Ein kalter Tag im Park

Sandy Dennis plays a lonely woman who sees a young man sitting on a park bench in the rain and invites him in to dry off. He does not speak and she feeds him and buys him new clothes to wear. Dennis is perfect as the troubled lady with severe mental issues. She lives in a world of intense sexual repression, which is never fully explained. The boy turns out to be involved with the 1960's drug and free love culture. The finale is heart breaking and Robert Altman went on to a successful directorial career. Dennis won a Supporting Actress Oscar for her role in "Who's Afraid of Virginia Woolf" and she should have one another for this film.

If you remember how Sandy Dennis charmed your socks off in "Up The Down Staircase," be forewarned, she WILL creep you out in "That Cold Day in The Park." Remember to tell yourself, that this is only a movie, and she was only an actress...and a damned good one.

A rich but lonely woman, Frances Austen (Sandy Dennis), one day invites a boy (Michael Burns) from a nearby park to her apartment and offers to let him live there.

The film was shot in Vancouver for the purpose of getting the rain, which seems odd. Many, many films today are shot in Vancouver, though the weather is not typically a factor. Was this common practice in 1969 or were they pioneering? Although based on a novel, director Robert Altman offered some ideas for the film, and he confessed that some were "awful". Luckily, those ideas were scrapped by star Sandy Dennis and never made it into the film. (Could she be said to be a co-writer? Not quite, but clearly a valuable resource.) Interestingly, the producer was Donald Factor, a member of the well-known Max Factor cosmetics family. His only other part of film history was producing "Universal Soldier" (1971), which starred nobody and was seen by nobody.

I would have given this more stars but for the contrived ending that sort of ruined the whole thing for me. Up until that point, I was seriously considering this work to be the equal of any work by Ingmar Bergman. Despite the corny ending, I still think that Sandy Dennis was easily the equivalent of Liv Ullman or Isabelle Hupert. It's shame that she died when she did, and I don't think she ever really received the accolades that she was due. Of course there was her work in "Who's Afraid of Virginia Wolff", in which she played a supporting role, and lighter fare such as "The Out of Towners", but one viewing of "That Cold Day in the Park" should be enough to convince any discerning viewer that Sandy Dennis was a great talent that was taken away far too soon.

To me, a film like this is too difficult to rate.

The 113-minutes amounts to a slow moving, yet fascinating, study in perverse character. Frances (Dennis) is a rich girl living a lonely repressed life in a ritzy Vancouver apartment. Then one rainy day she spots a young man (Burns) sitting alone in a park across from her rooms. Clearly, he's soaked and suffering, unprotected from the rain, while gazing across at him from her comfy apartment, she's suffering from a cloistered life amongst a suffocating elite. Sensing a bond, she takes him in and comforts him though strangely he never says a word to her. Nonetheless, it seems he's a handsome mute presence that breaks her internal solitude. But how can she keep him there since she's too repressed to express emotion other than acting kindly. At the same time, underneath it all, she secretly yearns for sex, yet in her repressed state can't manage the emotional lead-up. Thus, caught between a rock and a hard place, she locks him in the apartment, while plotting to overcome her frozen lead-up to intimacy.

All in all, Dennis manages a single inscrutable expression throughout, a genuine novelty but true to her character's mental state. Of course, we wonder what's going on with Frances, and at the same time, we wonder about Burns's strangely mute boy. It's this curiosity, I believe, that carries viewers over the flatter spots that stretch out the run-time. I hate to say so but it seems director Altman over-indulges a penchant for dressing and undressing his characters as well as other bits of marginal business. But then, to the delight of most audiences, it is 1968 and decades of censorship are breaking down. In short, the forbidden is no longer forbidden, and Altman joins the crowd, perhaps to a fault.

Too bad the narrative's otherwise pointless moments disrupt rather than intensify the underlying character puzzle. All in all, the result amounts to an over-stretched thriller. But one that still manages to fascinate thanks to an odd premise embodied by the quirky Sandy Dennis.