A Delicate Balance

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.

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.

Scenes from the life of an argumentative middle-class family: a strong-willed wife and a resigning husband are confronted with her alcoholic sister, their continuously marrying daughter, and their friend couple who are afraid of being alone.

Completely uncinematic, downbeat and very static photographed play, from a Pulitzer prize-winning Albee material, with all the psychological soul-killings expected from the author. A pretty valuable record of a theatrical performance: brilliant dialogue and acting are the best it can offer - and it does so.

.. a play about fear and loss among the upper middle class. I finally caught up with this filmed version starring Katharine Hepburn and Paul Scofield as the discontented Agnes and Tobias who wander around their expansive Connecticut house and wonder why they're not happy. Their private little world has been breached by Agnes' sister Claire (Kate Reid) who drinks too much and talks even more. But the sparring sisters are also fun compared to the others about to enter the house. Dear friends Harry and Edna (Joseph Cotton and Betsy Bair) suddenly appear and move into a bedroom, seeming with no intentions of leaving because they have given in to free-floating anxieties.

After them comes bitter daughter Julia (Lee Remick) who has separated from her 4th husband. The once spacious house is now filled with unhappy adults who all want something but seem to have no idea as to what that might be. Marvelous performances by all, although the Blair character seems truly unlikable, especially when she presumes the role of motherhood over Remick. Kate Reid pretty much steals the show as the hard-drinking Claire.

In Connecticut, Agnes and Tobias (Katharine Hepburn and Paul Scofield) are an upper-class married couple whose relationship has been uneasy for many years, since at least the time their son died; but they've managed to find a certain comfortable pattern of uneasiness. Agnes's sister, Claire (Kate Reid), lives with them and insists that her perpetual drinking is not alcoholism but willfulness. Their daughter, Julia (Lee Remick), poised to have her fourth divorce, has come back home. Unexpectedly, her room has been taken over by Harry and Edna (Joseph Cotten and Betsy Blair), best friends of Tobias and Agnes. Seized by a nameless terror that propelled them out of their own house, Harry and Edna have decided to stay.

The slightly elliptical nature of this material is more annoying than fascinating, but there's still plenty of interest and plenty of opportunity for a team of terrific actors to do their thing. Yet another great Katharine Hepburn performance preserved on film is yet another reason for us to be grateful, but Paul Scofield and Kate Reid have left fewer of their performances for posterity; and so it's nice we have this film, which gives each a fully realized character to play.

"A Delicate Balance" is a play by Edward Albee, produced by the American Film Theatre with no alterations and no foolish attempts to open it up. Alfred Hitchcock proved several times that a limited space can be an asset to a movie; and while the film making here is not at his level, Tony Richardson does a nice job at directing our eye and staying out of the play's way.