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Das Arrangement

Originaltitel: The Arrangement
  • 1969
  • 16
  • 2 Std. 5 Min.
IMDb-BEWERTUNG
6,3/10
3507
IHRE BEWERTUNG
Das Arrangement (1969)
Home Video Trailer from Warner Home Video
trailer wiedergeben2:56
1 Video
99+ Fotos
DramaRomance

Ein Werbefachmann versucht nach einem Nervenzusammenbruch, sein zerrüttetes Leben wieder aufzubauen.Ein Werbefachmann versucht nach einem Nervenzusammenbruch, sein zerrüttetes Leben wieder aufzubauen.Ein Werbefachmann versucht nach einem Nervenzusammenbruch, sein zerrüttetes Leben wieder aufzubauen.

  • Regie
    • Elia Kazan
  • Drehbuch
    • Elia Kazan
  • Hauptbesetzung
    • Kirk Douglas
    • Faye Dunaway
    • Deborah Kerr
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,3/10
    3507
    IHRE BEWERTUNG
    • Regie
      • Elia Kazan
    • Drehbuch
      • Elia Kazan
    • Hauptbesetzung
      • Kirk Douglas
      • Faye Dunaway
      • Deborah Kerr
    • 47Benutzerrezensionen
    • 20Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Gewinn & 3 Nominierungen insgesamt

    Videos1

    The Arrangement
    Trailer 2:56
    The Arrangement

    Fotos137

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    Topbesetzung61

    Ändern
    Kirk Douglas
    Kirk Douglas
    • Eddie Anderson
    Faye Dunaway
    Faye Dunaway
    • Gwen
    Deborah Kerr
    Deborah Kerr
    • Florence Anderson
    Richard Boone
    Richard Boone
    • Sam Arness
    Hume Cronyn
    Hume Cronyn
    • Arthur Houghton
    Michael Higgins
    Michael Higgins
    • Michael Anderson
    Carol Eve Rossen
    Carol Eve Rossen
    • Gloria Anderson
    • (as Carol Rossen)
    William Hansen
    William Hansen
    • Dr. Weeks
    Harold Gould
    Harold Gould
    • Dr. Leibman
    Michael Murphy
    Michael Murphy
    • Father Draddy
    John Randolph Jones
    John Randolph Jones
    • Charles
    Anne Hegira
    Anne Hegira
    • Thomna
    Charles Drake
    Charles Drake
    • Finnegan
    E.J. André
    E.J. André
    • Uncle Joe
    • (as E.J. Andre)
    Philip Bourneuf
    Philip Bourneuf
    • Judge Morris
    Dianne Hull
    Dianne Hull
    • Ellen Anderson
    Donna Anderson
    Donna Anderson
    • Girl in Motel
    • (Nicht genannt)
    Brian Andrews
    Brian Andrews
    • Child
    • (Nicht genannt)
    • Regie
      • Elia Kazan
    • Drehbuch
      • Elia Kazan
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen47

    6,33.5K
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    Empfohlene Bewertungen

    5moonspinner55

    A baleful concoction...

    Old-fashioned melodrama longing to be flashy and modern. Director Elia Kazan, adapting his own bestseller, has assembled a terrific cast in story of a 44-year-old married advertising executive with a mistress who attempts suicide. Cold and detached, the film wants us to sympathize with a lot of people we might normally recoil from: the rich and privileged who live in a well-heeled vacuum. As Kirk Douglas' other woman, Faye Dunaway, who was featured in a slew of pictures from 1967-1969, was perilously at risk of being overexposed. She's gorgeously coiffed and manicured here, but her impassive face and personality don't involve the audience--and all of Douglas' striding up and down over her seems like a wasting disease. Kazan wants us to see the unsavory nature of these people, the office sharks and their suffering wives at the mercy of their whims, but the bitter 'truth' behind his portrait is heightened--just as it was in pictures like "Peyton Place"--and after a while it all begins to seem like a rancid put-on. ** from ****
    9gts-3

    A sorrowfully neglected cinematic achievement

    In recent years I have come to reevaluate most of Elia Kazan´s films. "A Streetcar Named Desire" (1951) looks more and more the stagebound it is and belongs rather to its actors than to its director. "On the Waterfront" first of all is an elaborated excuse for informing (something Kazan had done some years earlier in front of the HUAC). "America, America" (1963) is the sort of tale immigrants who have made it tend to tell at family gatherings over and over again. On the other hand "Panic in the Streets" (1950) now emerges as a powerful thriller about paranoia. "The Visitors" (1972) - more or less a home movie - is a painfully depiction of America´s guilt with regard to the Vietnam War and as such much ahead of its time (most certainly much ahead of Brian De Palma´s "Casualties of War" (1988), that tells are rather similar story). The most astonishing film being "The Arrangement" (1969), a film that has been dismissed that often as a downright bomb that this verdict was taken for granted for a very long time. Well, it´s high time for a change.

    "The Arrangement" deals with an advertising executive´s alienation from his job, his family, his world and even from himself. This Eddie Anderson is one of Kirk Douglas´s most touching and least mannered performances. He manages to keep the audience interested in a guy who is lost in almost every sense of the word. A gripping psychodrama, a film for adults and therefore out of place even at a time when traditional Hollywood was blown away by America´s very own New Wave. "The Arrangement" may at times annoy you, but it won´t insult your intelligence for even that long as a second. Cudos to the director, Kirk Douglas and both Richard Boone and Deborah Kerr who gave two performances to crown their already sterling careers. Faye Dunaway, by the way, has never before and never since been that erotic on screen.
    7Bunuel1976

    THE ARRANGEMENT (Elia Kazan, 1969) ***

    Adapted by Kazan from his own novel, this ambitious if little-seen (at least in my neck of the woods) character drama emerges as an absorbing and highly personal adult piece, but one which is also pretty heavy-going and somewhat uneven in quality. Still, the director elicits excellent performances from his entire cast (with the star trio baring more than their souls in front of the cameras); Kirk Douglas is particularly impressive in one of his most interesting roles (certainly at this stage of his career, here playing the son of Richard Boone who, in real-life, is actually a year younger than Douglas!)...though Kazan, in his autobiography, seemed unhappy with having to make do with him over his first choice, Marlon Brando. It's strange that he hadn't thought of Douglas immediately to personify his alter ego on screen, since both had been immigrants and the actor would therefore have an instant connection with the character; actually, I feel that Brando's brooding intensity - as opposed to Douglas' dynamic hysterics - would have worn the film down even more than it already is...and, in any case, Marlon got to do his "mid-life crisis act" three years later in LAST TANGO IN Paris (1972)!

    What is essentially an old-fashioned melodrama, particularly given the lack of young actors involved, it's brought up-to-date - and, one might say, to life - by a variety of cinematic tricks (which sometimes exasperate the spectator, as if Kazan had gone through one too many viewings of Richard Lester's strikingly similar PETULIA [1968]!): multiple flashbacks and fantasy sequences (Douglas has visions of mistress Faye Dunaway everywhere, and even has her morphing into wife Deborah Kerr during a love scene); we also get visualizations of his interior monologues in which the younger, successful Douglas straightens out his older, bitter self; and, at one point, there's even a fist-fight underscored by cartoon captions a' la the campy 1960s "Batman" TV series!! On the other hand, the film's production values - as is to be expected from a glossy studio product of its time - are tops.

    Leonard Maltin strangely rates this one a BOMB in his "Movie Guide"; true, it may not be top-tier Kazan but it's nowhere near as bad as he seems to think it is. Curiously enough, I followed this viewing with the director's subsequent film, THE VISITORS (1972), also awarded the unenviable "bottom-of-the-barrel" accolade from the genial critic...though, in its case, it's a bit more understandable - as can be perceived from my own comments below!
    6bwam2mil

    an interesting film, but not one of kazan's best..

    A sort of precursor to American Beauty and other modern fillms about dissatisfaction, Kazan's The Arrangment is an interesting attempt to characterize a man's deconstruction. Kirk Douglas plays Eddie, an advertising executive coming to terms with his job, his family, and his life's direction. Kazan experiments with montage, split narrative, and time span as he tells the story of a man looking for something new in life. The result is a compelling and relevant story about modern happiness that is broken apart by bizarre construction and confusing shot arrangement. Kazan has some interesting ideas here, but not all of them work. His split-consciousness portrayal of Eddie is sometimes confusing and distracting, as is the switch between past and present. Douglas is good as the lead; I don't see why Kazan would have chosen Brando in retrospect as I don't think it would have made much of a difference. Overall, a film worth seeing if you're a Kazan-freak, but otherwise stick with Streetcar, Eden, or Waterfront..
    matt-201

    Gadj goes nutzoid

    Elia Kazan's 1969 midlife-crisis epic is an x-ray of American manhood gone cuckoo for Cocoa Puffs. Kirk Douglas, icon of tortured machismo, plays Eddie Anderson, son of a tyrannical Greek merchant (Richard Boone) turned Madison Avenue sell-out. He sleeps in childlike separate beds with his wife (Deborah Kerr), who looks and acts more like his mother. He's obsessed with the one woman (Faye Dunaway) who looks at his barbered, Lavoris'd self and sees the Man He Could've Been. The sixties satire of Organization Man is stock, the bombast beats thick and hard, and, as per usual, Kazan can't resist the Big Moments that are thoroughbred Hollywood hokum. But it's impossible to deny that this is as anguishedly personal as any of Kazan's movies--and the machete hacking through the brush that cleared the way for Cassavetes, Scorsese and Ferrara. With its mod, PETULIA-style sets, balletic editing and penchant for stylized tricks, it's also the most goofily cinematic of Kazan's pictures--a Sam Fuller whirligig turned into a slick, upscale thirty-second spot.

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    Handlung

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    • Wissenswertes
      Critics were overwhelmingly negative when the film came out, and it was the consensus that Elia Kazan should never have filmed his own best-selling novel, which was panned by most literary critics as trash when it was published in 1967. It was widely known that the lead role had been turned down by Marlon Brando, who had garnered three Academy Award nominations and was awarded one Oscar under Kazan's direction at the beginning of his film career and was the heart and soul of some of Kazan's best work as a movie director. By the late 1960s, after a string of flops, most critics felt Brando was through as a movie star and that he desperately needed Kazan to turn his career around, both as an artist and as a box-office star. When the film came out, Kirk Douglas' lead performance was roundly panned, and most critics felt that even Brando at his best couldn't save what was, in essence, a melodramatic potboiler. The failure of "The Arrangement" was the end of Kazan's own career as an A-list director.
    • Patzer
      When Eddie's father eats the piece of white bread, the number of bites and placement of the bread on the tray or his belly changes between shots.
    • Zitate

      Gwen: The screwing I'm getting is not worth the screwing I'm getting.

    • Crazy Credits
      Except for the title, company logo and "A Film Written and Directed by Elia Kazan," all the remaining credits are at the end, which was still uncommon in those days.
    • Verbindungen
      Edited into Elia Kazan, vom Outsider zum Oscarpreisträger (2018)

    Top-Auswahl

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    FAQ18

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    Details

    Ändern
    • Erscheinungsdatum
      • 26. Februar 1970 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizielle Standorte
      • HBOMAX (United States)
      • Official site
    • Sprache
      • Englisch
    • Auch bekannt als
      • The Arrangement
    • Drehorte
      • Long Island, New York, USA
    • Produktionsfirma
      • Athena Productions
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    Box Office

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    • Weltweiter Bruttoertrag
      • 9.536 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      2 Stunden 5 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 2.35 : 1

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