Mil Palhaços

Most of us have "favorite" films that we think no one else in the world has seen. You just want to tell everyone to go out and rent it, hoping that they too will say, "Wow, what a movie! I can't believe I've never seen it before!" "A Thousand Clowns" is just such a film. Rarely seen on television, this Oscar nominated (best picture) Oscar winning (best supporting actor/Martin Balsam) film is special in many ways. Superbly cast (child actor Barry Gordon is a must see!) and smartly written. The satire and tragedy blend so well you will be caught laughing and crying at the same time throughout the movie.1000 Thumbs up!

It's truly a shame that this film has escaped the attention of the last few generations of movie watchers -- not only have most people not seen this film, it's likely that only a small percentage of folks have ever even heard of it. I dare say that both the character Jason Robards portrays and this film as a whole are more relevant today than half of the comedies produced 5 or 10 years ago. The bottom line is this, if you're looking for great acting and smart dialogue, and are getting tired of the 'I've-just-wasted-the-last-couple-of-hours-of-my-life' feeling that comes over today's average TV viewer or cineplex visitor, then you simply must do yourself a favor and seek out this hidden gem.

"A Thousand Clowns" has been my favorite movie for 30 years -- not because it's the world's finest work of cinema (it's not; mainly it's a well-filmed play -- good, but not a masterpiece). What makes it my favorite is that the story is profoundly human, the script is unique and genuinely witty, the performances are delightful, and -- most importantly -- it's a movie that takes on new meaning as you mature.

When I first saw it I was in college and Murray was my hero; his crisis, to me, was all about selling out. Later, after I had started a family, Murray's story seemed less about selling out than about owning up to his devotion to his nephew. By the time I showed this movie to my teenage children, I had come to see Murray's brother -- the master compromiser -- as the hero. Now my children are grown, and I just watched it again -- and for the first time I saw that the buttoned-up male social worker (Mr. Amundson, played by William Daniels), shows great heart in the second act and is the only character who aims at all times to do what he knows is right. Amundson hasn't become my hero, but I saw him as a good man this time -- and I never as a young viewer imagined that he was anything but laughable. Also on this viewing, I came full circle to see that Murray really IS the hero in this story -- not because he's a charming nonconformist but because he does achieve redemption.

What keeps this movie so important for me is that, even after raising children, I still respect Murray's conflict and so I think his redemption really is heroic -- though no more heroic than any parent's true devotion. (If you don't respect Murray's conflict -- if conformity has never bothered you, or if you think he's just a bum, period -- then you might not enjoy this movie.)

This movie grows up with you, but some things remains constant with every viewing: the film's stunning wit, its passion for authenticity (Murray's speech on the fire escape is a deeply moving plea to wake up and live), and its charmed performances. If you like Jason Robards, you will love him in this film. And Gene Saks, as the TV star Chuckles the Chipmunk, does some of the best comedy work I've seen anywhere. (Notice his timing on the line, "She's done a wonderful job," and the ridiculous walk he came up with for the line, "You told me her name was Minnie Mouse!")

As a bonus, this movie gives you a sidewalk-level, free-wheeling view of Manhattan when it wasn't so overpopulated and Lincoln Center was just being built. It's enough to make you want to quit your job and start collecting eagles.

Jason Robards, Jr. plays the lead role of the unique, quirky, firmly unemployed Murray Burns and effortlessly masters the clever dialogue the way it was meant to be performed. Writer, Herb Gardner, created a delightful character like those you yourself rarely meet who have an uncommon outlook on life.

This movie caught my attention and prompted me to check out the screenplay from the library so I could experience the dialogue again and again.

There are so many one-liners and passages to admire, and you'll enjoy the charming performance on ukuleles of "Yes, Sir, That's My Baby" by Robards and Barry Gordon which is played against the background of Murray and Sandra exploring New York.

The sad thing about discovering a gem like this play for the first time is knowing that you won't experience that same pique of excitement and discovery again the second time through it again. But you do continue to marvel at the mind that can create such a fresh screenplay.

Unfortunately, I could not find much more information about the author, Herb Gardner, than what was on the cover jacket of the screenplay: He was born in Brooklyn and worked as a teen-ager selling orange-juice and checking coats at the Cort and National Theatres. "He saw some plays as many as 140 times and reports that that's an excellent way to learn the craft of the dramatist." He was also married to actress Rita Gardner.

Some favorite quotes:

"If most things aren't funny, Arn, then they're only exactly what they are; then it's one long dental appointment interrupted occasionally by something exciting, like waiting or falling asleep. What's the point if I leave everything exactly the way I find it? Then I'm just adding to the noise, then I'm just taking up some more room on the subway."

". . . it could have been any day, Arnie. . . sitting in the train going through any day. . . in the dark through any year. ... Arnie, it scared the hell out of me. You got to know what day it is. You got to know what's the name of the game and what the rules are with nobody else telling you. You have to own your days and name them, each one of them, every one of them, or else the years go right by and none of them belong to you. . . And that aint' just for weekends, kiddo. . . ."

What does it say about the public when they will support about 200 TV showings a year of 'Sixteen Candles' but a film as great as this might appear once? This is an excellent, thoughtful, interesting movie. It's well-written and the acting performances are all flawless in my book.

Jason Robards, one of the all-time great actors, portrays an idealistic sort of guy who has taken in his sister's son whom she more or less abandoned. Such an idealist is he, that Robards can't bring himself to take employment at jobs that would require him to compromise his standards or work for people whom he doesn't respect. Unfortunately this puts him in danger of losing custody of his nephew, played by young Barry Gordon. A young social worker (played by Barbara Harris) unexpectedly finds herself falling in love with Robards and being taken with his nephew.

There are some really great surprises in this movie. Robards' ukulele performance of 'Yes Sir That's My Baby' is surprisingly pleasant, and much better than just 'on key'; in the part where Barry Gordon joins in, it's obvious he too had some musical talent as he does a fine job as well. In fact it is apparent that Robards was actually playing his uke and if Gordon wasn't also I couldn't tell it. (Used to be a time when performers could play some sort of musical instrument but I have seen more people blatantly fake playing a guitar or piano than I can stomach.) The views of downtown New York in the 60's will certainly be of interest especially to those who lived there then and can look for old (or new) landmarks in the background on the outdoors scenes.

Barry Gordon has to be one of the best juvenile actors ever. It makes me a little ill to think of the ones in the 80's and 90's who were paid ungodly amounts of money to mug for a camera; I bet Gordon was paid far less for a performance that was as fine as any adult's. There are so many good scenes in which he appears but to me the most powerful one is near the end of the film when he is afraid his uncle will take a lousy job just to appease the child welfare department. You can't miss it if you watch the film. Gordon shines in the whole film, and most brightly in that scene.

I don't know how else to say it; I "liked" Barbara Harris in her role, very much. Maybe the best way I can explain is that while I never saw the Broadway play version of this story, the same character in the play was portrayed by an actress who for some reason I just never liked. If someone was going to come into the relationship with Murray (Jason Robards) and Nick (Barry Gordon), she was ideal. I don't know why but if I don't like an actor or actress, I resent it a little when their character gets involved with other characters I care about.

It's amazing how great a movie can be made even if you don't budget latex rubber aliens oozing goo, or space battles, or massive slow-motion explosions or other disasters. This had to be a very low budget film - there are not many actors, the scenes and sets are rather simple one-room locations, the outdoor scenes were shot on location in NY. But when you have a great script with an interesting story and fine performers playing the roles, well it just shows that money alone does not (and can not) make a great film.

I decided to record 'A Thousand Clowns' and save it based on some of the other comments listed here and I am very glad I did. This movie would make an excellent intelligence / maturity test. "Which do you prefer to watch, 'Sixteen Candles' or 'A Thousand Clowns'?" Seldom anymore do I see a movie for the first time and realize that I had been missing something; this movie gave me that feeling. It has immediately entered my short list of favorite films, it's that good. All I can say is watch it and follow the story and you will see one great movie well worth your time.