#ericchristmas

Once my fascination with the American films of the 1970s begin, it was only a matter of time before Hal Ashby hit my radar.  He is certainly one of the biggest ‘what if’ stories in terms of his career and the possibilities of what he may have done had he not passed away so young.  Out of all his films, as touching and unique as they are, there is one that truly speaks to fans as a ‘definitive’ Hal Ashby picture, and that is the incomparable Harold and Maude. 

Harold Chasen (Bud Cort) is an offbeat young man, much to the dismay of his mother (Vivan Pickles), a woman infatuated with her status in the social scene.  Harold, who is keen on funerals and the macabre, often antagonizes his mother by staging symbolic suicides, yet none of these cries for help seem to break her tough shell.  After purchasing a hearse, Harold attends a random funeral where he first notices Maude (Ruth Gordon), a quirky older woman with an obvious zest for life.  While Harold’s mother focuses on arranging him with a bride that she finds suitable, Harold and Maude grow closer, and their budding friendship soon blossoms into a full-fledged romance.  Due to their age gap, however, the couple must face stark truths, but the optimistic Maude hopes that it becomes an opportunity for Harold to grow as an individual that is more assured of himself.

Harold and Maude is a film rich with symbolism in nearly all of its aspects.  The writing has subtext throughout behind Maude’s approach to life, as her current joy is clearly fueled by past suffering she chooses not to dwell on.  Visually, the symbolism is both bold and subtle, especially in regards to cuts between similarly styled compositions on the opposite ends of the reality spectrum.  Musically, Cat Stevens and his warm voice are weaved into the narrative nearly perfectly.  The film in itself is not only a strange love story, but a criticism of square society... albeit, a soft criticism, but criticism nonetheless.  Maude plays a clear symbol of how to embrace life (as mentioned before), and it makes a rich connection with Harold and the ambiguous nature of his many deaths, onscreen and otherwise.

While Harold does open up to Maude about what sounds like a real death experience to him, we are actually given several instances of symbolic suicide rituals, all of which seem to be hard stances against his mother.  Mrs. Chasen, along with many of the people in her circle, adhere to a social system and a search for identity that lacks substance or culture, and all of this is done at the expense of truly connecting with her son.  Even Harold’s doctor essentially sounds like a medical textbook on tape, and his Uncle Victor is so dedicated to his system of military that he used he lost arm as an opportunity to create a mechanical salute mechanism.  Harold, trapped in all of this, feels like a brick in the wall, but Maude shows him that it is possible to be unique and survive in a society that seems hell-bent on constraint.  This connection fuels Harold’s journey into manhood, and makes the film a truly unique coming of age story.

As far as the production goes, one of my favorite aspects is how well Cat Stevens is integrated into the film... he almost becomes a Greek chorus, or an unseen narrator... or possibly even the thoughts that run through Harold’s mind.  Tonally, the film may be a bit on the schizophrenic side, but it actually works to the benefit of the film, as those extremes create a wonderful balance overall.  As previously mentioned, Hal Ashby has a keen eye for symbolic detail... be it the vaginal statue that suddenly comes into focus during Harold’s first visit to Maude’s, or the cut between the field of flowers to the graveyard, or any other number of sequences, Ashby moves through these visuals like a seasoned pro.  As tender as the film is, the humor is consistent throughout, both on the intellectual and slapstick levels.

Ruth Gordon is a true delight throughout, really providing the heart and soul of what makes this film a modern day classic about embracing life and love.  Bud Cort plays a dark version of the everyman that seems to echo the sentiments of modern manhood, specifically in the social media age, with his depression, malaise, and hopes that a spark of love will wake him from his dark depths.  Vivian Pickles plays perfectly equal parts self-obsessed/unaware and shallow, providing the perfect foil for Cort’s over-the-top portrayal of Harold.  Brief supporting appearances by Cyril Cusack, Charles Tyner, Eric Christmas and George Wood provide plenty of texture, while Judy Engles, Shari Summers and Ellen Greer hit us with good comedic beats via dates for Harold.  Tom Skerritt makes a hilarious and almost unrecognizable cameo... if you don’t recognize his voice you make not know that it’s him.