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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.

If you thought that funeral homes could only make for grim plots in movies, then you've got a real surprise coming! "The Loved One" portrays a young Brit Dennis Barlow (Robert Morse) coming to the Los Angeles and getting involved in a funeral parlor, with some very zany results. It's the sort of wacky humor that pervaded comedy flicks in the 1960s, right down to the giant cast (aside from Robert Morse, there's Jonathan Winters, Anjanette Comer, Dana Andrews, Milton Berle, James Coburn, John Gielgud, Tab Hunter, Liberace, Roddy McDowall, Robert Morley, Lionel Stander and Rod Steiger).

Anyway, this movie really does have something to offend everyone. Goofy but lovable, it's not to be missed.

Having seen a Playboy magazine article on the making of the film, this 15 year-old had to see it to believe it. This was in Boston, and the theater chain (Sack) had lopped off considerable footage, but I never knew of this until a PBS showing of it years later revealed a scene with the astronaut's wife that, after having seen the movie so many times that I could recite it, caught me completely by surprise. I skipped school and sat for an entire day in the glory of this perverted beauty. I received a book on the making of the Loved One, and discovered that there was a whole batch of stars, such as Ruth Gordon, who never made it to the final cut. But with or without, this one packs one hell of a punch - a scathing indictment of the '60s and all that it beheld, from a Jackie Kennedy look-alike in the opening scenes to that wonderful orgy in the casket filled chamber. Look close for a quick Jami Farr changing a portrait of The Queen at the luncheon held at the Brit exile's club. This is my all-time favorite movie, bar none.

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).

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.