might have been hurt, and it would have been a pain she could have dealt with later by talking this over with her understanding hubby, maybe a year later, after things had quieted down and the marriage was more or less back on track. (The alternative, a middle-class Jewish wife leaving her family to live with a Shagetz on some California commune, is unthinkable.)

    I found myself putting myself in the husband's place too often. I worked for a guy like him once. The poor guy has been unable to go to college and spends his days, weekened often included, fixing TV sets in New York to support his family. He wanted to become a scientist or something but had too many responsibilities. Meanwhile, here is his wife, up there at the lake, getting suntanned until she acquires the hue of an alligator bag, playing Mah Jong with her friends around the card table, drooling over this brawny ithyphallic guy who sells blouses and shades to the itchy housewives. And we're supposed to feel sorry for HER?

    For those who remember the 60s fondly, they get to hear lots of Joni Mitchell, Bob Dylan, Janis Joplin, and others. Not too much is made of those tumultuous times, though, thank Bog. We do get glimpses of a restaged Woodstock -- in the bright sunshine, not in the rain and mud.

    I can see why someone might enjoy this more than I did.