Product Description

From Henry Jaglom (Going Shopping, Last Summer in the Hamptons), recognized by the Los Angeles Times as "the definitive independent, one of America’s most important filmmakers," comes a sophisticated modern comedy about women, love, neuroses and the food that binds them all… Henry Jaglom’s EATING! At a fashionable party in Southern California, a parade of women hilariously mingle and muse on their body image hang-ups, eating disorders, and the love-hate relationship between femmes and food.

Product Details

• Amazon Sales Rank: #49651 in DVD
• Brand: New Video
• Released on: 2004-11-30
• Rating: R (Restricted)
• Aspect ratio: 1.33:1
• Formats: Closed-captioned, Color, Dolby, DVD, NTSC
• Original language: English
• Number of discs: 1
• Running time: 110 minutes

Amazon.com
Long before Sex and the City, Henry Jaglom (Déjà Vu) directed this chatty exposé on women and body image. Sure, there's some talk about men and relationships, but the film's upper-class California females spend most of their time discussing weight and dieting (with stops along the way for plastic surgery, bulimia, and abortion). The occasion is a multiple-birthday party for Kate (Mary Crosby), who is turning 30, Helene (Lisa Richards), who is turning 40, and Sadie (Marlena Giovi), who is turning 50. Subtitled A Very Serious Comedy about Women and Food, Eating plays like a low-budget cross between The Decline of the American Empire and The Anniversary Party. As with the rest of Jaglom's oeuvre, the tone is as self-conscious as Woody Allen, the approach as loose as John Cassavetes. If it doesn't quite hit those heights, Eating provides--if you'll pardon the pun--plenty of food for thought. --Kathleen C. Fennessy

From The New Yorker
All the action in Henry Jaglom's film takes place at the fortieth-birthday party of a Southern California woman named Helene (Lisa Richards), and all the characters-thirty-eight of them-are women. None of the women at this party-with the exception of Helene's mother (Frances Bergen), who represents the values of an older generation-can eat without guilt; several of them have clinical eating disorders, for which they hate themselves. Jaglom films them in his usual group-therapy style: the camera remains fixed as characters lob banal confessions and accusations at each other. This is meant to create the illusion of raw emotional truth, but the bulimics' ball Jaglom throws here isn't much of a party, and it's bad therapy, too. Whatever Jaglom may have intended, his film winds up trivializing its theme and humiliating its subjects. He's advertising the movie as "A Very Serious Comedy About Women and Food," but its "serious" message is glibly offensive, and there's nothing funny about it. -Terrence Rafferty
Copyright © 2006 The New Yorker

Customer Reviews

don't offer these women a cherry pie!
One has to wonder about Henry Jaglom's mother, when he dedicates a film about women suffering from eating disorders to her. This is one of Jaglom's more successful efforts since there is some dramatic conflict amongst the cinema verite talkfest that is his trademark. One might even mistake this film as a documentary with all the to-the-camera discourse. Otherwise his camera is thankfully still, aided by the excuse of a Frenchwoman making a documentary at an exclusively female (and enormously populated) birthday party. Maybe it's a very "L.A." thing but it's shocking how so many beautiful women have food issues, and the association they make with food and sex, and food and love, makes for a compelling (for Jaglom) social study. He begins uncertainly, as the women gather. Jaglom gets a little carried away with cross-cutting, and there is a definite lesbian subtext which turns out to be misleading. But as the film develops our initial judgment of the women presented, as shallow and stupid gives way to depths of feeling and marvel at the openness and emotional accessibility of the female species. As the eldest of the group and the mother of Helene (Lisa Richards), who resides in the house where the celebrations occur, Frances Bergen represents the voice of reason and the sounding board for the confessions. Jaglom cleverly maintains our empathy for her, aided by Bergen's wonderful naturalness, even when her reaction to news of an infidelity defines the survival strategies of women of her generation. In spite of the heaviness of the subject, there is much humour to be found, partly from the women's own insight into their behaviour, and also from the idea of having Helene seek out the mistress under the guise of mingling. Richards' performance improves considerably after she stops pecking. As her predatory best friend, Gwen Welles adds some amusing spite to the proceedings. Her demonstration of the use of a present of anger-releasing padded poles gets a big laugh. It's no surprise to learn of Welles' bulimia since she looks anorexic, and she is about the only one who doesn't seem to think they are "fat". When the birthday cake is cut, no-one wants to eat it. Since the cast is so large some actors get lost in the mosaic, but mention should be made of Toni Basil in Carmen Miranda get-up as an actress quitting her agent ("If Michael Jackson can fire his father ..."); Aloma Ichinose who has a great riff about smoking; and Mary Crosby looking like a fawn and being very I-shot-JR in a bathroom confrontation. I particularly liked the line "I'm looking for a man who can excite me as much as a baked potato".

4 1/2 stars: What Women Think About Food
This low budget, thoroughly entertaining look at a group of women gathering for a luncheon party is a rare critique of how women have come to be obsessed with food. Quasi-documentary in form, actresses in this film seems to teeter between acting and reality. Certainly many lines are blurred, and the result is fascinating.

While something of a "chick flick", men will come away from this film with plenty to think about. Whole film is a real conversation-starter, highly amusing and never gets too heavy. Excellent and very unique in subject matter. Amazing how seldom we see people eating and enjoying their food in movies, yet it is such an important part of our lives. Hollywood sense of beauty is blasted between the lines.

Only aspect I objected to was the lack of polish in the production itself. It could have been visually smoother in parts. But Jaglom films always look like this, I suppose. Still a winner.

One of my first independent films which I remember fondly...
Henry Jaglom's EATING will always have a special place in my heart. I don't know why, it just will. When I was in middle school, I discovered BRAVO, back when they were commerical free, and televised uncut films. I discovered many foreign and independent films that summer, including SWEPT AWAY (the original, not the Guy Ritchie disaster), LIKE WATER FOR CHOCOLATE, BARTON FINK, and last, but not least, EATING.

I have to say that I was impressed. I had never seen anything quite like it before. Before BRAVO, my intake of cinema consisted mainly of Blockbuster films and crappy teen flicks - this was before I discovered John Hughes. However, I have loved film since I sprang forth from the womb, so I had always been open to different kinds of film. I was probably the only kid in middle school who really wanted to see THE ENGLISH PATIENT, but was too young to get in. I'm rambling.

I loved Henry Jaglom's style. The random converstation, the lack of a plot, narrative, whatever was typical in Hollywood fare. It may not be one of the best films ever made. You'd probably have to be in a special sort of mood to watch a bunch of middle aged women talk for two hours about food. However, it helped me to broaden my horizons as far as film goes, and for that, it gets five stars.

I haven't seen it in years, so I'm sorry if this review wasn't that informative. I just bought it from Amazon.

Looking forward to watching it again.