Le plongeon

Here's a movie that turns out nothing at all like you'd think it would. Look at the cover box for the videotape and you'll see a picture of Burt Lancaster grinning broadly while swimming laps in a luxurious pool. Don't let the imagery fool you. In fact, this is a dark, depressing odyssey through one man's personal failure and wasted life.

Ned Merrill (Lancaster) is an affluent Connecticut businessman enjoying a poolside visit with some old friends. Out of the blue it dawns on him that every house between his friends' home and his own has a swimming pool. He will therefore swim his way home, stopping at every pool along the way for a dip. He is unable to explain why he is so determined to do this, but it becomes his mission and he cannot rest or linger until it is carried out.

Each residence Merrill visits brings back old memories of his own wrongdoings and shortcomings. He has not lived a virtuous life. He has cheated on his wife, snubbed his friends, and lived above his means. Everything has come easily to him because of his ability to make people like him and comply with his wishes. In short, he has spent his entire life BS-ing all those close to him, and is just now discovering that the love and respect he believed others had for him does not exist. As he gets closer and closer to his own home the resentment grows stronger, until he finally learns he is detested most of all by his own wife and children.

`The Swimmer' is partially a story of retribution – what goes around comes around. Merrill is mocked by those he tries to aid and comfort, and all his kindness is met with indifference and scorn. It is partially an allegory – it hurts most when it hits close to home. However, it is mainly a study of a misspent life, discovered as such too late in the game to amend. At the center of the movie is Lancaster's captivating performance, depicting all the pathos of a man desperately keeping up a front to hide his complete lack of character. The film is marred only by occasional grandiosity, as in an overlong and unnecessary slow-motion sequence and especially in the ending, which indeed packs a punch but upon reflection is too pretentious for its own good. Nonetheless, this is a powerful and often surreal story, the likes of which you will probably never see again on film.

What can you say about the swimmer that hasn't already been said. On reflection you have to feel sorry for Ned Merrill, certainly you can't have any sympathy for any of the characters he meets on his way! If he has suffered some sort of mental breakdown the question is why? This movie was set in the civilized environment of New England, Connecticut to be precise and it highlights the cozy drinks around the swimming pool and lavish dinner party Scean that is part and parcel of American culture.

It's perplexing to me that people would put so much expenditure and effort in putting in a pool something that you can only use in New England for about 5-6 months of the year. (Although in the Bizwangers case they added a sliding roof whereby at least they could use the pool all year round!) However the real reason for a pool in New England is to have your friends around, show off your pool and drink and eat to excess. However you can't be satisfied with that, in addition you have to have a pig roast with professional caterers and bar tenders to boot with a band playing in the back ground, thats real living. Material possessions are not just something to show off but are part of what is required to achieve status, without status in the US you have achieved nothing.

So how did Ned Merrill find himself in this predicament? In a conversation with Julie Ann Hooper he recalls that while on a transatlantic ship down in steerage he saw his wife to be, up in first class, he climbed over the barriers wooed her with his charm and that was the beginning of a whirlwind romance. So Ned Merrill found the inside track to achieve high social status. Next comes the huge wedding no expense spared, the grand house and soon the family. Status is not just 6 figure salary, but the house, the cars, the family, the job, throwing wild parties and being a member of an influential committee that's doing charity work. That's not it, being seen at $10000 plate political fund raisers, being a church deacon and basically rubbing shoulders with the movers and shakers in your suburban community is a requirement. At one scene at the Graham's Betty says to her husband "I wish we couldm travel more!" A bemused looking Howard says" why we have everything we want right here? That just sums up the attitude that the whole world evolves around their neighborhood. It epitomizes the culture of contentment and it's world of self importance.

Yet Ned Merills found to his cost that when his wife left him, or threw him out he found that everything else became very imbalanced and just like a house of cards once one falls the rest all comes down. Well you can figure out all of the sordid scenarios in sequence, many reviewers have tried but the bottom line is that your life and status can nose-dive into a downward spiral with marriage and work upheaval i.e. friends suddenly don't return calls, invitations to regular events don't turn up but worse you find that you are tapped of favors from colleagues and employment prospects start to very look bleak.

For people who live in such circles this must be their worst nightmare because you lose one you can lose it all. How do you adjust to such a dramatic change! In Ned Merrills case he became so obsessed in pursuing his American dream and totally absorbed in what he regarded as important that he fell into a state of self-propelling delusion.

Shallow, selfish people who put so much emphasis on status and material possessions as a sign of success find it hard to cope with such misfortunes . Why didn't Neddy just pack his bags and move to the west coast and start again? He can't, partly because of his pride and the fact that he was handed a lot probably makes it all the more harder. But the answer to the question is that he was conditioned to believe in a certain way and that without all of the above he was nothing, and he can't accept it?

All in all Ned Merill made things worse for himself, nothing to fall back on, nothing for a rainy day,no safe deposit box full of gold Krugerrands or cash. He threw everything into his lifestyle took himself too seriously and found very little sympathy from former friends, colleagues and acquaintances when the tide turned! Burt Lancaster was proud of this movie and so he should. His performance is very believable, he exuded confidence, happiness and the American spirit. Interestingly at the beginning of the movie he in no way portrayed a middle aged man on skid row which makes the ending even more disturbing when you see the state of him at the end. It could happen to the best of us, Was this what Cheever was trying to portray?

John Cheever's short story of 1964 is his most anthologised and here Eleanor Perry, wife of director Frank, has achieved the feat of expanding its twelve pages into a film of ninety five minutes. Cheever's prose is meticulous of course but the tale itself is relatively uneventful and the participants insubstantial so that plenty of fleshing out of episodes and characters has been required, even to the point of adding a few!

Two of the additions are Julie played by newcomer Janet Lindgard who admits to having had a teenage crush on the Ned Merrill of Burt Lancaster but then repulses his advances. The other is the boy Kevin of Michael Kearney with whom Ned 'swims' the length of an empty pool. It is during this scene that Ned utters the crucial words that provide a key to his character:"if you make believe hard enough that something is true, then it is true for you."

We never discover the nature of Ned's 'misfortune' and what has caused his fall from grace although it is hinted at by various characters throughout his aquatic odyssey across the quasi-subterranean string of swimming pools that lead to his home. In believing that his previously affluent life has not changed is he suffering from the ultimate self-deception or has he had a mental breakdown? It is both fitting and ironic that the grim reality of his situation is brought home to him not in the private pools of his social set but by some distinctly unpleasant people in the public swimming baths.

The most telling encounter is that of Ned and a former lover Shirley Abbott played by Janice Rule. What is the briefest of exchanges in the original story has been developed here into one of the bitterest scenes between male and female on film. Ned approaches her with great optimism but his hopes are soon dashed when she lashes out at him for his selfishness and thoughtlessness which leads to his self-pitying lament "we are all going to die."

Could this be the true meaning of Cheever's story I wonder and is this simply an allegory for the ageing process? At the opening of the story Ned is described by Cheever as resembling 'the last hours of a summer's day.' As his journey progresses his stamina is sapped, he feels chilly and his bones begin to ache. I trust it is not too fanciful to see in this the inevitable decline from glorious summer, through the sere and yellow leaf of autumn to the winter of discontent. Just a theory of course.

What is certain however is that this is one of Mr. Lancaster's finest performances and interesting to learn that prior to making this, not only was he unable to swim, he suffered from aquaphobia!

This movie is not for everyone, but everyone I know who's seen it admits that it's one-of-a-kind. Burt Lancaster is flat-out powerful in the lead, as the man who decides one day to swim his way through his neighbors' pools to his home. As he makes his way pool by pool we learn more and more about Burt's real character. A kaleidoscopic study of how we see ourselves, versus how others see us. One of my favorites, please give this movie a shot.

Judging by the comments here, apparently I'm not the only one who was incredibly moved by this masterpiece--a masterpiece of storytelling on Cheever's part, that is, and a more than passable film portrayal of what one might call "the perfect short story." If HBO had existed in the 1960s, and Rod Serling had written for it, this is what "Twilight Zone" might have looked like: a tangled, twisted terrain of the human psyche that leads to the deepest of our fears--and the most profound of our hopes. The stakes for Ned Merrill, as we come to discover, are about as high as they can be for any character not caught in a literal life and death struggle. But he might as well be, judging by the size and fearsomeness of the phantoms that haunt his way. For this reason I think I'd say that other than *Glengarry Glen Ross,* this is the most terrifying film ever made.

In contrast to many others, however, I don't think Ned is delusional: I think he's spent so long believing his own publicity, as it were, that he hasn't fully accepted what has happened to him. (And of course, "what has happened to him" is almost entirely of his own making, which makes his predicament all the more painful because it seems to offer no hope of redemption.) And he's clearly one of those hail-fellow-well-met types who, when he promises he's going to do something for someone--as he continually does in the movie, right up to the point where he promises to pay his bill to a local proprietor--he truly means it, at least in the moment.

Additionally, "The Swimmer" seems like far too profound a work to tie it to themes as dreary and shopworn as the emptiness of suburban life or the dark side of the American dream. Granted, a great deal of powerful literature, dating back at least to Nathanael West's *Day of the Locust*, has been written around the second of these ideas, but "The Swimmer" seems to speak to something much deeper, a haunted place in the human soul. In the ads for the movie--which, in sharp contrast to the brilliant development of the story itself, attempted to lay out all the details in a way at once pedantic and almost pandering (as previews in those days tended to be), a voice-over asks if the viewer might see Ned in him- or herself.

*The Swimmer* is an epic, but an unusual one. Not because of the small scale and the deceptively trivial-seeming stakes involved it the epic journey--that's an idea Joyce introduced years earlier in *Ulysses*--but because of that journey's destination. Ned isn't going toward a new land, but back--back to nothing short of Eden. And if it's an epic, then he's a hero of sorts, and not entirely an antihero either. After all, even with all the things you learn about him along the way, it's hard not to root for Ned Merrill.