BBD Comments:
Though I said it right after the film, I will preserve the thought here for Movienight eternity - ‘Harold and Maude’ is my favorite pick since Wiener’s magnificent ‘Yojimbo.’ It is the apotheosis of a great pick. Perfectly timed to Valentine’s Day, an excellent counterpoint to the high octane Selection that precedes it, and a stirring and haunting production in it’s own right, that lingers deliciously days after the screening.
I originally saw ‘Harold and Maude’ in the theater as a young boy (this was back in the day that films were frequently re-released) and I still have specific memories of the first time I had seen Harold’s self-immolation, and of the sorrow I felt over Maude’s fate. The bulk of the film was, of course, way over my head - particularly the wonderful moment when Harold tries to fit his head into Maude’s sculpture. That was the last time I saw the picture widescreen, and I don’t think I’ve seen the film at all since I graduated high school. What a treat it was to see it again with the Crew up on the Stucco. This film doesn’t merely “hold up,” it is remarkably relevant and daring even 36 years after it was originally released.
This fact makes its status as a “cult classic” all the more frustrating. This is no quirky gem accessible only to the profoundly nerdy such as ‘The Rocky Horror Picture Show,’ this is a profound and significant Vietnam Era masterpiece. Hal Ashby’s direction, Ruth Gordon’s incomparable characterization, Cat Stevens’ lyrical power, John Alonzo’s heart breaking photography and Bud Cort’s revelatory innocence combine to create one of the best films of its era, if not all-time.
I wish that Nubs and Jaja had been there for this pick, cause it was old school Movienight. The energy in the Back Yard was palpable, and Netti’s choice was pitch perfect from start to finish. Wednesday was a night that reminded me how lucky we are to have this wonderful institution in our lives.
Well done Mr. Simonetti, this was your finest hour on the Stucco to date.
Brandon Comments:
“The act of your firm, young body... co-mingling with... withered flesh... sagging breasts... and flabby buttocks... makes me want to vomit.”
Even though Netti brutally dissed my Selection the week prior, I cannot and will not shed one bad word about his selection, Hal Ashby’s ‘Harold & Maude.’ Now, keep in mind, I am only praising the actual film, as well as the Selection itself, but the SELECTOR…well, let’s just say I still owe him one for the slandering verbicide he spilled in his review of my selection.
But ‘Harold & Maude,’ a classic film. Again, I am ashamed to say, this was another definitive film that I have only seen chunks from: Perhaps the first 30 minutes in 1988, the middle part in the mid 90s, and the ending I’ve seen three times somehow, and that was mostly in 2006. But to see the entire film digitally projected on the Stucco 10 feet high and 10 feet wide is just fucking amazing. This is the type of experience that can only happen in the Back Yard at MovieNight; with the wind blowing around us, stirring the trees into an exotic form of music, we all sat and marveled at an 80-year-old Ruth Gordon seducing Bud Cort in one of the funniest, most peculiar, most touching films ever created. And the cherry on top of this delicious cinematic cake is Cat Stevens, who provides an exceptional soundtrack throughout. His music is so powerful in this film that it should almost be categorized as a co-starring role.
For me, this was the selection that did it…I forever want to be a member of MovieNight. As for Netti, he and I will meet again on the Stucco, and when we do, his Bud Cort will be no match for my Nick Nolte.
Buffy Comments:
Let’s hear it for Netti for delivering a certified zip-thud to all of us this past St. Valentine’s day (with the perfect romantic sentiment, I might add)—it’s what every gal is secretly hoping to receive. I woke up the next morning to a murder of crows on my front lawn—I’m not sure how Movienight arranged for that finale (more cosmic dance), but let me say it was a powerful touch. I also like how the cops almost busted it up. Viva! ‘Harold and Maude’ is one of those forever life-changing films…first saw it right at the time I was leaving my childhood ideas/religion behind at the ripe age of 20. I grew up Mormon, and as far as love goes I had a lot of ideas that needed to be utterly crashed and burned right about then (ideas about other things, too, but mostly love). I could see it a thousand times, and I’m so glad to have seen it with all of you.
A revised perspective for me came from this viewing: you dudes illuminated that Sunshine is a hotter, younger, more naive version of Maude. That went right over my head before—probably has to do partly with the vast chasm between what many men actually find sexy or attractive vs. what many women think they do (never ceases to shock me); the other part is without doubt due to my deep-seated, nausea-inducing fear of female sensuality and sexiness (more specifically my fear of the potential for deep humiliation therein). Sadly, I usually go for dorky, rather than risk being seen as gross while aiming for sexy. Which I’m sure need not be pointed out and probably doesn’t need too much airtime here in the Movienight forum. Just showing some vulnerability in the spirit of the film, I guess. Anyway, Sunshine is awesome and I want to apologize to her for having been stuck in my annoyance at her use of the word “instrument.”
Did you ever notice that Bud Cort has all the traits that have been scientifically proven to instinctively indicate vulnerable/adorable? Namely: those big, round, big big eyes. He could be a sugarglider with those eyes; I could look at him all day. Ruth Gordon was pitch-perfect, of course—powerful and courageous, girly and fun…a timeless beauty to be sure. There’s no ‘Sunset Boulevard’ to what Maude keeps of youth, nothing stale or preserved in formaldehyde. She’s like a flower, perpetually blooming, always alive now, never stuck in the glory of the past. Like Maude, the movie seems to hold onto everything worth having, and lets go of the rest with a generosity and appreciation for what is and has been that is rarely seen in life or on celluloid. It touches you emotionally without being pandering or manipulative. It’s whatchamacallit, real? And when it comes to the sentimental bullshit that has piled up in entertainment alone since the dawn of the invention of romance, a little something real is a precious thing.
Thanks for once again, gentlemen, for having the courtesy to overlook my stranger-in-a-strange-land rule-breaking, and for seeming more concerned that I not cut myself on the glass rather than lamenting the broken goblet (mazel tov!). Thanks as always to our event hosts the Coolbaughs, and Tooda, host of the after-party. You know, after reading the history of Movienight, I am even more grateful and awed that my loamy monkey-grower and I are welcome to participate in the happenings upon the hallowed Stucco, among such gracious folk. I want to point out in particular that I appreciate your insights not just as males and cinema buffs, but as talented and experienced performers and writers and creators of all sorts; it adds a dimension that becomes an inseparably awesome part of the movie, and I am surely enriched by the experience.
Coolbaugh Comments:
My wife has tried to get me to watch ‘Harold and Maude’ for quite a while. “You’ll really like it” she would say. It’s not that I didn’t believe her, but there are a lot of movies out there that I would potentially like…obviously…just look at my track record at Movienight. Anyway, this goes right to the top of my favorite list. I related to this on many levels. Namely, to me, the more creative the message/metaphor, the more I tend to appreciate it…especially when the message is relevant. ‘Harold and Maude’ puts together quite an unusual personification of a timeless and universally applicable “enjoy every moment” message. I dug the soundtrack…sometimes Cat just fading in felt so right and seamless at times, while at others, a bit more forced, but always sounded right once he was going.
Netti said he really wanted to see this movie up on the wall. Only when you do see it projected large, do you realize that it was shot that way. The scenes were built with the large screen in mind. I believe this is the heart and soul of Movienight…when it comes from the heart like this, it’s going to work. This was my favorite selection since ‘City of God,’ and I am thankful, once again, to my Movienight peers for helping me check another classic off the to do list.
Great work Netti – we critique when it’s needed, and we praise when it’s deserved…and this one gets all praise from me. Netti managed to come to Movienight with a Movienight-worthy love story…I don’t believe we’ve had one before. And that certainly makes my job next week more challenging.
SELECTOR Comments:
If you try to find freedom, you will not find it. But the more you know where it is not, the closer you will be to it when you give up looking.
This was just the second time I had seen this film, and the first time projected.
Upon this viewing, I arrived at a new understanding of this work. This film was a protest for atomistic, and by that I mean indivisible, truths. When I say a protest, what I mean is that unabashedly the work demands that we recognize the essential from the unessential. Ostensibly a love story, it certainly directs you to the need for fulfillment through love. But most love stories, even those that posit impossible love do not challenge us to truly accept anyone as a potential mate. In addition it directs you to understand that the social constructions of reality that insidiously put blinders on all of us are to be tested if not transcended. In fact, we are in a continual fight for space and freedom. If we don't keep fighting, our own inertia will choke us. “Humanity so loves a cage.” says Maude in her train-car home. And perhaps the simplest and greatest cage is our own attachment to what we so often mistakenly believe is important. There are so many quotes, shots, and moments that are both emotionally and metaphysically satisfying that I feel the task here would be a bit much. I feel a couple more viewings is required. The five act structure is something to behold.
I chose this film because the coming together of these two is a joyous triumph even in death. I can't think of a better film for Valentine's day, a jackass, artificially generated day for sentimental sweetness. Here is a love story that dares you to witness much, much more in all directions. Not to mention its a really, really fuckin' funny film.
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