Empfindliches Gleichgewicht

There is no music in this superb autumn melody. The words in the mouths of the characters are by Edward Albee and that is music enough. Katharine Hepburn plays Agatha, a close relative of the actress if I ever saw one, Paul Scofield is amazing playing the mild volcano of a husband promising eruptions that when they come they are so civilized that, irrigate rather than decimate. Kate Reid, took over from the extraordinary Kim Stanley and as sensational as Miss Reid is I can't help wondering what Stanley would have done with "a" alcoholic like Claire. Lee Remick is the perfect offspring for Hepburn and Scofield. Selfish, tenuous, childish, rich failure. Joseph Cotten and Betsy Blair are the catalysts, they and their fear, their plague coming to contaminate the contaminated. For film and stage gourmets this is an unmissable treat.

The film adaptation of 'A Delicate Balance' promises a good deal. Seeing Katharine Hepburn and Paul Scofield leading immediately attracted me, having loved them in other things. What has been seen of Tony Richardson, a lot more to see though, has been interesting. And the play is wonderful, the story is slight but the characterisation and drama are extremely rich. Again, while the characters are indeed unpleasant they are interesting in their flaws and none of it rings false. Neither do the eerily dysfunctional family dynamics.

So expectations were quite high, prior to watching 'A Delicate Balance' for those reasons. As well as loving the previous two films in the American Film Theatre series 'The Iceman Cometh' and 'The Homecoming'. Sadly, 'A Delicate Balance', while still being worth watching and above average, was a disappointment and was the start of when the series became inconsistent. Most of the following films in the series ranged between above average and good, while one was great and two were below average.

'A Delicate Balance' does have good things. The best thing about it is most of the cast, with Hepburn and Scofield being powerhouses in roles with a lot of meat to them. Especially Hepburn. Kate Reid's performance has gotten more mixed reviews here, count me in as one of those people that liked her here. She struck me as firey and intense in the role most difficult to pull off and near-impossible to nail. Joseph Cotten does understatement beautifully.

Moreover, a good deal of the photography is lovely on the eyes and elegant and the costumes and sets are nice. Edward Albee's dialogue still has wit, honesty and relevance. Parts are moving.

However, 'A Delicate Balance' also came over as very stagebound and can have a pedestrian pace. Despite some nice photography as mentioned, there is an over-reliance on claustrophobic close-ups that betrays the play's stage origins so it felt like a stage production being filmed fairly professionally. Richardson's direction has been more insightful and interesting in other films of his, it did too often come over as too clinical and not enough is done to open up the drama.

Lee Remick struggles badly in a very poorly written role, one of the very few issues that the play has, coming over as neurotic and unsure as to how to play it. Betsy Blair also overdoes it.

In summary, worth the look but could have been a lot better considering what it had going for it. 6/10.

Time has not been kind to the movies made under the umbrella of the well intentioned American Film Theater. The bulk of these works are way off the mark, failing to achieve one of the major goals of the project; the preservation of these important plays on screen. "Butley", "The Homecoming" and "A Delicate Balance" are the ones that came off best.

"A Delicate Balance" Albee in his prime; relentlessly razor sharp. Director Tony Richardson thankfully makes little effort to diminish the inherent staginess and theatricality. He allows his superb cast to milk Albee's barbs to their last drop.

Katherine Hepburn turns in a terrific performance, though those who have a distaste for the Hepburn mannerisms, will not be converted. It's a pleasure to watch both Kate Reid and Paul Scofield, consummate stage performers who fared far less well in the cinema.

While overlong and at times uneven, "A Delicate Balance" is strictly for theater lovers. They will not be disappointed.

Director Tony Richardson's presentation of "A Delicate Balance" could be dismissed for it's lack of edginess and it's gentrified (albeit screwed up) characters. It is also what critics would call a "stagy" film. Yet it is redeemed from this dour damnation because of Albee's wonderful way with words, the rich cinematography, and exceptional acting, exceptionally well cast: Katherine Hepburn, Paul Scofield, Lee Remick, Joseph Cotton.

For those looking for a violent film -- not in the form of bullets or explosions -- but of verbal surgical strikes, this is it. Edward Albee's dialogue provides all the female (yes, this would be considered a "woman's movie") protagonists and antagonists (one wonders at times which is which) a laser like aim against their primary targets: other women. And it is done under a guise of "civility"; sometimes, with a smile.

The stand-out among these veteran actors is Kate Reid, who plays Claire, the alcoholic in-law who at times gives the most voice to the story, set amid a dysfunctional Connecticut family. But even her performance can't out weigh the constant barrage of verbal cross-fire from her friends and in-laws. Yet the twist here is that the aggressors are the women, while the men attempt to keep the peace as best they can -- only firing back if attacked by the females.

This isn't a film for everyone; it's definitely the stuff of classic drawing room (psycho) drama. But for those who can appreciate consummate acting armed with deft dialogue, make yourself a nice cup of tea -- spiked with a shot or two of brandy -- and check this out.

Fans of Edward Albee and Katharine Hepburn will find things to savor in this haphazard filming of the marvelous prize-winning play. But it's not always easy. Based on the slapdash direction, the piece looks as is the actors spent the requisite time rehearsing the play itself, and then the filming was done quickly and cheaply.

There are a series of generally long takes, but the staging looks more suitable for a proscenium stage than a film. And this is what separates a mediocre talent like Richardson from, say, Mike Nichols who did a far better job dealing with a (largely) confined space in the film of "Virginia Woolf." The result is that "Balance" comes off as stagy - a more inventive director could have avoided that without changing one line of the text.

"Balance" consists of a lot of mid-shots and close-ups, which doesn't serve all the actors well. This is particularly true of Kate Reid who plays the alcoholic sister Clare - Reid's performance might work well on stage, but with all her tight closeups during long speeches, she tends to overplay and make the character more gratingly tiresome than she should be.

The other casualty in the cast is Lee Remick, as the volatile, childish, much-married daughter of Hepburn and Scofield. But in her case it's Albee's writing that's the problem. This character is poorly conceived and developed - and no actress I know of has managed to make it palatable.

But Hepburn is in excellent form as the proud matriarch Agnes - perhaps a little more coarse at times than Albee intended, but very effective. Scofield as her passive-aggressive husband Tobias is marvelous until he mars his important penultimate scene with too many actorish vocal tricks.

Joseph Cotton and Betsy Blair as the old friends who come to Agnes and Tobias to escape the terror of collective loneliness are both good individually, but never seem to be a long-married couple.

Those not familiar with this play may be slightly turned off by the presentation and think the piece itself is second-rate. Not so. This film may be best for those who have seen it before or are familiar enough with Albee to take the film with a grain of salt and appreciate what's good about it.