In 1930s Australia, Anglican clergyman Anthony Campion and his prim wife, Estella, are asked to visit noted painter Norman Lindsay, whose planned contribution to an international art exhibit is considered blasphemous. While Campion and Lindsay debate, Estella finds herself drawn to the three beautiful models sitting for the painter’s current work, freethinking Sheela, sensual Pru and virginal Giddy.
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Based on the successful 1956 Broadway production of the same name by Betty Comden, Adolph Green, and Jule Styne, the film focuses on Ella Peterson, who works in the basement office of Susanswerphone, a telephone answering service. Peterson, based on Mary Printz, who worked at Green’s service, listens in on others’ lives and adds some interest to her own humdrum existence by adopting different identities for her clients. They include an out-of-work Method actor, a dentist with musical yearnings, and in particular playwright Jeffrey Moss, who is suffering from writer’s block and desperately needs a muse.
In this sequel to Scenes from a Marriage (1973), we revisit the characters of Johan and Marianne, then a married couple. After their divorce, Johan and Marianne haven’t seen each other for 32 years. Marianne is still working, as a divorce lawyer. Johan is quite well off and has retired to a house in the Orsa finnmark district of Sweden. On a whim, Marianne decides to visit him. Johan’s son from a previous marriage, Henrik, lives nearby in a cottage with his daughter Karin, a gifted cello player. The relationship between father and son is strained.
Bailey and Darla embark upon a misguided and mutually deceitful form of therapy, one in which they must drive across the country re-enacting Darla’s colorful history as a sex addict. As their true motivations for the road trip come to light, the unlikely pair force one another to confront their issues, discovering that there might actually be more to love than just sex.