A Thousand Clowns

You'll laugh and you'll cry and you'll take delight in being human; perhaps as fine a piece of ensemble acting as there is. Can, I believe be compared with Broadway Danny Rose as an bright and beautiful light on the human condition. Enjoy!

Most of us have "favorite" films that we think no one else in the world has seen. You just want to tell everyone to go out and rent it, hoping that they too will say, "Wow, what a movie! I can't believe I've never seen it before!" "A Thousand Clowns" is just such a film. Rarely seen on television, this Oscar nominated (best picture) Oscar winning (best supporting actor/Martin Balsam) film is special in many ways. Superbly cast (child actor Barry Gordon is a must see!) and smartly written. The satire and tragedy blend so well you will be caught laughing and crying at the same time throughout the movie.1000 Thumbs up!

I first saw it years ago as an idealistic college student who did not want to become one of the great gray working millions, saddled with a job I didn't like, a huge mortgage, etc.. At that time, I fell in love with the movie and the characters. That's the problem. The movie cast a spell over me and sprinkled some weird kind of fairy dust over me. I wanted to be Murray Burns: a nonconformist, a smart ass, a non-contributor, a guy who ALWAYS did ONLY what HE ALONE wanted to do. And so, for a few years, that's what I did.

Those years, I must admit, were not very happy ones for me. Self-indulgence is a dead-end. I needed to be working hard, towards a goal, with a family, for me to feel truly fulfilled. And I think that is the case with most of us.

Murray Burns and his world are totally unrealistic AND unhealthy. Do not try to emulate him. It is a trap and a prison. It's like smoking dope all the time: you lose your drive and you increase your cynicism.

But perhaps I'm being too serious. Murray does have the kid, and he seems to fall in love at the end, so maybe there is hope for him. The movie has some great lines and funny characters. The black and white scenes of NYNY in the 1960's are wonderful, Martin Balsam as Murray's brother is one of our greatest actors, Barbara Harris is great, William Daniels is great, Barry Gordon as Rafael Sabattini, etc., is great.

See it and enjoy it but don't take it to heart like I did.

Alexander Hamilton imitations???

"A Thousand Clowns" has been my favorite movie for 30 years -- not because it's the world's finest work of cinema (it's not; mainly it's a well-filmed play -- good, but not a masterpiece). What makes it my favorite is that the story is profoundly human, the script is unique and genuinely witty, the performances are delightful, and -- most importantly -- it's a movie that takes on new meaning as you mature.

When I first saw it I was in college and Murray was my hero; his crisis, to me, was all about selling out. Later, after I had started a family, Murray's story seemed less about selling out than about owning up to his devotion to his nephew. By the time I showed this movie to my teenage children, I had come to see Murray's brother -- the master compromiser -- as the hero. Now my children are grown, and I just watched it again -- and for the first time I saw that the buttoned-up male social worker (Mr. Amundson, played by William Daniels), shows great heart in the second act and is the only character who aims at all times to do what he knows is right. Amundson hasn't become my hero, but I saw him as a good man this time -- and I never as a young viewer imagined that he was anything but laughable. Also on this viewing, I came full circle to see that Murray really IS the hero in this story -- not because he's a charming nonconformist but because he does achieve redemption.

What keeps this movie so important for me is that, even after raising children, I still respect Murray's conflict and so I think his redemption really is heroic -- though no more heroic than any parent's true devotion. (If you don't respect Murray's conflict -- if conformity has never bothered you, or if you think he's just a bum, period -- then you might not enjoy this movie.)

This movie grows up with you, but some things remains constant with every viewing: the film's stunning wit, its passion for authenticity (Murray's speech on the fire escape is a deeply moving plea to wake up and live), and its charmed performances. If you like Jason Robards, you will love him in this film. And Gene Saks, as the TV star Chuckles the Chipmunk, does some of the best comedy work I've seen anywhere. (Notice his timing on the line, "She's done a wonderful job," and the ridiculous walk he came up with for the line, "You told me her name was Minnie Mouse!")

As a bonus, this movie gives you a sidewalk-level, free-wheeling view of Manhattan when it wasn't so overpopulated and Lincoln Center was just being built. It's enough to make you want to quit your job and start collecting eagles.

I loved this movie passionately the first time I saw it, which was almost 30 years ago, and I love it every single time I watch it. Certainly aspects of it have gotten more meaningful as I've gotten older. The cast, full of people I had no idea of at the age of 10, turned out to be full of some of my all-time favorite actors (William Daniels, Barbara Harris, Jason Robards...how can you go wrong?)

I think some of the reviewers here (especially the ones giving it mixed reviews) are under the impression that the viewer is supposed to view Murray as a totally sympathetic character. He's not, and I don't think he's intended to be. Murray is really fun to be around for over half the movie; you're rooting for him all the way. As Sandy says, "No wonder Nick loves it here. I'd love to live here too if I were eleven years old!" When it's really time for Murray to settle down and do something to keep Nick, he can't bring himself to do it, and his free-spirited ways start looking, to the objective viewer, shallow and irresponsible. Murray needs to grow up, and do it fast, and growing up means compromising. That's the lesson; not that Murray was right all along, but that you can't be completely free if you do in fact have something left to lose, and Murray does. But life isn't a black and white choice between happiness and unhappiness, it's a continuum, and sometimes "doing the best you can" is enough.

I found it truly interesting that, throughout the movie, Nick was what Murray describes as "a middle-aged kid," seeming older than Murray himself. At the end, when Murray grows up, Nick seems to revert. He throws a full-scale tantrum, and that's the first time in the whole movie I remembered he was actually a child. I think that's a testament to Gordon's skill as an actor.

For anyone who read/saw the play: the director didn't seem to quite "get" the point of the play, and changed the end of the first and second (or is it second/third? I don't have it in front of me) to make the end of the movie more of a downer than the play. I never quite forgave him for that. The end of the play suggested that compromises have to be made, life goes on and it can even be good. The end of the movie seems to suggest that the last scene was unsubtly a "sell-out." I disagree. But I still loved the movie.

"Getting back to reality..." "I'll only go as a tourist!"