The Arrangement

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.

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...

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.

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.

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..