Amor Sem Barreiras

Movies that deal with race have often been awkward things. One of the biggest problems is they tend to be horribly patronising in tone, many of them looking essentially at how white people can help black people. Most of them were of course written by someone white, which while it doesn't necessarily make it ill-informed, it doesn't tend to help either. The Landlord is one of the few from this era that is based on source material by a black writer (novelist Kristin Hunter). Hunter's novel was adapted by Bill Gunn, who is also black. Of all the pictures I have seen dealing with race in America, it is by far the most confrontational, and really the only of this period that really challenges white social supremacy as well as overt racism.

The late 60s and early 70s was really the age of the odd-looking movie, especially with all the new, young directors that were cropping up. The Landlord was the debut of Hal Ashby, a former editor who had recently won an Oscar for his very fine job on another race-related movie, In the Heat of the Night. Ashby has a somewhat blunt approach, and like most young directors seems to be trying to make his mark with lots of unusual but ultimately pointless camera angles and extremely obvious symbolism. One thing that is very striking is how the scenes at the Enders family home are very white and the scenes at the flat block are very black. This is not done so much with set and costume design, but with lighting, strip-light brightness for the former and gloomy half-light for the latter. In fact the movie might as well be in monochrome for all the actual colour tone there is in it. The black/white metaphor of this is a little heavy-handed but at least it also serves the purpose of highlighting the stark difference in quality of life. What is probably best about Ashby's method here is the distance he puts between camera and subject, often putting a bit of scenery in between us and the action, making us feel like snooping witnesses. He will then suddenly take us by surprise with a close-up as a character delivers some key line of dialogue.

In line with Mr Ashby having been an editor, The Landlord is very much an editor's movie. This was also the age of weird editing pattern, and there is a lot of cutting back-and-forth, mixing various scenes together. Sometimes this is rather effective (for example the powerful montage of schoolchildren towards the end, or the sight-gag inserts of what Lee Grant is imagining when she finds out she will have a black grandchild), but mostly it is just a little distracting, and because it is so mechanical it threatens to alienate the audience from the material. However, shining through the rather ostentatious style are some very fine acting performances (especially from Bridges, Grant and Diana Sands), notable for their realism in spite of the occasionally bizarre situations they are in. And what's more, in amongst this choppy editing is a story which is at turns comical, thought-provoking and gently poignant, which alongside its hard-hitting stance ultimately carries a message of hope and humanity.

Certainly one of the Top 10 films of 1970, this ingenious comedy directed by Hal Ashby has never gotten the recognition it so deserves. Beau Bridges in this and Gaily, Gaily showed what a wonderful young actor he was, every bit as good as his brother, but never made that Star leap. Lee Grant (one of the best) is coy and cunning and wonderful as Bridges' mother and Diana Sands is heartbreaking, with excellent work from Lou Gossett and Pearl Bailey.

Great music and a topical plot, you can't help but get involved with this rich young man's "plight". One of Ashby's better films. A high 8 out of 10. Best performance = Lee Grant.

Hal Ashby's debut film may be somewhat over-directed, but it is one of his best;funny, provocative and pointed. And I prefer it to Bound for Glory,Coming Home,Harold and Maude and Shampoo. The Landlord is Ashby's most audacious film and along with The Last Detail (1973)it's his best. The change in tone is consistent with the main character's developing awareness and involvement with the tenants he had planned to displace in order to convert the building into his private home. Lee Grant is terrific as Bridge's mother and earned an Oscar nomination for supporting actress and no less memorable are Diana Sands, Pearl Bailey, and Louis Gossett Jr. Bridges is winning as the landlord who arrives to make change and winds up being changed and Trish Van Devere is funny in her one scene. The on location shooting, terrific cinematography and surprising dialog keep it real and interesting. Not as well known as it should be.

Our hero here is Elgar Winthrop Julius Enders (Beau Bridges), age 29, a White, rich, and very naïve man who, much to the disgust of his hateful bourgeoisie family, cheerily buys a rundown urban tenement building, filled with Black, poor, and very sophisticated adults and street-wise kids. Elgar thus sets himself up to be caught in the middle of an inevitable culture clash.

Director Hal Ashby creates a cinematic social commentary suited to the late 1960s and early 70s that is both comedic and thoughtful. Elgar's tenement dwellers wrestle with serious issues, like how to pay the rent. Elgar's snobbish mother worries about what Elgar wears to an elitist banquet. The plot doesn't "flow" in a traditional way; instead, it feels "jerky"; long scenes are followed by very short scenes, followed again by long scenes, and so on.

This change in rhythm, brought about by cross-cutting, amplifies ironic contrasts between these two social classes. The resulting editing is satisfying in that the comedy takes the edge off of the anger attendant to the more serious subtext. This film style works well until the final twenty minutes when the plot becomes too heavy handed and alarming. The bow and arrow scene in the middle is okay, but the fearful ax scene toward the end, sans humor, is not okay because it disrupts tonal balance.

Ashby also wanted the cinematography to be darker in the tenement scenes than in Elgar's aristocratic family segments. The result is cinematography so dark in ghetto interior scenes I could sometimes not distinguish people from furniture.

Casting and acting are quite acceptable. The standout performance is Diana Sands as Fanny, "Miss Sepia of 1957". And then there's wonderful Pearl Baily; I never realized she had been that young looking.

Social commentary films do not usually age well. And "The Landlord" certainly shows its age. I kept expecting a Simon and Garfunkel song at almost any moment.

Overall, this film is an enjoyable throwback to a bygone era of hippies, social consciousness and the generation gap. It has its flaws, but hippie Ashby gets his message across effectively, owing to an adroit mix of seriousness and humor.

I was pleasantly surprised with the complexity of "The Landlord". It was brilliantly directed. The cutting between different scenes was effortless and added depth to the storyline. There was plenty of symbolism, which is one of the things I always look for and enjoy in a film. For instance, when Elgar (Bridges) and his father are having an argument in the bathroom during a costume party, there is a quick cutaway to another man in the bathroom who has on a gun holster, which I thought was symbolic of the 'shootout' that was going on between Elgar and his father. In addition, the Enders family is constantly seen wearing white, and their home is decorated in white.

I thought the acting was top notch. Beau Bridges was very convincing as a naive, sheltered man learning to appreciate and embrace a different culture. But the movie is so much deeper than that... It dealt with people trying to break free from stereotypes, people struggling to be proud of who they are and be accepted for who they are, and some people not even knowing who they are, trying to find their niche.

I love the scene at the party that was supposedly in honor of Elgar, where more than one person tells him what it feels like to go from being an outcast to being the envy of everyone. If I remember correctly, they likened it to you having a mole in the middle of your forehead, and people are basically disgusted by it. But, then one day, that becomes the thing to have, and people begin to draw moles on their faces, but you have a real mole right there on your forehead, prominent for everyone to see, and suddenly you are "it", and your self esteem is taken to new heights. It seems like everything would be fine for you now, but I also interpreted that speech as saying that, at the time, blacks felt like they were a fad that might eventually fade out. I thought the words were very powerful, as well as the way the scene was carried out.

I don't think a film such as this could be pulled off properly now, because there is the constant threat of backlash if things aren't completely "PC", not to mention the fact that things are so different now. I think this film was made at the right time, but it still rings true 31 years later. And, thank goodness for the satisfying and realistic ending.