Same Time, Next Year (1978) User Reviews (77)

A Sheer Delight

[MISSMOOHERSELF · 8/10 · 2 January 2005]

Two people meet at a seaside inn one night in 1951 and are attracted to one another although each is married to someone else. After spending the night together and realizing they've fallen in love, each agrees to meet on the same weekend each year for a rendezvous and each keeps that promise. We see this couple age and grow together from 1951, just after the war, to 1977, just after Vietnam. Seeing each character grow as human beings together and apart is amazing.

Alan Alda plays the happily neurotic accountant beautifully off Ellen Burstyn's naive "stay-at-home" mother who blossoms into a confident, talented businesswoman. Mr. Alda's character, George, doesn't grow as obviously as Miss Burstyn's Doris, but both absorb and survive some of life's best and worst experiences. Some of Miss Burstyn's transformations are a bit jarring - arriving one year to the reunion 8 months pregnant comes to mind, as does her transformation from a suburban housewife to a Berkeley University hippie chick. And Alan Alda's transformation from an uptight Goldwater Republican to the typical 1970s man who ditches the corporate life, grows a mustache, wears his hair longer and also uses every typical 1970s cliché in existence is also a bit jarring but it can be forgiven because Mr. Alda pulls it off so well.

Two characters who make their presence deeply felt even though you never see them are George's wife, Helen, and Doris' husband, Harry. We learn about them and come to know and appreciate them even though they never appear. Only from George and Doris' "good" and "bad" stories about their spouses do you get to know what these 2 absent people are like and you find they are funny and sad, poignant and ordinary and totally human and three-dimensional in their foibles. It's a nice touch to a story that could easily have been one-dimensional.

"Same Time, Next Year" is based on a Broadway play and it makes the transition very smoothly. In fact, what makes the transition so smooth are the historical pictorial vignettes injected between "years." I remember many of the events depicted and you can't help but feel nostalgic. Also, the movie's theme song, played to accompany the vignettes, is wonderful! All in all this is a delightful little movie with some stark drama and hilarious comedy sometimes in the same scene. It's a rare actor who can do comedy and drama so convincingly and Mr. Alda and Miss Burstyn proved beyond the shadow of the doubt they are more than capable of doing this - they are superb!

Married.....But not to each other.

[clydestuff · 8/10 · 6 April 2004]

As Johnny Mathis and Jane Oliver sing "The Last Time I Felt Like This" over the opening credits, we witness a man sitting alone in a restaurant. Across the way is a young woman. As their eyes meet, they seem to be making a connection, and before long the young man introduces himself to the woman. We see them talking, laughing, and eventually we see them together in their room in a coastal inn. As the title song fades out, we are with them as they awaken.

What we find out as the story really begins, is that these two people, George (Alan Alda) and Doris (Ellen Burstyn), are married, but to other people. They have both done something which neither of them thought was possible, and that is to cheat on their spouses. As they try to comically cope with what they have done, we find out little snippets about their home lives and exactly why each of them are at the inn. They have legitimate reasons for being away from their homes, but it is clear that these reasons are just excuses for them to have a brief respite from being trapped in lives they aren't entirely happy with. It is perhaps this, along with what up until now had been unfulfilled passion, that draws them together more than anything." They finally agree to meet at the same inn every year at the same time, to carry on their adulterous affair.

Written as a stage play, the film resembles one. The story is told in five year intervals and when George and Doris meet, the setting only briefly leaves the room which they occupy together. As the years pass, we see how the lives of Doris and George change in relationship to events that occur in their home lives during the rest of the year. We also witness how events in a changing world also effect their lives, including how the Vietnam War plays a factor in George's life, and how Woman's Lib seems to completely change Doris during one visit.

Filmed plays, even with a witty script such as the one here by Bernard Slade, can often lose their way when transferred to film. They can become an exercise in tedium and boredom if not done correctly. Thanks to the excellent performances by Alda and Burstyn, and some smart directing choices by Robert Mulligan, this film never falls into that trap. In the transition from one five year interval to the next, Mulligan uses still photographs to picture the events occurring in the world during those five years. This clues us in on the fact that much of what happens in the intervening years will have a direct effect on the relationship between George And Doris. In a manner of speaking, it gives a small amount of suspense to the film as we become more anxious to witness the changes in George and Doris relationship, and also their ever changing feelings toward one another, their spouses, and the world around them.

I mentioned earlier about the performances of Alda And Burstyn, and indeed they are amazing. It's one thing to portray a character in a film who may undergo a few subtle distinct changes in personality over the course of time, but Alda and Burstyn are required to do it over a period of many years. They make us believe not only in their affection for each other, but just by telling stories of their home life, we can tell the respect they also have for their spouses, despite their annual liaison.

Same Time Next Year may never win many accolades, but once you see it you will always remember it and think fondly of it like you would an old friend. I know I do, and when a film can make me think that way of it, I have no choice but to give it my grade which for Same Time, Next Year is a B+.

An affair to remember through the years

[tvmamadiva · 8/10 · 23 June 2016]

I have always wanted to see this movie but hadn't had the opportunity until now. It was well worth the wait! I absolutely loved it! Being a long time fan of both Burstyn and Alda, their performances did not disappoint. The subtle comedic jabs of Alda's guilt ridden George added strength to the already deep soul searching hearty dialogue. While Burstyn's ever evolving Doris balanced out the emotional ups and downs of their 25 plus years affair. The in-between pics of the events that shaped the times was a seamless way to move the years along. With such a sensitive subject as this movie examines; it is done in such a way that it leaves the viewer non judgmental but instead routing for their relationship to go the distance. And of course who could go wrong with a soundtrack by Johnny Mathis. SUPERB!

What's wrong with me?

[drosse67 · 17 August 2001]

Here is the story of two seemingly happily married people who share intimate and extremely emotional times together over the course of twenty-five years. Through their budding and developing relationship through the years, we see how the world changes from 1951 to 1978 (through still images and music between the years). I found myself completely involved in these characters even though they are doing an awful thing--cheating on their respective spouses for such a long period of time. I have to credit this to the character development and to the actors. This is Alan Alda's finest acting hour. He has always been able to balance comedy and serious drama, going back to M*A*S*H on TV. However, occasionally his dramatic acting style is a little self-important. In this movie, he finds the right note, and there is a scene where he breaks down that is the best acting he's ever done. Ellen Burstyn can deliver a wonderful performance in any movie--whether it's drama, comedy, or horror. The changes their characters go through in the course of two hours seem a bit extreme (she goes from flower child to tough-as-nails business woman, for example), but the changes are meant to symbolize the way the world is changing. A little trite, and not that groundbreaking, but I found this film moving all the same. And that silly song heard throughout has stayed with me.

A sitcom in soft-focus

[moonspinner55 · 6/10 · 4 July 2007]

An adulterous couple meet at the same cabin every year for a weekend tryst (we see them every five years), while the world's fashions, morals and mores change around them. Ellen Burstyn repeats her Broadway triumph on the screen, and garnered an Oscar nod for Best Actress; though she's a terrific actress, this role doesn't allow Burstyn any real personality: it's all processed, from the costume and wig changes down to the mannerisms, from youthful girlishness to flip, knowing womanhood. Opposite her, Alan Alda is serviceable though rather uncomfortable, flailing away at little sitcom routines like a fish caught in a net. The sex talk between the two is queasy (despite being played for big laughs), halting the movie in its tracks. There's a love ballad that plays prior to every new chapter, and black-and-white stills representing the passing years, and this is all fine until we get back to that damn cabin. Playwright/screenwriter Bernard Slade doesn't write for the ages, he's too impatient and wants to wring laughter out of every set-up. Therefore, the film is sniggering instead of intuitive, and artificially sentimental instead of human. **1/2 from ****

Touching romantic comedy

[Alberto-7 · 9/10 · 7 February 2000]

What a beautiful film this is. Alan Alda and Ellen Burstyn are simply marvelous together. This is not just a romantic comedy, it's a tale about finding one's soul-mate and how we sometimes do the wrong thing in life but if we're lucky, we have a chance to redeem ourselves. Ellen Burstyn turns in a subtle, nuanced performance.She can act more with her eyes than most can with their entire bodies.What can we say about Alan Alda? He plays a very funny neurotic character who we get to like instantly. A really lovable guy. If you've ever wanted to see what chemistry between two movie characters is all about, see this film. A definite must-see.

"Do you ever get the feeling that we're drifting apart?"

[classicsoncall · 7/10 · 12 March 2021]

The passing of the years finds George (Alan Alda) and Doris (Ellen Burstyn) meeting annually at the Sea Shadows Inn on California's north coast. What started out as an unplanned romantic tryst in 1951 turns into a yearly event, as the couple shares family war stories in between interludes of romantic passion. The picture examines how both of their lives have changed over roughly five year intervals, with an occasional argument erupting when family realities or opposing political beliefs intervene. Notwithstanding the fact that these are two people knowingly committing adultery, the screenwriting and chemistry between the principals makes for an effective romantic comedy. Interspersed in between the chapter breaks are black and white stills of news events, celebrities and political personalities of their appropriate eras, and if one has been around since George and Doris's first meeting in 1951, the names and memories will come flooding back in a wave of nostalgia. For this viewer, I thought both actors looked their best best in the 1972 segment, when Father Michael O'Herlihy offered his marriage counseling advice to Doris's husband Harry over the phone. Though the film ends on a somewhat bittersweet note, everything that leads up to it is grounded in the the daily lives of two people who get to relive their fantasy once per year without worry or regret.

Comedy of the times - but still excellent.

[Jim B-2 · 9/10 · 9 August 1999]

This film is a great tale of the 50s,60s and 70s. It is another in the films which have made a wonderful transition from Broadway to Hollywood. It is undoubtedly schmaltzy. But Alda and Burstyn make up for any sentimentality with star performances. I have heard it called a chick flick, but here is one guy who believes it is a simply absorbing comedy/romance. Hand me a hankie and let me see it again!

Good Vehicle for Burstyn and Alda

[evanston_dad · 7/10 · 18 October 2007]

This two-person play is transferred to the screen without being able to escape its stage origins, but it offers a great opportunity to see two fine actors give two fine performances.

Ellen Burstyn and Alan Alda play lovers who meet once a year at the same time and place for a weekend together. In between, they live their separate lives with their respective families, and they spend as much time catching each other up about the goings on in their individual worlds as they do fooling around during their yearly trysts.

Burstyn and Alda are a joy to watch, and they handle the evolution of their characters well. The movie itself gets better as the two principals age -- the early scenes don't come off as well (the worst segment is one in which Burstyn's simple housewife experiments with hippie-dom while Alda's uptight Republican struggles with the death of a son in Vietnam), but the later scenes are simply wonderful, full of a poignancy that resists sentimentality.

And I love the theme song to this movie. My wife and I had it played at our wedding.

Grade: B+

A Timeless Film, never outdated always one for the romantics

[jyates-2 · 10/10 · 11 April 2004]

I'm an old romantic, and the thought that something like this could happen to me fills me with emotion. Most men would say that this is a chick flick and not give it a second look, but if they would take the time and watch it through they would see more than just a little of their own fantasies wrapped up in this package. The movie is full of some very powerfully emotive scenes, and as masculine as I like to think I am it has me on the verge of tears more than once. A wonderful movie with two great actors, can't wait for the DVD my tape is getting thin.

Time-Spanning Affair Shown in a Contrived Set-Up But Redeemed by Burstyn's Masterful Work

[EUyeshima · 6/10 · 23 September 2007]

Like Gene Hackman, Ellen Burstyn is one of those actors whose outward normalcy and everywoman demeanor make her deceptively versatile acting skills resonate even more. Still one of our most respected actresses, she had quite a run of quality leading roles in the 1970's, and this time-spanning 1978 comedy was one of the few purely romantic parts she played. That's because she became enough of a box office draw to be able to repeat her Broadway role here unlike 1987's 84 Charing Cross Road which Anne Bancroft essayed in her place. Burstyn is paired here with Alan Alda, then riding high from the long-running M*A*S*H series, playing a couple, Doris and George, happily married to other spouses with six children between them. They meet by chance at a Mendocino B&B during a weekend in 1951, and the movie tracks the affair that develops between them once a year in the same inn over the next quarter-century. Picking up on their illicit activities every five to six years, their trysts become statements of their times and also of their evolving marriages.

The movie is a deliberately contrived set-up made up almost entirely of dialogue between the two principals and patched together by familiar, Life Magazine photo images of the intervening years. Bernard Slade adapted his own hit play for the screen, and some of the stagebound strain shows in the interplay. Director Robert Mulligan, who made To Kill a Mockingbird and Love With the Proper Stranger in the early 1960's, shows a sure hand with the actors, but there is little of cinematic interest here. Already well into her forties, Burstyn is still convincing in showing the evolution from a naïve 24-year-old Oakland housewife to a fifty-year old retiree with aplomb. It's the direct sincerity of her characterization and the minor changes in voice and manner she employs to show Doris' growing maturity. Even though the camera belies her years early on, it's still a masterful turn. Saddled with the more contrived and exaggerated lines, Alda is less impressive as George relying more on his recognizable Hawkeye mannerisms except in the most dramatic episode set during the Vietnam War years. The postcard-perfect Mendocino setting and treacly Marvin Hamlisch music supplement the aura of romanticism necessary for this type of confection. The 2004 DVD has no extras.

One of the best romance movies, and funny too

[Zrine · 10/10 · 12 January 1999]

I accidentally stumbled across this movie on Slovenian TV a couple of years ago and could not stop watching. The idea is so simple, yet so original, and Alan Alda is just hilarious, as always. It is interesting how the decades and history reflect on main characters, as well as their own maturing and growing old process. A must see! It really is much more than your typical romantic comedy.

Relax and enjoy!

[Libretio · 6/10 · 27 January 2000]

SAME TIME, NEXT YEAR

Aspect ratio: 1.85:1

Sound format: Mono

A defiantly theatrical premise makes a smooth transition to the big screen in Robert Mulligan's SAME TIME, NEXT YEAR, written by Bernard Slade from his hit Broadway play. Alan Alda and Ellen Burstyn are terrific as the adulterous couple who fall in love and arrange to meet each other in a lovely seaside hotel for one day every year, and the film charts the development of their relationship from 1951 to 1977. Alda plays the role of a quick-witted neurotic with the kind of depth and complexity that might have escaped a lesser actor, while Burstyn is totally convincing as the naive, inexperienced young woman who ages gracefully and is ultimately transformed by her life experiences. The section set in 1966, in which Burstyn arrives at the hotel as a fully-fledged hippy is, perhaps, a little too abrupt, but this scene culminates in one of the film's most heartfelt pay-offs, so all is forgiven. Mulligan allows his camera simply to observe the drama (sometimes humorous, sometimes stark and emotional), and the film is only slightly sullied by a ghastly love song which bridges the gap between scenes. Otherwise, the viewer is invited to sit back, relax, and gaze in admiration as two consummate professionals take advantage of a brilliant script. One to savor.

Has a Neil Simon feel to it, without the punch lines...

[Doylenf · 5/10 · 9 October 2006]

I can't say I share the great enthusiasm others show for this essentially two-character Broadway play by Bernard Slade that seems so much like a Neil Simon piece without the constant punch lines. Perhaps it's because every line spoken by ALAN ALDA sounds as though he's delivering the kind of remark that deserves a punch line. His comedy style was always very effective, but his dramatic acting always left me cold. (Think THE MEPHISTO WALTZ).

ELLEN BURSTYN, of course, is at home with a flair for either dramatics or comedy and she's served well by the sentimental script about two adulterous couples who spend one week-end a year for 26 years in each other's company because they don't want to give up their marriages and find each other soul mates.

That's the crux of the story and it moves from year to year showing the gradual changes in their characters as time and events effect their separate lives. I just never felt the material was strong enough to support the kind of screen treatment it gets here with the opening up of the stagebound scenes doing some harm to the characterizations.

Alda plainly seems to be overacting (over-reacting might be better), and one is never sure whether he's going to break out of character and into a Neil Simon parody of one with his sometimes flippant line readings.

Personally, a film I could do without, even on a rainy day. These are two people I never could care that much about.

Heartwrending love story (contains possible spoilers)

[amjets0912 · 26 September 2001]

***SPOILERS*** ***SPOILERS*** This movie absolutely destroyed me for days after the first time I saw it. While I am categorically against adultery of any kind, I somehow forgot while I was watching it that what George and Doris were doing was wrong. That can probably be attributed largely to the chemistry and talent of Ellen Burstyn and Alan Alda. There is so much depth in Ellen Burstyn's eyes that she often doesn't need to say a thing

The unique love they had for each other may have been due to the fact that they were only together for one weekend a year. They didn't have to deal with the day-in day-out mundanity of being married, so they never got tired of one another. Maybe they were both afraid that what they shared wouldn't be so special if they were with each other all the time. Who knows what was going through the author's mind.

I could feel myself getting weepy the second I heard that somewhat overwrought love song that played throughout the film (which I couldn't get out of my mind for days). However, I managed to keep hold of myself until the final scene set in 1977. As I watched, I couldn't help but be heartbroken for them and think that they should be with each other. They had a touching level of devotion to one another. [possible SPOILER] Imagine wanting to see your lover so much that you show up pregnant with your husband's child. Somehow Burstyn carried that off beautifully. [END]

I think the key line for me was spoken by Ellen Burstyn's Doris near the very end. When George tells her that his wife Helen has died and she says she wishes he would have gotten in contact with her when it happened, he admits that he did call, but hung up before she answered because he didn't feel he had a right to intrude into her 'real' life. Doris looks sad, then says, "That is just terrible. We should have been together." I wanted to shake her and say, "You should have been together long before that!" Alas, it was just a movie, but I cried my head off anyway. [END]

If you cannot handle a bittersweet ending (and I'm coming to the realization that I greatly prefer fluffy happy endings in movies like this), don't watch Same Time, Next Year. I think the idea that soul mates cannot be together is a profoundly sad one. George and Doris clearly had a deep level of intimacy that neither had with their spouse, but they were simply committed to their marriages. As a general rule, I don't think divorce is right except in cases of abuse and a few other special circumstances. But, what does a person do when they meet their soul mate too late? I cannot imagine having that level of feeling for a person and not being married to them. That is the issue at the core of this film. They can't be together, but they must at least have that one weekend together every year.

All in all, it is the acting that makes this movie worth watching. Alan Alda is not in Ellen Burstyn's league as an actor, in my opinion, but he does some of his best work here. They both do a great job portraying all the changes that their characters undergo during 26 years and really do seem to age. All I have to do is contemplate the film and that tagline, "They couldn't have celebrated happier anniversaries if they were married to each other" and I will cry, even now. It is a sweet, sad story of love that just wasn't meant to be, except for one weekend a year.

Funny and touching, with solid performances

[fleagles · 7/10 · 10 August 2000]

Alan Alda and Ellen Burstyn star as two people each married to other people who have an affair with each other on one weekend for 26 years. (Is there any other way to describe that ?) Both stars are very good, and have great chemistry, although Alda's constant whining can grate on some nerves. As their affair continues, the years pass, and other events in their lives affect each of them more and more, their own relationship exhibits its own changes. A very smart, sweet and touching film, adapted from Bernard Slade's play. Listen for the haunting piano theme that is performed through the film; it will definitely stick with you.

Very funny, very touching film

[Rory-22 · 10/10 · 7 June 1999]

Very funny, very touching film. The interplay between Doris & George is wonderful. They do a great job of 'aging' before our eyes.

Wonderful music links all the scenes together...an all-time favorite song!

A romantic fairy tale (or nightmare)

[Bob Pr. · 7/10 · 9 April 2011]

(The movie is based on the successful eponymous Broadway play (1400+ performances, 1975-78) by Bernard Slade who also wrote the screen play.)

In 1951, Doris (Ellen Burstyn), a housewife about to go to a religious retreat the next day, and George (Alan Alda), a married CPA doing a client's taxes, happen to meet one evening at dinner while lodging in the same California seaside motel that's near both their venues.

They have instant rapport and both are surprised when they wake up in bed with each other the next morning. Each is happily married with children and neither has a desire to change that. But they're both so gratified by their harmonious, empathic relationship (and physical activity) that they decide to meet again at the same time, same place, next year.

Almost all the action takes place in the same motel suite (easily visualized as being the set transferred from the stage play). We look in on their meetings every 5-6 years and their transformations over time: (George's increased wealth, his switch from being a liberal Democrat to conservative Republican, loss of a son, going into psychoanalysis, abandoning his quest for more money and property || Doris completing her HS and eventually graduating from college, a stint as a hippie, becoming a successful, financially secure businesswoman, etc.). Each serves as marriage counselor to the other at various points in their relationship. Each transformation by one person requires adjustments in their relation. Their relationship has some bumps (e.g., impotence/ED, pregnancy) to be conquered and amusing dialog. The ending didn't surprise my companion as much as it did me.

IMO, this is a fairy tale that's probably served as a wishful fantasy to some travelers making out of town, overnight business trips as well as recurring nightmares to some partners left behind. But IMO the realities of actual relationships are that very, VERY few of any such extra-curricular relationships that are started would ever go so smoothly.

The make-up artists did great jobs in varying the age appearances of Alda and Burstyn at the time this movie was made (he 42, she 46). The narrative calls for them to be near their early 30s at the time we first meet them, then following them as they age over the next almost 30 years.

Witty and Ironic!

[macpherr · 10/10 · 24 July 2000]

Robert Mulligan (Summer of '42, To Kill a Mockingbird) has directed some great movies. I love Summer of ‘42, and have watched it several times. The movie at hand has the same bitter sweet and melancholic mood to it. I just love the writing of Bernard Slade because it is witty and ironic. The same moment the audience feels what George, played by Alan Alda (Jake's Women, Everyone Says I Love You) and Doris, Ellen Burstyn (The Exorcist, How to Make an American Quilt) are doing is wrong, the audience loves the characters because they are so cute, funny, and saying those great lines. It is ironic how as George keeps saying how wrong it is and keeps lying to Doris about how many kids he has, the more entangled he gets with his big sin. She is a Catholic girl who is dealing with her guiltiness in a very secretive way. Much like Forest Gump this movie takes us through a journey in history and it made me think about the years that I lived through and learned more about the years before I was born. All those images with the background of original music by Marvin Hamlisch with lyrics by Oscar winners Alan and Marilyn Bergman (Summer of ‘42, Yentl). For some reason I always thought that the writer was Neil Simon (The Goodbye Girl, Jake's Women). My guess is because stylistically this movie has a Neil Simon feel. Another reason is because all those New York veterans like Alda and Burstyn are leading characters. The acting is superb. The music is great. Everything about this movie touched my soul, regardless of the adulterous relationship. Both characters adored their families and became confidants throughout the years. I was moved by the scene where George's son died he found Doris arms to cry in when he did not even cry at the son's funeral. This is both sad, sweet and ironic. This movie has so many great lines that I could not pick all the ones I liked, but I am going to just quote one small dialogue that I liked. George: "Why do you have to look so luminous?" Doris: " God just figured that chubby tights were enough." Favorite Scenes: When George cries because his favorite son dies in Vietnam; their last meeting in their movie after Helen died. This is a very touching movie.

A decent but dated film

[Jeremy_Urquhart · 6/10 · 4 September 2022]

Definitely a movie I watched mostly because I like the actors. In this ambitious but somewhat flawed film, Alan Alda and Ellen Burstyn play a pair of people who have a long-term affair, where they meet up once a year (behind the backs of their partners). That's the main thing that makes it feel ambitious- it spans about 25 years, with the film sometimes jumping forward up to five years in time between some scenes.

It's really just Alda and Burstyn the whole time, and they are both quite good. It definitely feels like a stage play because of the limited cast and fairly unchanging setting; it's really just the big leaps forward in time that give the film some momentum.

When characters change between films in the Before Sunrise trilogy, it feels more believable, even if you watch those movies back to back. In this film, some of the changes feel more sudden, though it's still interesting that the movie shows how people can change dramatically every few years. I only wish those changes had been done a little better, or maybe been a bit less broad.

The other thing that hurts this movie is the music. It's really sappy, and while I don't think it would sound too bad on its own, accompanying the film, it just feels weird. Maybe it wouldn't have been as jarring in the 1970s, when ballads written for movies felt a bit more common.

Overall? Good premise and good acting, but the writing's inconsistent and it's not very dynamic visually (plus that music also feels like a bit much). Definitely not a bad watch, though.

A Must-Watch!

[marielbarriga28 · 10/10 · 6 March 2016]

I remember not being so fund of 70's movies until one day my mother told me about this film that was about to be broad casted and I decided to join her. I couldn't stop laughing!, Alan Alda is so funny that makes it look real, and what to say about Ellen Burstyn? she's a fantastic artist and a great entertainer. They both did a fantastic job on this film, whoever did the cast, made a terrific decision. The plot is so sweet, I love the story and how is only based on two characters and only one set. The script is so catchy that it makes you wanna listen to more fun stories of them both. The stories that they tell about their husband and wife are hilarious, you can't avoid to laugh, they make it sound so natural that you think those stories were real. The music is fantastic, that main song is so cute as well as the photos being displayed every time a new year is about to come, such a great idea to be added on a film. This is a definitely must-watch movie, specially if you're looking to have a good laugh and a great time with both Alda and Burstyn.

Utilizing potential

[TBJCSKCNRRQTreviews · 7/10 · 10 January 2008]

I haven't seen the play that this film is based on, though I do see how it could work as a play. The film adaptation does perhaps not particularly add something specific to the media of film, but I'm not sure the piece needed it or called for it... it could very well have served as nothing but a distraction. The basic setup is fairly simple... but simplicity is only a bad thing when the production calls for something else. The themes and characters are quite complex, and the film is compelling. The story is interesting and well-told, and it's paced right. The acting is downright impeccable in parts, and never bad. The portrayals are amazing, and the parts fleshed out and full. The writing is excellent. Deep, profound and interesting. The development, throughout this production, leaves immeasurably little to be desired. The leads are somehow appealing, and you do manage to forgive them for the obviously morally wrong activity they engage in. The costumes are also nicely done, as is the make-up, if the latter could perhaps be done better today. One thing that should be noted is that children should not watch this. The dialog, whilst magnificent, does hold some language that isn't fit for younger ears. It is a film for more mature audiences, in any case. I recommend this for anyone who isn't too young, and particularly couples. 7/10

Guilty pleasure

[andiam123 · 10/10 · 3 January 2003]

Considering what many critics have said about this film, I guess my loving it counts as what some call a "guilty pleasure." What I especially like is the sense of history this film conveys, especially for those of us who lived through the turbulent 1960's. (SPOILER; SPOILER).

Alda's acting in the scene where George tells Doris of his son's death is devastating. (One small goof; the title says 1966, but it should have been 1965, the year after the election).

One aspect of the show which not many have commented on is the fidelity to the play. Most directors would have tried to cover more than six meetings, since film can do that better than a stage play, but they kept the original concept. One more thing: I couldn't get Hammlisch's song out of my head for weeks after seeing the film.

THE DAYS GO BY SLOWLY, THE YEARS GO BY QUICKLY

[brianlion · 7/10 · 14 November 2002]

Flipping through the channels one day, I "accidentally" came across this movie. I kept watching, more out of boredom than anything else. I got engrossed in the movie, as a laid-off husband would do watching a soap opera everyday. I'm not a big fan of Alan Alda or Ellen Burstyn, but they have good chemistry together. It was interesting seeing the changes in both of them through the years. I think the changes in personality, beliefs and clothing styles kept me interested in "Same Time, Next Year". It's a bit of a under rated movie, but entertaining nontheless.

typical H'Wood glorification

[swayback80 · 3/10 · 8 February 2005]

The writing was amazing, but the premise was disturbing in the least. Just once in a movie like this, I'd love to see a thread of reality come into play. An example would be when Alan Alda's character reveals that his betrayed wife, Helen, found out about his adultery years earlier. To simply dismiss this monumental occurrence by simplistically explaining that she never mentioned, nor confronted him about it, was a little too convenient. This is the standard H'Wood formula. Heartbreaking details like betrayal, confrontation, guilt, remorse, character, etc. are NEVER addressed, since they might intrude with the story. When Helen Burynstien's (sp) character talks about the loyalty, and respect that she felt for her husband, I was moved to ask, how does having an affair for 20+ years behind your husband's back, signal respect? What a hypocrite! Better yet, no signal or acknowledgment, that what she and Alda's character are doing is WRONG. This storyline might have added to the tension, and realism of this movie. Typically, the characters are presented to be sympathetic, and we as the audience, are left to cheer for people & values that are detestable. Just once I would love to see a movie that addresses consequences, and doesn't look to glorify this kind of behavior. Unfortunately, since neither the characters, nor the story ever deals with the obvious "elephant in the room", this movie left me feeling empty!