FOR RICHER, FOR POORER

US, 1992, 90 minutes, Colour.

Jack Lemmon, Talia Shire, Jonathan Silverman, Joanna Gleeson, Madeline Kahn.

Directed by Jay Sandrich.

For Richer, For Poorer, is an HBO television vision movie from the early 1990s, part of a program of significant films made for television during the 1990s and the to thousands. However, this is slighter than many of the other films and not particularly well-known, even though it is a star vehicle for Jack Lemmon.

The film serves as something of an allegory about self-made men, success, wealth, the consequences for the image of themselves, their family, expectations of the next generation.

The film introduces the character of Jack Lemmon’s Aram, explaining his background in wealth, his relationship with his wife, Millie (Talia Shire), with his son, Michael (Jonathan Silverman). There is also his mistress, Irene (Joanna Gleeson). Who could ask for anything more? The answer is in his expectations for his son.

However, the film opens with an attempted suicide over a freeway in Los Angeles and Arabs encounter with a homeless woman who asks if she can observe what he is doing. She is played by Madeline Kahn (more serious roles in the 1980s and 1990s after her outstanding comic roles in the 1970s). The framework of the film is the two of them walking through Los Angeles, enjoying a meal, Aram telling his story.

As he explains his story, it is told in flashbacks, especially his disappointment with his son who is prepared to laze around, do nothing, live on his father’s wealth. Aram then decides to liquidate all his business interests, give the money to the poor and charities. He then confront his wife – although, as the film progresses, Millie is far more able to cope with the change of situation, eventually starting a business and working successfully (in collaboration with Irene). On the other hand, Michael does not change, marries a wealthy woman.

When Aram returns after two years wandering America, prepared for a divorce, he is amazed at Millie’s success, his son’s divorce and million-dollar settlement, and then encounters him working as a waiter in a restaurant. Aram then is able to relax, his son looking after him.

Aram is certainly an ambiguous character with his wife, his mistress, his business decisions, his getting temporary work, his attitude towards his son.

Direction is by Jay Sandrich, a prolific director for television.

1. The title, the marriage vows? The emphasis on riches and poverty?
2. Comedy, drama, allegory about work and career, identity?
3. The Los Angeles setting, the world of big business, and affluent world, the contrast with the streets, the homeless? Workplaces, shoe shops, car wash, bicycle deliveries, restaurants and waiting…? The musical score?
4. Aram and his story? Introduced by his attempted suicide, the overpass, the encounter with Billie, her watching, the conversation, his inability to kill himself, even at a better location? Billie and her friendship, support, his money and his watch, listening to his story, wandering the streets? Her curiosity? Audience curiosity?
5. Aram and his story, starting with poverty, the achievements of his ancestors? Pride? Health foods? His stores? His visiting, the disguises, the supervisors, hopeful young workers? The comedy of his disguises? The background information about his marriage to Millie, Irene as his mistress, his expectations of his son, Michael?
6. Money, profits, millions? Millie and her background, never working, marriage, getting used to affluence? Michael, his studies, expectations that he would live of his father’s wealth? Outings, dates, lazing around the house?
7. Aram and his decision, liquidating all his assets, money to charities, money to people on the street, including Billie? Explaining everything to Millie? Her acceptance, adaptation? Michael, not accepting the philosophy of having to work, his range of arguments against any kind of employment? Aram going to the job opportunities, cleaning cars, the shoe shop, riding the bike and his aches? The crash, hospital? The bills? The new apartment, giving up everything that the furniture? The contrast with Michael selling his clothes to make money?
8. Aram and his visits to Irene, her support, the discussions about sexuality, Irene and the contrast with Millie? Millie and her adaptation, cooking the meals, living within means, babysitting…?
9. Michael, the engagement, marrying into wealth? His father’s disgust, disowning him?
10. Aram, the message to Millie on the video, his disappearance, two years wandering, of jobs, sending the money but no message? His return? Millie and her success, meeting Irene, knowing the truth all the time, setting up the strudel shops, partnership, more shops? Her sense of achievement?
11. The news of Michael’s divorce, the settlement? Going to the restaurant, Michael as the waiter, his explanations of enjoying the meal and everybody involved, going back, getting the job, achievement, the reconciliation? And finally supporting his father?
12. A fable about wealth, poverty, work, identity?