A Delicate Balance

Director Tony Richardson's presentation of "A Delicate Balance" could be dismissed for it's lack of edginess and it's gentrified (albeit screwed up) characters. It is also what critics would call a "stagy" film. Yet it is redeemed from this dour damnation because of Albee's wonderful way with words, the rich cinematography, and exceptional acting, exceptionally well cast: Katherine Hepburn, Paul Scofield, Lee Remick, Joseph Cotton.

For those looking for a violent film -- not in the form of bullets or explosions -- but of verbal surgical strikes, this is it. Edward Albee's dialogue provides all the female (yes, this would be considered a "woman's movie") protagonists and antagonists (one wonders at times which is which) a laser like aim against their primary targets: other women. And it is done under a guise of "civility"; sometimes, with a smile.

The stand-out among these veteran actors is Kate Reid, who plays Claire, the alcoholic in-law who at times gives the most voice to the story, set amid a dysfunctional Connecticut family. But even her performance can't out weigh the constant barrage of verbal cross-fire from her friends and in-laws. Yet the twist here is that the aggressors are the women, while the men attempt to keep the peace as best they can -- only firing back if attacked by the females.

This isn't a film for everyone; it's definitely the stuff of classic drawing room (psycho) drama. But for those who can appreciate consummate acting armed with deft dialogue, make yourself a nice cup of tea -- spiked with a shot or two of brandy -- and check this out.

Time has not been kind to the movies made under the umbrella of the well intentioned American Film Theater. The bulk of these works are way off the mark, failing to achieve one of the major goals of the project; the preservation of these important plays on screen. "Butley", "The Homecoming" and "A Delicate Balance" are the ones that came off best.

"A Delicate Balance" Albee in his prime; relentlessly razor sharp. Director Tony Richardson thankfully makes little effort to diminish the inherent staginess and theatricality. He allows his superb cast to milk Albee's barbs to their last drop.

Katherine Hepburn turns in a terrific performance, though those who have a distaste for the Hepburn mannerisms, will not be converted. It's a pleasure to watch both Kate Reid and Paul Scofield, consummate stage performers who fared far less well in the cinema.

While overlong and at times uneven, "A Delicate Balance" is strictly for theater lovers. They will not be disappointed.

Probably were it not for the American Film Theater, that noble project which ultimately did fail of bringing productions of classical American works to film, we might never have seen A Delicate Balance. It's like a lot of O'Neill's work, it's all in the creation of the characters.

Certainly a play which consists of six characters sitting around and talking would not be considered anything film-able today. A Delicate Balance for me seems to take off in the same directions as Edward Albee's other classic, Who's Afraid of Virginia Woolf and also bears no small resemblance to O'Neill's Long Day's Journey Into Night.

Both of those films however had bigger budgets and were made more cinematic by having the players move into various locations. The one set technique just doesn't work here. This is not for instance a story as gripping as Alfred Hitchcock's Rope or Rear Window. My guess is that the budget was blown on getting the high priced stars.

Paul Scofield and Katharine Hepburn play a pair of sixty somethings married and living in a posh Connecticut suburb, the kind of place Hepburn grew up in and knew well. Living with them is Hepburn's leach of a sister Kate Reid who they keep well supplied with alcohol and who lives there at Hepburn's insistence. Otherwise Scofield would have tossed this one out with the trash years ago. But he bows to Hepburn's wishes to keep peace and order, a delicate balance if you will.

They get two intruders in their well ordered lives one day. Their neighbors and long time friends, Joseph Cotten and Betsy Blair just ring the bell and announce that something unknown has frightened them in their home and they need to move out and move in with them. Scofield offers them his daughter's room.

But then daughter announces she's moving back after failed marriage number four. Needless to say that causes the balance to go out of whack. Lee Remick is the daughter and she's a selfish and spoiled suburban princess. After this everybody grates on each other's nerves.

Short and on plot, but deep on characterization is A Delicate Balance. It explores the problems of old age and loneliness. Cotten and Blair have no children and Scofield and Hepburn take little comfort in Remick. Perhaps if there were grandchildren things might be different for both couples. There was a son who died for Hepburn and Scofield and that seems to have cast a permanent pall over both of them.

Though Remick is blood kin, Hepburn and especially Scofield have more in common with their neighbors. How it all works out is for you to see A Delicate Balance for.

The film's saving grace is the wonderful performances by the cast. The original Broadway production ran for 132 performances in 1966-1967 and starred Hume Cronyn and Jessica Tandy in the Scofield-Hepburn roles. But certainly Kate and Paul were going to sell more tickets than either of the other two worthy players.

Not that A Delicate Balance did much business back in the day. These films were for limited release in any event and if it's making money it's now in video sales and rentals. Still we can thank the American Film Theater for its preservation with some of the best preservers around.

Scenes from the life of an argumentative middle-class family: a strong-willed wife and a resigning husband are confronted with her alcoholic sister, their continuously marrying daughter, and their friend couple who are afraid of being alone.

Completely uncinematic, downbeat and very static photographed play, from a Pulitzer prize-winning Albee material, with all the psychological soul-killings expected from the author. A pretty valuable record of a theatrical performance: brilliant dialogue and acting are the best it can offer - and it does so.

Fans of Edward Albee and Katharine Hepburn will find things to savor in this haphazard filming of the marvelous prize-winning play. But it's not always easy. Based on the slapdash direction, the piece looks as is the actors spent the requisite time rehearsing the play itself, and then the filming was done quickly and cheaply.

There are a series of generally long takes, but the staging looks more suitable for a proscenium stage than a film. And this is what separates a mediocre talent like Richardson from, say, Mike Nichols who did a far better job dealing with a (largely) confined space in the film of "Virginia Woolf." The result is that "Balance" comes off as stagy - a more inventive director could have avoided that without changing one line of the text.

"Balance" consists of a lot of mid-shots and close-ups, which doesn't serve all the actors well. This is particularly true of Kate Reid who plays the alcoholic sister Clare - Reid's performance might work well on stage, but with all her tight closeups during long speeches, she tends to overplay and make the character more gratingly tiresome than she should be.

The other casualty in the cast is Lee Remick, as the volatile, childish, much-married daughter of Hepburn and Scofield. But in her case it's Albee's writing that's the problem. This character is poorly conceived and developed - and no actress I know of has managed to make it palatable.

But Hepburn is in excellent form as the proud matriarch Agnes - perhaps a little more coarse at times than Albee intended, but very effective. Scofield as her passive-aggressive husband Tobias is marvelous until he mars his important penultimate scene with too many actorish vocal tricks.

Joseph Cotton and Betsy Blair as the old friends who come to Agnes and Tobias to escape the terror of collective loneliness are both good individually, but never seem to be a long-married couple.

Those not familiar with this play may be slightly turned off by the presentation and think the piece itself is second-rate. Not so. This film may be best for those who have seen it before or are familiar enough with Albee to take the film with a grain of salt and appreciate what's good about it.