Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

dougdoepke Plot (or what there is of it)—Husband Blume is divorced by wife Nina after she catches him philandering. Trouble is he still loves her and spends the rest of the time trying to get her back. So how is true love distinguished from true obsession.Critic Leonard Maltin calls the movie "self-indulgent" and he's right. It's like writer-director Mazurski has gone off on his own personal tangent and made a movie of it. Segal does manage a role in low-key style that could have easily gone over the top. Too bad there's no hint of his very real comedic skills, which I somehow kept expecting. Also, he may get more close-ups than my favorite puppy. As Nina, Anspach has a different look with her long thin face and cloud of platinum hair. Hers is the more interesting character as she struggles with middle-class conventions like marriage. But what's with Shelley Winters' tacked on role as a grieving divorcée. Perhaps Mazurski was reminding casting directors what an inimitable presence she is.Arguably, the film's best parts are those reflecting political (the farm workers) and youth culture (the "swingers" meeting place) of the early 1970's. It seems Nina is groping for a life outside the conventional but is emotionally stuck halfway. Anyway, her character is the more interesting of the two. At the same time, Elmo (Kristofferson) appears more like a rootless hippie, while Nina connects with that unconventional side. Even Blume seems attracted when a kind of unconventional threesome forms. Nonetheless, such deeper themes remain conjectural, while the movie itself over-stretches into a barely entertaining two hours that a graphic rape scene doesn't help. All in all, Mazurski's screenplay may be based on a personal experience that somehow got carried away.

mjkh Blume in Love is honestly one of Paul Mazursky's best films. George Segal is fantastic as the charismatic, yet deeply pathetic protagonist Stephen Blume and Kris Kristofferson bounces off of him enjoyably in one of his early film roles. The script creates an engrossing, believable portrait of romantic relationships in the 1970s, while also having several laugh-out-loud moments. Additionally, Mazursky makes great use out of both Los Angeles and Venice, Italy as locations. Dramatically effective and boasting several memorable characters, Blume in Love is in the same league as An Unmarried Woman and is a a must-see for Mazursky fans.

sailjenk I have never forgotten the scene where Susan Anspach glides gracefully across the screen towards George Segal to the accompaniment of Wagner's Liebestod from Tristan and Isolde. The glorious climax of the music was timed to coincide with the exact moment of their meeting and was, for me, the highlight of the film. Three thumbs up to whomever decided on it's use!

BigCombo I don't really feel like writing this up, but I'll spend a few moments doing just that. Mazursky can be one of the most painfully self-indulgent filmmakers of the last 30 years, though admittedly I love a few of his films (especially HARRY AND TONTO). But more of his films are chores to get through, and pretentious ones at that. BLUME IN LOVE comes nowhere near the tedium that marks ALEX IN WONDERLAND as one of the worst studio films of the '70s, but it's still pretty lousy. Yeah, George Segal is great, and Kris Kristofferson and Susan Anspach hold up well...and actually Marsha Mason is pretty impressive, but, well, that's about it. The story is flimsy, the screenplay is mediocre...there's just not too much going on.Thematically, the film is rich and it's interesting to see that Stanley Kubrick featured it in EYES WIDE SHUT (look close - Alice is watching it on television while she talks to Bill on the phone), especially considering the slight similarities between the protagonists of the two films...but who knows if Kubrick featured it for this reason or because he knew Mazursky from way back when (Paul appears in Stanley's first film, FEAR AND DESIRE).BLUME IN LOVE could've been great, but Mazursky...well, it's another one of his "almost-good" films...I really think the majority of his work fails from half-assed screenplays and poor pre-planning (how else can you account for the aforementioned ALEX IN WONDERLAND)? And, oh yeah, there's that little matter of his phony art film sensibility. Stop trying so hard, Paul, you really don't need to include Fellini and Jeanne Moreau in your films (ALEX...) to show us you're above the Hollywood bulls**t. Frankly, sometimes a little Hollywood bulls**t (like a story) can work wonders.