Petits meurtres sans importance

Patsy Newquist (Marcia Rodd) is an interior decorator in New York City who rescues a man (Elliott Gould as Alfred Chamberlain) from a prolonged beating that she hears going on outside of her apartment. When she does intervene the group of hooligans turns on her and Alfred does nothing but walk away. After she escapes them, she confronts Alfred about this, who does not apologize. In fact he says nothing. Patsy is instantly smitten by this self acclaimed "apathist", and sets out to make him see life is good and get him trying again - at anything. He is her project, yet she sees this as love.

The backdrop is an increasingly violent NYC in which property is randomly vandalized more than robbed, people are at first attacked - the way that Alfred was - and then random shootings/murders by unnamed snipers begin. Patsy's family of origin are like an educated version of The Bunkers on All In the Family. Eventually they have steel panels installed on their windows so that the snipers will not shoot into their apartment.

Alan Arkin plays a cop driven mad by all of the homicides in which the victims come from every walk, age, and ethnicity and none of them apparently knew their assailants.

Donald Sutherland has a small but memorable role as pastor of the First Existential Church who is able to grant Alfred and Patsy's request that the name of the deity not be mentioned in their wedding ceremony. His sermon - and he airs everybody's dirty linen at this time, apparently not believing in the confidentiality of the clergy - during that service starts a free-for-all fist fight.

The film has a very tie-dyed feel about it that is distinctively early 70s, yet how it deals with all of the random violence, particulary the frightening origin of the random killings in the final scene, seems all too "ripped from the headlines".

Jules Feiffer's paean to NYC paranoia written in the same tone as his comic strips. Completely over-the-top and hilarious. Alan Arkin's bit is priceless. This movie puts the "funk" back in dysfunctional. This is proto-"Seinfeld" stuff, folks. Climb into the darkest fantasy of every red-blooded Gothamite.

A black comedy in every sense of the word. It's too bad that Alan Arkin doesn't direct more movies because he really scored with this one. It's a movie that still seems so fresh today because of its storyline, even after close to 30 years. It was pertinent back then and even more so today. It's great to see appearances here by Arkin and Donald Sutherland, and it's one of Elliott Gould's best roles.

Keep on the lookout for this in your late night t.v. schedule. It's really worth seeing again (and especially if you haven't seen it yet).

When they were all in their heyday, Elliott Gould, Alan Arkin (who also directed) and Donald Sutherland collaborated on the over-the-top black comedy "Little Murders", in which Gould plays emotionally vacant New York photographer Alfred Chamberlain, hooking up with vivacious young Patsy Newquist (Marcia Rodd) in the midst of several hundred unsolved homicides in the Big Apple. In the process of everything, the series of events exposes the flaws in all the characters, especially Patsy's parents (Vincent Gardenia and Elizabeth Wilson).

I think that my two favorite scenes are the appearances of Sutherland and Arkin. Sutherland plays a priest who seems to be a cross between Sutherland's characters from "MASH" and "Kelly's Heroes"; Arkin plays a detective who spouts out the craziest monologue explaining why there's a conspiracy behind the murders. Overall, this is very much a New York kind of movie. I should identify that there are several very long scenes during the movie, but it's certainly not a flick that you'll forget anytime soon. Impressive.

It doesn't get any darker than this, folks. Jules Feiffer shows off his penchant for absurdity and his mastery of the monologue (Lou Jacobi, Donald Sutherland and director Alan Arkin each get one powerhouse scene where it's basically all them with the other characters reacting). The cast is excellent and their handling of Feiffer's language is amazing. Elliot Gould's performance is particularly effective, and Vincent Gardenia as his father-in-law is hysterical.

I saw this film and then read the play it was based on, and both give off the same claustrophobic air of desperation while still being side-splittingly funny. It is definitely worth hunting down. In the words of Father Dupas, it is "all right."