L'arrangement

Deborah Kerr reportedly stopped doing movies after 1969 (even though she took film roles much later in life) because she no longer felt comfortable with the direction that the movie industry was going. After seeing "The Arrangement", I no longer question her sensitivity to the turbulent themes, language, and cinematography that was coming of age in the late 60's. On the surface, the film epitomizes many of the psychedelic themes of the era, from rampant flash-backs to cartoonized exclamations, such as "Bam!" and "Kerbloom!" splashing across the screen in bright neon colors. Beneath this, however, is the intensely challenging story of a man who wakes up one morning to discover that he detests the person that he has become. Kirk Douglas's Eddie Anderson will send chills up your spine as you watch him evolve from a successful advertising executive with the perfect house, the perfect job, and the perfect arrangement of both a wife and several mistresses, into a tormented, weakened man who despises himself enough to attempt suicide but believes in life enough not to carry through completely. His metamorphosis belies the chaotic style of the film; even though the erratic cinematography attempts to reflect his inner turmoil, the sense of peace that settles onto his face as the film progresses reveals that the reality of Eddie's mind is less insane than the reality of the world outside. He begins to see beyond the pretentions and fears that engulf the world around him and that had once turned him into a heartless executive,willing to convince consumers that cigarettes are good for them rather than lose a multi-million dollar client. Everyone around him, with the exception of Faye Dunaway, worships the "almighty dollar," and Eddie's release from this self-made prison allows him to make peace with himself, even as he makes enemies all around himself. Faye Dunaway is stunning and provocative as the insolent "office slut" who restores Eddie's faith in himself, ironically, by pointing out his flaws. In fact, she delivers what is possibly the most believable performance in the entire film, because her character, the strong, opinionated woman who accepts no sympathy for her decisions and weaknesses, has survived this tumultuous period much better than the character of say, the 60's housewife who desires nothing more than a maid, a swimming pool, and a wealthy husband. Deborah Kerr fills the role of Eddie's uncomprehending wife to perfection, even though anyone who has seen her in more flattering roles, as in her performance as Karen Holmes in "From Here to Eternity", won't be able to watch her portrayal of Florence Anderson without crying inwardly for the lost beauty of her earlier roles. Kerr is certainly ravishing in this film, despite the fruity-peach lipstick and the fluffy-headed hairstyle inflicted on her by the makeup department, but the uncertainty and bitterness that she plays to perfection in "The Arrangement" contrast sharply with the delicate mixture of sincerity and self-confidence that she exhibits in most of her early work. If you have not yet seen this film, make sure to read the book first. Elia Kazan's unique and personal style will illuminate the his meaning much more than any stylized cinematography could hope to. After reading the book, however, make sure to see the film, if only to admire the fine performances of the actors and to identify with the characters on a more immediate level. And, of course, just to watch the ever beautiful Deborah Kerr work her magic...

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.

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!

Panned and patronized at the time of it's initial release, Elia Kazan's adaptation of his best selling book THE ARRANGEMENT plays much better now than it did in 1969. Made after a 6 year hiatus from film-making at a time when movies were enjoying unheard of freedom due to the demise of the production code, THE ARRANGEMENT clearly shows that Kazan was still a director to be reckoned with. The basic premise was nothing new. A highly successful businessman (Kirk Douglas) suffers a mid-life crisis and attempts suicide. How he and the other characters deal with the aftermath make up the rest of the story. Kazan has always been an actor's director and the film provides a showcase for the young Faye Dunaway as Douglas' mistress who gets him to reexamine his life but wants out to be with someone else. Deborah Kerr in her last major film appearance is superb in the difficult role of the wife who tries to understand what Douglas is going through but doesn't want to give up the rich lifestyle she's become accustomed to. Strong support is given by Hume Cronyn as the family solicitor who has plans of his own and from Richard Boone in a rare non-Western role as Douglas' ailing father. His slide into dementia is both heartbreaking and terrifying. Marlon Brando had originally agreed to play the lead but bowed out allowing Kirk Douglas who really wanted to work with Kazan to step in. While not stage trained like the other principals, he acquits himself well in an emotionally as opposed to a physically demanding role. The combination of raw emotions, alternating points-of-view including black humor, and touches of surrealism was ambitious then and still is today (think American BEAUTY). The movie is not without its flaws. It runs too long and is occasionally sloppy in everything from editing to make-up but the powerful writing and intense performances make THE ARRANGEMENT provocative film-making nearly 40 years later. Called everything from a harrowing emotional ride to a self-indulgent mess, it is ultimately for the home viewer to decide (my rating indicates where I stand). Kazan will always be a controversial figure because of his HUAC testimony in the 1950's but his greatness as a director cannot be denied and remains captured on film for all to see.

Some pretty big names, right at, near, or just past their peaks... kazan, douglas, dunaway, kerr, cronyn. Ed anderson is an ad man. (the irony of the "clean" cigarette campaign.) he has a midlife crisis. And of course, we flash back to what brought him to this point. Everyone wants to know what really caused it... the doctors, the therapists, coworkers, his wife. At the center of all this is gwen, the office "assistant", who doesn't have any clear duties. And now eddie wants to take care of his father, who has dementia. It's a psychological-thinker film. Izzokay. Moves pretty slowly. And gets pretty heavy. Lots of yelling. It's all well done, but i can understand why people thought it was such a downer. And so long. Keep an eye out for harold gould.. he was "miles" on golden girls. Written and directed by elia kazan. According to the trivia section, this kind of became his swan song.