È ricca, la sposo e l'ammazzo

There is a category of films that includes several movies made by serious artists which emerged in a final form much different from that originally conceived. This group includes Erich Von Stroheim's silent masterpiece "Greed"------originally made as a movie that ran for over nine hours!; John Huston's filming of Stephen Crane's "Red Badge of Courage"-----finally presented to us by M-G-M in a badly mutilated 69 minute fragment of its original form; Orson Welles' conception of Booth Tarkington's "Magnificent Ambersons"---taken away from him by RKO bureaucrats who then edited it down to a truncated 88 minutes; and Frank Capra's "Lost Horizon"---originally released at 130 minutes in length and then chopped down to 109 minutes in subsequent re-releases.

We will never know what these works would have ended up looking like. Even in a recent attempt to "restore" "Greed" to something approximating its original form, the missing links are supplied through available studio "still" photos. Such travesties have been going on for years. Judy Garland's much admired version of "A Star Is Born" can now be seen only in a "restored" version that follows a fate somewhat similar to that of "Greed." The same is true of "Lost Horizon." Nonetheless, we should be grateful that a portion of these films did survive, to give us the pleasure of seeing something very special---even if only in a limited sense,

This takes us to "A New Leaf." As most film goers know, Elaine May wrote a significantly different (and much darker) screenplay than the movie we now see on the screen. But to her credit, the film she made had so many elements of true greatness in it that the studio edited version now available is very enjoyable on its own terms. It is one of the most underrated comedies of the 1970's and surely one of the funniest and most inspired.

The ensemble of actors May gathered created some superb comic characters---and have never done any better work in comedy. May and Walter Matthau's chemistry in the leading roles worked exceptionally well. William Redfield (who died much too young) is wonderful in a carefully understated role. And singled out for special recognition is George Rose as Matthau's long-suffering valet---a nuanced presentation by a very gifted actor.

Matthau's romance of May is sweet, touching, at times somewhat edgy and always engaging. The growth of their relationship from an almost bloodless union of convenience to the quite tender match up at the end is but one example of the high level of May's comedic writing and the very capable acting of May and Matthau. Too bad that they never had the opportunity to appear together again.

"A New Leaf" deserves both a wider audience, and repeated viewings to appreciate just what a great film it really is. As others have noted, it also demands a good DVD presentation for that whole new generation of lovers of fine comedy who have never seen it before.

Can anyone watch Renee Taylor in her one great scene with Matthau uttering the line "Don't let them out!" possibly ever forget this movie?

Finally---a personal appeal to Elaine May. Some day (soon we hope), "A New Leaf" will be released to DVD in an edition worthy of the film so many people have come to admire. You will no doubt be asked to supply the DVD with an audio commentary on the film. It is essential----really critical----that your views on the making of this film be preserved for present and future generations. Almost 40 years have passed since its original release. Tell us your story!

My room mate and I love this film. We're always quoting lines from it.

"There's carbon on the valves!"

"I've achieved a sort of immortality. As a footnote and under G."

"Henrietta, you have your head in the arm hole!"

I respect Ms. May so much I feel a little guilty enjoying the film she disowned. I hope one day she will, if possible, do a "Touch Of Evil" style re-editing of the film, so that we can enjoy it as she originally intended. I guess you could say that this is my hope and my dream, which is to say that my hope and my dream are the same (my dream.)

Il not recount the story, as others have. The lack of response and proper public recognition for this film my be due to Elaine May's very dry wit and wry sense of humor, which, I think, simply sailed over the heads of many viewers. And it's truly most unfortunate, as this is a VERY funny film (for those who are perceptive and appreciate the subtler and darker shades of humor and life)! To the dude who rated it a "1": "A New Leaf" was nominated for 2 Golden Globes (Comedy -- Best Picture and Best Actress) and for the WGA's (the industry's official Writer's Guild -- i.e., her peers, other screenwriters) writing award for best comedy (from another medium) that year! No offense, but I value my own (and their) sensibilities a bit more than yours!! And it's impeccably acted, as others have mentioned, filled with flawless comedic timing and wry, wry wit. Simply wonderful.

Plot-- Having neither money nor feelings, an aging wastrel better figure out how to get money quickly or he's in big trouble. Thanks to his quick thinking manservant, he looks to marry a rich woman. Soon he settles on a lonely, inept young woman who specializes in both botany and ruining rugs. So what will happen now.

Well, I guess the movie's a comedy thanks mainly to May's touchingly clumsy funny girl. Still, it's a hard movie to get a handle on. Matthau's coldly calculating fortune hunter hardly cracks a smile the whole time, even in social situations. Between the two, they're hardly a promising comedy mix. Yet, the mix works even as Graham (Matthau) pores over a poisoning book on his wedding night, while poor Lowell (May) can't even get her gown on straight. No, the movie may not be a knee-slapper, but it is unusually charming in its own way. In fact, May manages to make her character one of the most uniquely winning that I've had the good luck to see. Then too, casting the familiar faces of Coco and Weston conveys a hint of tongue in cheek even as they play a couple of mean guys.

The ending is appropriate as the movie's title suggests. At the same time we can't be sure what the emotionally destitute Graham will do. After all, he wants status, but without the responsibilities.

Apparently, May was the creative hand (writer and director) behind this unusual comedy-drama. Too bad she was also behind the monumental flop Ishtar which appears to have slowed her promising movie career. No, the movie may not be a knee-slapper, but it is humorously different. Thanks to May, we're left with a memorable portrayal that I'll think of every time I check the carbon on my car's cylinders.

Elaine May has created a many layered comedy that stays with you, if you can connect with it. The paths ones life takes often has many bends. Henry (Matthau) has no idea how many. Born to a life style he can not maintain, he chooses to deal with adversity by ignoring it. Eventually reality shakes him loose, and he must learn to deal with things and give back to society rather than taking from it. Henrietta (May) is his victim and his savior. The epitome of a child who was always sent away, she has grown into a person who is not really there. Her catalyst and transmogrifier is Henry. Haunting dialog and poignant social exposition make this classic 70's sleeper worth every stretch.