The Loved One

Maybe in its time this film was provocative and entertaining. The decade of the 1960s was known for its cinematic audacity and spunk, descriptions befitting the film's underlying concept. But what seems daring and futuristic today can look stunningly grotesque when the future actually arrives. And forty years after it was made, "The Loved One" just seems ... bizarre.

We're led to believe that the film lampoons the funeral and burial industry. And part of the film's first half does just that. Here, humor derives partly from dialogue, especially as it relates to burial terminology. Our casket salesman, Mr. Starker (Liberace), explains to the film's protagonist: "I can give you our eternal flame in either perpetual eternal or standard eternal". Then he asks: "propane or butane, Mr. Barlow?" Marvelous. And part of the humor is visual, as we watch the finicky embalmer, Mr. Joyboy (Rod Steiger), trying out various expressions on the loved one's face.

But the funeral and burial industry satire consumes less than half of the film's two-hour runtime. The rest of the plot is a mishmash of assorted gags, skits, and pranks, strictly tangential to the stated concept. You get the feeling that the script was written by a committee. Some of this plot tangle derives from too many celebrity cameos. These actors (James Coburn, Milton Berle, Tab Hunter, and many others) appear in a scene or two, then vanish, to be replaced later by others, none of whom are essential to the plot.

Probably the best elements of the film are its B&W cinematography and the production design. Outdoor scenes at Whispering Glades are visually lush. And the interior is interestingly ornate, although far more Gothic than any funeral home I've ever been in.

The film's casting and acting for major roles get mixed grades from me. Robert Morse as the protagonist, Sir John Gielgud as his uncle, and Rod Steiger as the embalmer are all fine. But as much as I like Jonathan Winters, his performance here, for whatever reason, just does not work; I found it grating and annoying.

If I had seen this film when it first came out, I might have had a more favorable impression of it. And, to repeat, it does have a certain charm, if only sporadic. But so much has happened in the last forty years, and there's been so many changes in America's culture, "The Loved One", for all its intended courage and boldness in 1965, now seems, for the most part, just puerile and pointless.

Having worked in the funeral industry, I have met some of these characters in real life, I can really appreciate this great satirical movie. There was not any bad scenes in this movie. The actors all gave good performances. The movie was stolen by Rod Steiger with his Mr. Joyboy roll. Rod Steiger almost repeated his Joyboy roll in No Way To Treat A Lady, as Dorian Smith. If you are a fan of dark comedies, do not miss one of the greatest dark comedies.

Tony Richardson's "The Loved One" was seen recently courtesy of TCM. The film seems to have been forgotten by MGM, who didn't promote it the way it deserved when it was released. It's a tribute to Mr. Richardson that "The Loved One" should be discovered by appreciative fans that haven't have a chance to see this masterpiece by one of the cinema's most under appreciated master: Tony Richardson.

This acerbic satire about the funeral business was written by Evelyn Waugh, an Englishman who saw the excesses about the art of preparing "the loved ones" for their final send off into eternity. The magnificent screen play is credited to Terry Southern and Christopher Isherwood, although other writers were also involved in its adaptation. The brilliant black and white cinematography by Haskell Wexler still has original crispness in the copy that was shown, which might have been because of a DVD format we saw.

The story is seen through Dennis Barlow,a young Englishman who comes to L.A. for a visit. He looks for his uncle, Sir Francis Hinsley, who works for a movie studio. Sir Francis moves among the English expatriates that had a love/hate relationship with the film industry, but who had better lives than in England. At least, in Los Angeles, they were seen as a rarity with tremendous panache, in sharp contrast with the uneducated heads of studios and so-called stars.

When Sir Francis dies in tragic circumstances, the Brits decide to appoint young Dennis to select the proper way to bury him. That's how Dennis comes to Whispering Glades, the ultimate resting place for the privileged and the famous. To say he suffers culture shock, is to put it mildly. Nothing prepares him for the excesses he sees in the place, that is being run by the mysterious Rev. Wilbur Glenworthy. It's here that he meets and falls in love with Aimee, the girl that is promoted to be the first woman embalmer. He is shown about what to order by the unctuous Mr. Sarles who wants him to pick the best the place has to offer. Dennis is also puzzled by the way the embalmer, Mr. Joyboy, has prepared Sir Francis for his friends to see him at the place.

Dennis, not having a job, is recruited by Henry Glenworthy in helping with the pet cemetery. He meets enough weirdos to last a lifetime. Henry, a businessman himself, decides to add a novel way to send the pets skyward by hiring young Gunther. The devilish Rev. Wilbur sees the invention and wants it for Whispering Glades. In an incredible finale, young Gunther achieves greatness by creating the send off to end all send offs.

The amazing thing about "The Loved One" is the performances Tony Richardson got out of all the actors in the film. Robert Morse is Dennis, a naive in the land of fantasy. Jonathan Winters playing dual roles of Henry and Wilbur Glenworthy, is in top form. Rod Steiger as the mad embalmer, Mr. Joyboy, has one of the best moments of his career. Anjanette Comer shows an affinity for Aimee. John Gielgud makes a wonderful Sir Francis. Paul Williams is young Gunther. But Liberace, who wasn't known as an actor, makes a devastating appearance as the salesman in the Whispering Glades showroom, the man who wants to offer nothing but the best for "the loved one" in his final appearance.

One can only wish "The Loved One" is seen by a lot of movie fans, as this is a tribute to the man who directed it: Tony Richardson.

As a follow-up to the hugely popular "Tom Jones" the iconoclastic director Tony Richardson chose a modern Evelyn Waugh darkly satiric novel that was ostensibly about the funeral business but in Richardson's (& Terry Southern's) hands became a savagely funny commentary on Hollywood and America as well. The cast is awesome--even disregarding some of the cameos like Milton Berle, Liberace, and Tab Hunter--particularly good are Gielgud, Jonathan Winters in a fabulous dual role, Rod Steiger as the immortal Joyboy, and Roddy McDowell. Hilarious! The leads are strangely effective: Bobby Morse doing the knowing nebbish character that he perfected in the mid-60s, and Anjanette Comer as the aptly-named Amy Thanatogenis. One of my alltime favorite comedies, I've seen it close to 20 times since 1965...For anyone who ever had to save up for "Mom's big tub." Increpitable!

Several of you youngsters have added comments here to the effect you wanted to know how this film was received in 1965. Here is the lowdown.

It was skewered by the few uptight critics who got it, and passed off as sheer nonsense by the ones who didn't. It had a big, big promotional sendoff on television and in the newspapers, featuring its over-the-top ending that is commented on elsewhere in these archives. That, in fact, is the single characteristic placing this film in the history books as one of the first real anti-war, anti-establishment, anti-bourgeois relics of popular culture just at the cusp of an entirely new epoch.

I am still dumbfounded that it went generally over the heads of most people in 1965. (Well, at least I am bemused by it.) "Dr. Strangelove" received much the same treatment. It was as if the country was still on overdrive after the assassination of President Kennedy, numb and oblivious as to what was about to happen. Only the very young, influenced as they were by the Beatles and other revolutionary pop music icons, seemed to have a clue. But they were powerless within the political vacuum that led up to the war in Vietnam, and by the time all the turmoil of 1968 came along, this movie had been long forgotten.

This is one fan, however, who still regards this wonderful satire as one of the top ten of the 20th century, right up there with the best of Chaplin, the Marx Brothers, and Saturday Night Live (in its better days, of course).