The Arrangement

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.

Deborah Kerr reportedly stopped doing movies after 1969 (even though she took film roles much later in life) because she no longer felt comfortable with the direction that the movie industry was going. After seeing "The Arrangement", I no longer question her sensitivity to the turbulent themes, language, and cinematography that was coming of age in the late 60's. On the surface, the film epitomizes many of the psychedelic themes of the era, from rampant flash-backs to cartoonized exclamations, such as "Bam!" and "Kerbloom!" splashing across the screen in bright neon colors. Beneath this, however, is the intensely challenging story of a man who wakes up one morning to discover that he detests the person that he has become. Kirk Douglas's Eddie Anderson will send chills up your spine as you watch him evolve from a successful advertising executive with the perfect house, the perfect job, and the perfect arrangement of both a wife and several mistresses, into a tormented, weakened man who despises himself enough to attempt suicide but believes in life enough not to carry through completely. His metamorphosis belies the chaotic style of the film; even though the erratic cinematography attempts to reflect his inner turmoil, the sense of peace that settles onto his face as the film progresses reveals that the reality of Eddie's mind is less insane than the reality of the world outside. He begins to see beyond the pretentions and fears that engulf the world around him and that had once turned him into a heartless executive,willing to convince consumers that cigarettes are good for them rather than lose a multi-million dollar client. Everyone around him, with the exception of Faye Dunaway, worships the "almighty dollar," and Eddie's release from this self-made prison allows him to make peace with himself, even as he makes enemies all around himself. Faye Dunaway is stunning and provocative as the insolent "office slut" who restores Eddie's faith in himself, ironically, by pointing out his flaws. In fact, she delivers what is possibly the most believable performance in the entire film, because her character, the strong, opinionated woman who accepts no sympathy for her decisions and weaknesses, has survived this tumultuous period much better than the character of say, the 60's housewife who desires nothing more than a maid, a swimming pool, and a wealthy husband. Deborah Kerr fills the role of Eddie's uncomprehending wife to perfection, even though anyone who has seen her in more flattering roles, as in her performance as Karen Holmes in "From Here to Eternity", won't be able to watch her portrayal of Florence Anderson without crying inwardly for the lost beauty of her earlier roles. Kerr is certainly ravishing in this film, despite the fruity-peach lipstick and the fluffy-headed hairstyle inflicted on her by the makeup department, but the uncertainty and bitterness that she plays to perfection in "The Arrangement" contrast sharply with the delicate mixture of sincerity and self-confidence that she exhibits in most of her early work. If you have not yet seen this film, make sure to read the book first. Elia Kazan's unique and personal style will illuminate the his meaning much more than any stylized cinematography could hope to. After reading the book, however, make sure to see the film, if only to admire the fine performances of the actors and to identify with the characters on a more immediate level. And, of course, just to watch the ever beautiful Deborah Kerr work her magic...

Adapted by Kazan from his own novel, this ambitious if little-seen (at least in my neck of the woods) character drama emerges as an absorbing and highly personal adult piece, but one which is also pretty heavy-going and somewhat uneven in quality. Still, the director elicits excellent performances from his entire cast (with the star trio baring more than their souls in front of the cameras); Kirk Douglas is particularly impressive in one of his most interesting roles (certainly at this stage of his career, here playing the son of Richard Boone who, in real-life, is actually a year younger than Douglas!)...though Kazan, in his autobiography, seemed unhappy with having to make do with him over his first choice, Marlon Brando. It's strange that he hadn't thought of Douglas immediately to personify his alter ego on screen, since both had been immigrants and the actor would therefore have an instant connection with the character; actually, I feel that Brando's brooding intensity - as opposed to Douglas' dynamic hysterics - would have worn the film down even more than it already is...and, in any case, Marlon got to do his "mid-life crisis act" three years later in LAST TANGO IN Paris (1972)!

What is essentially an old-fashioned melodrama, particularly given the lack of young actors involved, it's brought up-to-date - and, one might say, to life - by a variety of cinematic tricks (which sometimes exasperate the spectator, as if Kazan had gone through one too many viewings of Richard Lester's strikingly similar PETULIA [1968]!): multiple flashbacks and fantasy sequences (Douglas has visions of mistress Faye Dunaway everywhere, and even has her morphing into wife Deborah Kerr during a love scene); we also get visualizations of his interior monologues in which the younger, successful Douglas straightens out his older, bitter self; and, at one point, there's even a fist-fight underscored by cartoon captions a' la the campy 1960s "Batman" TV series!! On the other hand, the film's production values - as is to be expected from a glossy studio product of its time - are tops.

Leonard Maltin strangely rates this one a BOMB in his "Movie Guide"; true, it may not be top-tier Kazan but it's nowhere near as bad as he seems to think it is. Curiously enough, I followed this viewing with the director's subsequent film, THE VISITORS (1972), also awarded the unenviable "bottom-of-the-barrel" accolade from the genial critic...though, in its case, it's a bit more understandable - as can be perceived from my own comments below!

Not classic Kazan, for sure, but not a total failure either. Was lucky enough to see the film in Paris a few years ago on the big screen. Was struck by Kazan's attempt to break free from the well made play structure he'd so successfully mined in the past. The linear story, though, won out, making the film uneven and stylistically self conscience. But even so, what a marvelous failure. Kirk Douglas, in Kazan's opinion may not have filled Brando's shoes, but, my god, he tried. Dramatically speaking, the film is exploring a state of mind; the character played my Douglas remains, for the most part, in a very static position throughout. Douglas never allows the stain of self pity to disfigure his action. Sitting still, thinking, we see in Douglas a man pulsating with anger, remorse, and the need to act. It's a valiant and satisfying performance even though, like the film itself, we're more aware of what it's reaching for than what it actually holds. The performance, though, that really struck me as being brave and bold is the one given by Deborah Kerr. She's the wife, and she has a lengthy scene late in the film where she and Douglas stray into the intimate area of their married life. Sexually frank and mature, the scene alone is worth the entire film. These two characters discuss intimacy, and then act on it, in a way I've never seen in a film. Kerr was one of the most adventurous actresses of her day; a truly great talent. She gives Kazan the raw, unguarded kind of performance one usually associates with Liv Ullman in her Bergman films.

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.