Le cher disparu

There are few films I can recommend this highly. Morse is memorable as the hapless Englishman, trying to understand this peculiar American commercial funeral institution and the nearly fanatical devotees to the Jonathan Winters' Blessed Reverend.

The tawdry nature of the corporate funeral industry gradually unfolds in this fantastic study of our fixation with marketing everything, even death.

Jonathan Winters, Rod Steiger is brilliant as Mr. Joyboy, the effete chief embalmer, and the film features such huge talent as John Gielgud and Robert Morley as well as a cameos by Milton Berle, Roddy McDowell, Tab Hunter, and Liberace as the smarmy casket salesman. Look for a very young Paul Williams and...is that James Coburn? Yes, yes it is.

Be advised that there are some dubbing and sound issues common to films of this era, but if you're more concerned with a/v than story and humor, you should be off looking at...I dunno, something from George Lucas.

This film's greatest flaw is that it's hard to find on VHS and doesn't exist on the DVD.

Several of you youngsters have added comments here to the effect you wanted to know how this film was received in 1965. Here is the lowdown.

It was skewered by the few uptight critics who got it, and passed off as sheer nonsense by the ones who didn't. It had a big, big promotional sendoff on television and in the newspapers, featuring its over-the-top ending that is commented on elsewhere in these archives. That, in fact, is the single characteristic placing this film in the history books as one of the first real anti-war, anti-establishment, anti-bourgeois relics of popular culture just at the cusp of an entirely new epoch.

I am still dumbfounded that it went generally over the heads of most people in 1965. (Well, at least I am bemused by it.) "Dr. Strangelove" received much the same treatment. It was as if the country was still on overdrive after the assassination of President Kennedy, numb and oblivious as to what was about to happen. Only the very young, influenced as they were by the Beatles and other revolutionary pop music icons, seemed to have a clue. But they were powerless within the political vacuum that led up to the war in Vietnam, and by the time all the turmoil of 1968 came along, this movie had been long forgotten.

This is one fan, however, who still regards this wonderful satire as one of the top ten of the 20th century, right up there with the best of Chaplin, the Marx Brothers, and Saturday Night Live (in its better days, of course).

One of those movies that make you wonder how it got made when it was made, "The Loved One" is a priceless treasure. See this movie, and you'll want all the quirky irreverent funny people you love to see it too.

WHY IS THIS MOVIE NOT ON VIDEOTAPE? I mean, if somebody can take the time to put "Porky's II" on DVD, I think humanity is ill-served by the lack of a law to ensure that movies like "The Loved One" are also available.

As a follow-up to the hugely popular "Tom Jones" the iconoclastic director Tony Richardson chose a modern Evelyn Waugh darkly satiric novel that was ostensibly about the funeral business but in Richardson's (& Terry Southern's) hands became a savagely funny commentary on Hollywood and America as well. The cast is awesome--even disregarding some of the cameos like Milton Berle, Liberace, and Tab Hunter--particularly good are Gielgud, Jonathan Winters in a fabulous dual role, Rod Steiger as the immortal Joyboy, and Roddy McDowell. Hilarious! The leads are strangely effective: Bobby Morse doing the knowing nebbish character that he perfected in the mid-60s, and Anjanette Comer as the aptly-named Amy Thanatogenis. One of my alltime favorite comedies, I've seen it close to 20 times since 1965...For anyone who ever had to save up for "Mom's big tub." Increpitable!

Maybe in its time this film was provocative and entertaining. The decade of the 1960s was known for its cinematic audacity and spunk, descriptions befitting the film's underlying concept. But what seems daring and futuristic today can look stunningly grotesque when the future actually arrives. And forty years after it was made, "The Loved One" just seems ... bizarre.

We're led to believe that the film lampoons the funeral and burial industry. And part of the film's first half does just that. Here, humor derives partly from dialogue, especially as it relates to burial terminology. Our casket salesman, Mr. Starker (Liberace), explains to the film's protagonist: "I can give you our eternal flame in either perpetual eternal or standard eternal". Then he asks: "propane or butane, Mr. Barlow?" Marvelous. And part of the humor is visual, as we watch the finicky embalmer, Mr. Joyboy (Rod Steiger), trying out various expressions on the loved one's face.

But the funeral and burial industry satire consumes less than half of the film's two-hour runtime. The rest of the plot is a mishmash of assorted gags, skits, and pranks, strictly tangential to the stated concept. You get the feeling that the script was written by a committee. Some of this plot tangle derives from too many celebrity cameos. These actors (James Coburn, Milton Berle, Tab Hunter, and many others) appear in a scene or two, then vanish, to be replaced later by others, none of whom are essential to the plot.

Probably the best elements of the film are its B&W cinematography and the production design. Outdoor scenes at Whispering Glades are visually lush. And the interior is interestingly ornate, although far more Gothic than any funeral home I've ever been in.

The film's casting and acting for major roles get mixed grades from me. Robert Morse as the protagonist, Sir John Gielgud as his uncle, and Rod Steiger as the embalmer are all fine. But as much as I like Jonathan Winters, his performance here, for whatever reason, just does not work; I found it grating and annoying.

If I had seen this film when it first came out, I might have had a more favorable impression of it. And, to repeat, it does have a certain charm, if only sporadic. But so much has happened in the last forty years, and there's been so many changes in America's culture, "The Loved One", for all its intended courage and boldness in 1965, now seems, for the most part, just puerile and pointless.