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They All Laughed

They All Laughed

Comedy · Romance · 1981

New York's Odyssey Detective Agency is hired by two different clients to follow two women suspected of infidelity. Ladies' man John Russo trails Angela Niotes, the elegant wife of a wealthy Italian industrialist, while Charles Rutledge and Arthur Brodsky follow Dolores Martin, the beautiful young wife of a jealous husband. Their respective cases are complicated when John falls for Angela, and Charles falls for Dolores.

Movie details

They All Laughed

“Some of them promised they'd never fall in love.”

1981 Comedy · Romance 1h 55m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

New York's Odyssey Detective Agency is hired by two different clients to follow two women suspected of infidelity. Ladies' man John Russo trails Angela Niotes, the elegant wife of a wealthy Italian industrialist, while Charles Rutledge and Arthur Brodsky follow Dolores Martin, the beautiful young wife of a jealous husband. Their respective cases are complicated when John falls for Angela, and Charles falls for Dolores.

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 They All Laughed?

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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Names above the title

The people responsible.

Directed by

Peter Bogdanovich

Written by

Peter Bogdanovich · Blaine Novak

Audrey Hepburn

Audrey Hepburn

Angela Niotes

Ben Gazzara

Ben Gazzara

John Russo

Patti Hansen

Patti Hansen

Sam

John Ritter

John Ritter

Charles Rutledge

Dorothy Stratten

Dorothy Stratten

Dolores Martin

Blaine Novak

Blaine Novak

Arthur Brodsky

Linda MacEwen

Linda MacEwen

Amy Lester

Court is in session

Put They All Laughed on trial.

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

The defence The Popcorn Loyalist

“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.