Der Hausbesitzer

Recently watched Hal Ashby's directorial debut, "The Landlord" at Manhattan's Film Forum. A complete revelation. How has it happened that this film is not as known as others from the same period? It is easily among the top films of the Hollywood renaissance of the '70s. Its take on racism is as fresh and complex as it was in 1970. In fact, one other reviewer is dead wrong about the film having no intrinsic style. It is a film loaded with style. (And, if I may add, if this reviewer thinks that all films aren't made in the editing room than you're sadly mistaken.) The film is as complicated, multi-layered, messy and ultimately indefinable as the problem of racism itself. There is no way to honestly treat this subject by making a neat little package film. We've been peeling this onion for hundreds of years and we'll be peeling it for hundreds more. Racism is as deeply ingrained in our society as our love of money and power. This film is only a "chore to sit through" if you have an aversion to fantastic writing, unbelievably great characters, amazing cinematography, brilliant editing and, yes, a complexity born of its subject. A film for the ages. Now if only the ages will catch up.

I was pleasantly surprised with the complexity of "The Landlord". It was brilliantly directed. The cutting between different scenes was effortless and added depth to the storyline. There was plenty of symbolism, which is one of the things I always look for and enjoy in a film. For instance, when Elgar (Bridges) and his father are having an argument in the bathroom during a costume party, there is a quick cutaway to another man in the bathroom who has on a gun holster, which I thought was symbolic of the 'shootout' that was going on between Elgar and his father. In addition, the Enders family is constantly seen wearing white, and their home is decorated in white.

I thought the acting was top notch. Beau Bridges was very convincing as a naive, sheltered man learning to appreciate and embrace a different culture. But the movie is so much deeper than that... It dealt with people trying to break free from stereotypes, people struggling to be proud of who they are and be accepted for who they are, and some people not even knowing who they are, trying to find their niche.

I love the scene at the party that was supposedly in honor of Elgar, where more than one person tells him what it feels like to go from being an outcast to being the envy of everyone. If I remember correctly, they likened it to you having a mole in the middle of your forehead, and people are basically disgusted by it. But, then one day, that becomes the thing to have, and people begin to draw moles on their faces, but you have a real mole right there on your forehead, prominent for everyone to see, and suddenly you are "it", and your self esteem is taken to new heights. It seems like everything would be fine for you now, but I also interpreted that speech as saying that, at the time, blacks felt like they were a fad that might eventually fade out. I thought the words were very powerful, as well as the way the scene was carried out.

I don't think a film such as this could be pulled off properly now, because there is the constant threat of backlash if things aren't completely "PC", not to mention the fact that things are so different now. I think this film was made at the right time, but it still rings true 31 years later. And, thank goodness for the satisfying and realistic ending.

Gentrification is one of the issues covered in this comedy-drama. The plot also covers post-Civil Rights era feelings, race relations, and class distinctions. Elgar is a clueless 30 year old rich boy who thinks he's going to turn a Harlem tenement into a bachelor pad. The poor and working class African-Americans who live there will not be displaced so easily. There are good performances all around, especially by Lee Grant and the late Diana Sands. Robert Klein has a small role as a party guest at Elgar's parent's house who shows up in blackface.

It was a great movie. I'm only 22 yrs old and just saw it for the first time only recently. It is a great movie that is able to drive several points home--consisting of racial prejudice, the view of African-American lifestyle at that point in time, and even the social snobbery that can occur in the upper-class. What is so wonderful about it however is the fact that it showcases these issues with such a wonderful quick sense of humor that one minute you might be in silence from a profound piece of dialogue or suspended moment and then the next scene will quickly have you laughing. Beau was great and so was EVERYONE else, especially Lee Grant.

Movies that deal with race have often been awkward things. One of the biggest problems is they tend to be horribly patronising in tone, many of them looking essentially at how white people can help black people. Most of them were of course written by someone white, which while it doesn't necessarily make it ill-informed, it doesn't tend to help either. The Landlord is one of the few from this era that is based on source material by a black writer (novelist Kristin Hunter). Hunter's novel was adapted by Bill Gunn, who is also black. Of all the pictures I have seen dealing with race in America, it is by far the most confrontational, and really the only of this period that really challenges white social supremacy as well as overt racism.

The late 60s and early 70s was really the age of the odd-looking movie, especially with all the new, young directors that were cropping up. The Landlord was the debut of Hal Ashby, a former editor who had recently won an Oscar for his very fine job on another race-related movie, In the Heat of the Night. Ashby has a somewhat blunt approach, and like most young directors seems to be trying to make his mark with lots of unusual but ultimately pointless camera angles and extremely obvious symbolism. One thing that is very striking is how the scenes at the Enders family home are very white and the scenes at the flat block are very black. This is not done so much with set and costume design, but with lighting, strip-light brightness for the former and gloomy half-light for the latter. In fact the movie might as well be in monochrome for all the actual colour tone there is in it. The black/white metaphor of this is a little heavy-handed but at least it also serves the purpose of highlighting the stark difference in quality of life. What is probably best about Ashby's method here is the distance he puts between camera and subject, often putting a bit of scenery in between us and the action, making us feel like snooping witnesses. He will then suddenly take us by surprise with a close-up as a character delivers some key line of dialogue.

In line with Mr Ashby having been an editor, The Landlord is very much an editor's movie. This was also the age of weird editing pattern, and there is a lot of cutting back-and-forth, mixing various scenes together. Sometimes this is rather effective (for example the powerful montage of schoolchildren towards the end, or the sight-gag inserts of what Lee Grant is imagining when she finds out she will have a black grandchild), but mostly it is just a little distracting, and because it is so mechanical it threatens to alienate the audience from the material. However, shining through the rather ostentatious style are some very fine acting performances (especially from Bridges, Grant and Diana Sands), notable for their realism in spite of the occasionally bizarre situations they are in. And what's more, in amongst this choppy editing is a story which is at turns comical, thought-provoking and gently poignant, which alongside its hard-hitting stance ultimately carries a message of hope and humanity.