Videos1
Photos39
Love for saleGerard Depardieu and Andie McDowell meet and for mutually beneficial reasons end up getting married. he so he can stay in the country and she so she can get the rent controlled Manhatten apartment. alas they must convince the INS that their marriage is true so they get to know each other, grudgingly of course at first. until love intervenes. A charming movie that features a good matchup with McDowell and Depardieu. good date film too. on a scale of one to ten
Related news
Contribute to this pageSuggest an edit or add missing content
More to explore
Green Card (1990) Directed by Peter Weir
Starring Gerard Depardieu and Andie MacDowell.
Coming April 2, 2019 on Blu-ray and DVD from Kino Lorber. First time ever available on Blu-ray!
Winner of 2 Golden Globes!
Best Actor comedy/musical – Gerard Depardieu
Best Picture comedy/musical.
GREEN CARD (1990) Color 107 Minutes 1. 85:1 Rated PG-13
The story of two people who got married, met and then fell in love. Green Card lights up the screen with its irresistible charm, lighthearted humor and critical acclaim. The fun starts when two strangers, Andie MacDowell (Unstrung Heroes) and Gérard Depardieu (My Father the Hero), agree to a marriage of convenience—thinking it’s going to be hassle-free. She’ll get to live in the apartment of her dreams; he’ll get a “green card” to live in the U. But before they know it, the two opposites encounter far more difficulties than most married couples could ever imagine—and worse yet, this mismatched twosome just might be falling in love. Winner of two Golden Globe Awards (Best Picture and Best Actor) and nominated for one (Best Actress), this delightful box-office hit enjoyed cheers from critics and audiences alike. With its sunny mix of wit, spirit and charm, Green Card is an entertaining hit you’ll never forget. Written and directed by Peter Weir (Witness, The Truman Show) and co-starring Bebe Neuwirth (The Associate) and Robert Prosky (The Scarlet Letter). Oscar® nominee for Best Original Screenplay (Weir).
also available on April 2, 2019 is Unstrung Heroes on Blu-ray and DVD. These are seperate releases that is just a stock photo used.
information provided by Kino Lorber insider from the Kino Lorber thread.
How does media, specifically mainstream American Cinema, affect and perpetuate society’s views on gender and stereotyping?Cinema in America is a major part of pop culture and effects the creation and perpetuation of stereotypes, often reflecting the ideals of the time and the views of current American culture. Film is usually seen as something that glorifies and idolizes things like the american dream, gender stereotypes and an individual’s role in society, this can have a profound effect on a culture’s psyche. And while portrayal of gender in film has come a long way since the days of Marilyn Monroe, especially with an emerging third wave feminist mindset and the invention of things like the Bechdel test, however mainstream cinema has a long way to go before it catches up with the times. The only cure for this is information, which is why examining how cinema handles gender is so vital. Gender Roles in Mainstream American CinemaThere are two main aspects of the problem when it comes to women in film: representation and prevalence (Smith & Cook, 2008). Representation deals with the qualities of the women in movies, who are, save few modern examples, sexualized and made to be shown as weaker than their male counterparts (Smith, 2013). A study conducted by Professor Stacy Smith of USC and Crystal Allene Cook of the institute on gender in film, it was shown that out of a sample of G-Rated films made between 1990 and 2005, only 28% of the speaking characters (both real and animated) are female, while females account for around 51% of the population. When it comes to these female characters themselves, they are typically represented in a certain way. Women in cinema have always been treated as “desired objects for the male gaze”, often times they are put into stereotypical roles which creates shallow, one dimensional characters, which the viewer has trouble relating to (Romero & Margolis, 2005). They are often sexualized in action and adventure movies, such as most superhero movies, to please a male based audience, this sends a very particular message to the women in an audience. When women are shown as damsels in distress or pretty objects glorifying a male hero it teaches women, particularly young girls, that they are passive or unimportant characters in their own lives (Maity, 2014). Stereotypes are dangerous weapons used to keep a particular group in power. When it comes to the impact of negative stereotypes, individuals from dominant or majority groups in power suffer less psychologically and materially than the lower status or minority group member (Kahn, Brenda & Stagnaro, 2012). We see the female stereotype in film all the time: weak, submissive, emotional, driven by romance, needs to be saved by the males in the movie. There are some exceptions like Katniss Everdeen in The Hunger Games or Black Widow in The Avengers who defy many of those stereotypes, they are strong female characters, but they show a reliance on men which is indicative of Hollywood today (Smith, 2013). While the female in cinema tends to be stagnant, the male stereotype allows for much more range, depending on the genre of movie. Typically male traits include a dominant, powerful, comical in the right circumstances, physically strong, attractive, intelligent and competent (Bielby, 1996). Often times comedy is derived from a male lead who doesn’t have one or more of these qualities, of course this reflects poorly and causes insecurity among men and pressure to live up to this image idealized by film. The male and female images are linked as though they are night and day, while in reality either gender can be anything: Women can be physically strong or domineering, while men and be weak or romantic. The idea that a given gender has to have traits associated with it, allows America to be manipulated very easily by the unrealistic expectations set by the media (Collins, 2011). However people feel driven to forge a connection between themselves and their favorite movie stars or comic book heroes or television shows (Conway 1991), so they feel they must fit the same mold as these figures; however often, at least in cinema, this mold is more of a way of limiting the growth and abilities of the individual, as opposed to stimulating the idea that anyone can be anything. The male and female images are eternally linked in American cinema, they are shown as opposites, and therefore they are both oppressive and limit what humanity is capable of by drawing a box that each person is expected to fill. In words right out of The Blackwell Companion to Social Inequalities, “Cinema does not represent women – it creates them”, therefore creating the image of men, too. Until we break the idea that each gender has a particular role, not just in film, but in society, we will not get the complex, interesting and representative characters we need to look up to. Sources Focused on Gender and FilmAdler, P. , Kless, S. , & Adler, P. (1992). Socialization to Gender Roles: Popularity among Elementary School Boys and Girls. Sociology of Education, 65(3)Bielby, D. , & Bielby, W. (1996). WOMEN AND MEN IN FILM: Gender Inequality Among Writers in a Culture Industry. Gender & Society, 10(3), 248-270. Collins, R. (2011). Content Analysis of Gender Roles in Media: Where Are We Now and Where Should We Go? Sex Roles, 64(3-4), 290-298. Conway, J. , & Rubin, A. (1991). Psychological Predictors of Television Viewing Motivation. Communication Research, 18(4), 443-463. Johnston, J. (2010). Girls on screen: How Film and Television depict Women in Public Relations. Khan, S. , Benda, T. , & Stagnaro, M. (2012). Stereotyping From the Perspective of Perceivers and Targets. Online Readings in Psychology and Culture, 5(1). Maity, N. (2014). Damsels in Distress: A Textual Analysis of Gender roles in Disney PrincessFilms. IOSR Journal of Humanities and Social Science IOSRJHSS, 19(10), 28-31. Romero, M. , & Margolis, E. (2005). The Blackwell Companion to Social Inequalities. Malden, MA: Blackwell. Smith, S. , & Cook, C. (2008). Gender Stereotypes: An Analysis of Popular Films and TV. Retrieved March 12, 2016.
SynopsisThe story of two people who got married, met and then fell in love. Urban horticulturalist Brontë Mitchell has her eye on a gorgeous apartment, but the building’s board will rent it only to a married couple. Georges Fauré, a waiter from France whose visa is expiring, needs to marry an American woman to stay in the country. Their marriage of convenience turns into a burden when they must live together to allay the suspicions of the immigration service, as the polar opposites grate on each other’s nerves.
CastDirectorProducersWriterCinematographyProduction DesignArt DirectionSet DecorationComposerSoundCostumesMake-UpStudiosCountriesOriginal LanguageSpoken LanguagesAlternative TitlesZöldkártya, Zöld kártya, Matrimonio de conveniencia, 綠咕情緣, 绿卡情缘GenresThemes