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Falling in Love

Falling in Love

Drama · Romance · 1984

During shopping for Christmas, Frank and Molly run into each other. This fleeting short moment will start to change their lives, when they recognize each other months later in the train home and have a good time together. Although both are married and Frank has two little kids, they meet more and more often, their friendship becoming the most precious thing in their lives.

Movie details

Falling in Love

“Sometimes magic is the only thing that's real.”

1984 Drama · Romance 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

During shopping for Christmas, Frank and Molly run into each other. This fleeting short moment will start to change their lives, when they recognize each other months later in the train home and have a good time together. Although both are married and Frank has two little kids, they meet more and more often, their friendship becoming the most precious thing in their lives.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Falling in Love?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Ulu Grosbard

Written by

Michael Cristofer

Robert De Niro

Robert De Niro

Frank Raftis

Meryl Streep

Meryl Streep

Molly Gilmore

Harvey Keitel

Harvey Keitel

Ed Lasky

Jane Kaczmarek

Jane Kaczmarek

Ann Raftis

George Martin

George Martin

John Trainer

David Clennon

David Clennon

Brian Gilmore

Dianne Wiest

Dianne Wiest

Isabelle

Court is in session

Put Falling in Love on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.