El compromiso

Some pretty big names, right at, near, or just past their peaks... kazan, douglas, dunaway, kerr, cronyn. Ed anderson is an ad man. (the irony of the "clean" cigarette campaign.) he has a midlife crisis. And of course, we flash back to what brought him to this point. Everyone wants to know what really caused it... the doctors, the therapists, coworkers, his wife. At the center of all this is gwen, the office "assistant", who doesn't have any clear duties. And now eddie wants to take care of his father, who has dementia. It's a psychological-thinker film. Izzokay. Moves pretty slowly. And gets pretty heavy. Lots of yelling. It's all well done, but i can understand why people thought it was such a downer. And so long. Keep an eye out for harold gould.. he was "miles" on golden girls. Written and directed by elia kazan. According to the trivia section, this kind of became his swan song.

In recent years I have come to reevaluate most of Elia Kazan´s films. "A Streetcar Named Desire" (1951) looks more and more the stagebound it is and belongs rather to its actors than to its director. "On the Waterfront" first of all is an elaborated excuse for informing (something Kazan had done some years earlier in front of the HUAC). "America, America" (1963) is the sort of tale immigrants who have made it tend to tell at family gatherings over and over again. On the other hand "Panic in the Streets" (1950) now emerges as a powerful thriller about paranoia. "The Visitors" (1972) - more or less a home movie - is a painfully depiction of America´s guilt with regard to the Vietnam War and as such much ahead of its time (most certainly much ahead of Brian De Palma´s "Casualties of War" (1988), that tells are rather similar story). The most astonishing film being "The Arrangement" (1969), a film that has been dismissed that often as a downright bomb that this verdict was taken for granted for a very long time. Well, it´s high time for a change.

"The Arrangement" deals with an advertising executive´s alienation from his job, his family, his world and even from himself. This Eddie Anderson is one of Kirk Douglas´s most touching and least mannered performances. He manages to keep the audience interested in a guy who is lost in almost every sense of the word. A gripping psychodrama, a film for adults and therefore out of place even at a time when traditional Hollywood was blown away by America´s very own New Wave. "The Arrangement" may at times annoy you, but it won´t insult your intelligence for even that long as a second. Cudos to the director, Kirk Douglas and both Richard Boone and Deborah Kerr who gave two performances to crown their already sterling careers. Faye Dunaway, by the way, has never before and never since been that erotic on screen.

Just resaw this movie after 36 years. All I could remember from the first time I saw this film at age 11 was the car crash. Anyhow, outstanding acting by all involved. However, the movie is stolen by the powerful and emotional performance of Faye Dunaway. Miss Dunaway is stunning, both physically and emotionally. She grits her teeth and gives one of her most intense and raw performances. The film however, has a sad and depressing flip to it; the American Dream turned into a nightmare. Made in the last 1960s, to most young viewers this Elia Kazan masterpiece probably seems a weird and strange ride. However, for children of the 60s, this movie captures the "Nature of the Beast" which was 1969.

The Arrangement is outstanding.

Elia Kazan's 1969 midlife-crisis epic is an x-ray of American manhood gone cuckoo for Cocoa Puffs. Kirk Douglas, icon of tortured machismo, plays Eddie Anderson, son of a tyrannical Greek merchant (Richard Boone) turned Madison Avenue sell-out. He sleeps in childlike separate beds with his wife (Deborah Kerr), who looks and acts more like his mother. He's obsessed with the one woman (Faye Dunaway) who looks at his barbered, Lavoris'd self and sees the Man He Could've Been. The sixties satire of Organization Man is stock, the bombast beats thick and hard, and, as per usual, Kazan can't resist the Big Moments that are thoroughbred Hollywood hokum. But it's impossible to deny that this is as anguishedly personal as any of Kazan's movies--and the machete hacking through the brush that cleared the way for Cassavetes, Scorsese and Ferrara. With its mod, PETULIA-style sets, balletic editing and penchant for stylized tricks, it's also the most goofily cinematic of Kazan's pictures--a Sam Fuller whirligig turned into a slick, upscale thirty-second spot.

A sort of precursor to American Beauty and other modern fillms about dissatisfaction, Kazan's The Arrangment is an interesting attempt to characterize a man's deconstruction. Kirk Douglas plays Eddie, an advertising executive coming to terms with his job, his family, and his life's direction. Kazan experiments with montage, split narrative, and time span as he tells the story of a man looking for something new in life. The result is a compelling and relevant story about modern happiness that is broken apart by bizarre construction and confusing shot arrangement. Kazan has some interesting ideas here, but not all of them work. His split-consciousness portrayal of Eddie is sometimes confusing and distracting, as is the switch between past and present. Douglas is good as the lead; I don't see why Kazan would have chosen Brando in retrospect as I don't think it would have made much of a difference. Overall, a film worth seeing if you're a Kazan-freak, but otherwise stick with Streetcar, Eden, or Waterfront..