Dudley Moore is a television news reporter married to lawyer Anne Reinking (Micki). They are in love - deeply in love - but she is committed to her legal career. This means working overtime on her cases and briefs. So Moore is unhappy about seeing so little of her. He needs to be in a closer relationship with his wife.
His producer/friend Richard Mulligan sends him on an assignment to cover a female string ensemble whose cellist is Amy Irving (Maude). In demonstrating how "through the magic of creative cutting" he will be able to appear on camera asking her questions that she answered already, Dudley and Amy start chatting. And he takes her to dinner. And soon they are in love - deeply in love.
Well Dudley decides to tell Anne it's all over, but discovers her awaiting him with good news: she is pregnant! Well he can't leave a pregnant wife...so he returns to Amy to tell her it is all over. But she is awaiting him. She's pregnant too! He can't desert her now either. In fact, he has to marry her.
As mentioned in another of the various comments here, the opening does drag a little, but MICKI & MAUDE is one of those films that starts slow, and then goes wild. Moore (with some assistance from pal Mulligan) has to marry Amy, and keep her and Anne happy in their separate pregnancies without them knowing of each other. The marriage is difficult enough (he runs into Anne's parents outside of the church that Amy and he are about to be wed in). The difficulties of working enough to support two families (helped out by the fact that both wives are working too) is exhausting - though Mulligan tries to help. Finally both wives are using two obstetricians (George Gaynes and Wallace Shawn) who share the same offices. They and their two patients are kept in the dark, but their nurse (Lu Leonard) is fully aware of what is going on and disgusted by it.
A typical combination of slapstick (which Moore handles well) and one liners that Edwards is famous in his movies for, MICKI & MAUDE works very nicely as a comedy. If not the best comedy in Dudley Moore's career, it comes close (especially in the conclusion to the two pregnancies at the hospital - where as a special treat Moore stumbles onto a third, unexpected secret). In the end, facing the wreckage of two marriages or whatever, the three leads have to invent some type of arrangement that will satisfy everyone...or will it?
His producer/friend Richard Mulligan sends him on an assignment to cover a female string ensemble whose cellist is Amy Irving (Maude). In demonstrating how "through the magic of creative cutting" he will be able to appear on camera asking her questions that she answered already, Dudley and Amy start chatting. And he takes her to dinner. And soon they are in love - deeply in love.
Well Dudley decides to tell Anne it's all over, but discovers her awaiting him with good news: she is pregnant! Well he can't leave a pregnant wife...so he returns to Amy to tell her it is all over. But she is awaiting him. She's pregnant too! He can't desert her now either. In fact, he has to marry her.
As mentioned in another of the various comments here, the opening does drag a little, but MICKI & MAUDE is one of those films that starts slow, and then goes wild. Moore (with some assistance from pal Mulligan) has to marry Amy, and keep her and Anne happy in their separate pregnancies without them knowing of each other. The marriage is difficult enough (he runs into Anne's parents outside of the church that Amy and he are about to be wed in). The difficulties of working enough to support two families (helped out by the fact that both wives are working too) is exhausting - though Mulligan tries to help. Finally both wives are using two obstetricians (George Gaynes and Wallace Shawn) who share the same offices. They and their two patients are kept in the dark, but their nurse (Lu Leonard) is fully aware of what is going on and disgusted by it.
A typical combination of slapstick (which Moore handles well) and one liners that Edwards is famous in his movies for, MICKI & MAUDE works very nicely as a comedy. If not the best comedy in Dudley Moore's career, it comes close (especially in the conclusion to the two pregnancies at the hospital - where as a special treat Moore stumbles onto a third, unexpected secret). In the end, facing the wreckage of two marriages or whatever, the three leads have to invent some type of arrangement that will satisfy everyone...or will it?