University of Virginia Library

CINEMA

Arkin Breathes Life Into 'Murders'

By Paul Chaplin
Cavalier Daily Staff Writer

Anyone familiar with Playboy
will recognize the name Jules
Feiffer. His humor is, to put it
quite mildly, unique and entirely
his own. His talents have also found
their way on to the editorial pages
of several newspapers, and again the
public has sensed his comic
abilities, but not without noticing
his biting black humor.

In 1967, Feiffer invaded the
theatre world's Great White Way.
His first dramatic venture was
"Little Murders," a bomb (though
later a success off-Broadway) which
starred a rising young actor named
Elliott Gould. Now the play has
been turned into a film, due
principally to Gould's new career as
a producer, whose principal asset is,
not unsurprisingly, the Movie Star
Elliott Gould.

Alan Arkin makes his film
directorial debut, and his work is,
well, almost beyond words. I don't
mean to imply that it isn't good,
but "Little Murders" is the type of
film where you cannot talk about
the direction, without talking about
the script, and vice-versa. Some
critics have criticized Arkin's
handling of the only visible death in
the film. Feiffer's placing of the
death makes it a shocking
experience, and I think that Arkin's
treatment, with its slow, touching,
and loving quality, was called for
within the framework of character
development, if nothing else.

Marcia Rodd Rescues Elliott Gould in "Little Murders"

Arkin has many scenes which
will send film buffs up the wall.
There's a nice track of Gould sitting
on a park bench, and a slow track
after an incredibly long period
when Gould is explaining his
unusual relationship with an FBI
agent. Maybe I'm being a bit strong
when I say the direction will drive
one up the wall. It seems to me that
a lot of directors have forgotten
about the use of a tracking shot to
develop a close-up; laziness has
resulted in frequent use of zoom
lenses.

The characters in the story are a
strange blend of caricatures with
elements of believability. Many of
their lines seem to come straight
from the balloons in one of
Feiffer's cartoons. The principal
speakers of such cliches are Mr. and
Mrs. Newquist, played by Vincent
Gardenia and Elizabeth Wilson.
Together they make a perfect
bickering couple, and frequently
their verbal battles seem like songs.
In fact, my strongest impression of
Miss Wilson is when she does sing
"Come and get it" about four
times, then says "I can't wait for
the day when I can hear my
daughter say, 'Come and get it!' to
her children."

I didn't care much for Jon
Korkes' portrayal of Kenneth
Newquist, a highly disturbed young
man. I think the problem with his
character lies with the author, who
apparently wasn't certain why the
character was there in the play, but
knew that he was funny enough to
exist without a reason for his
creation.

There are three "guest stars" in
the film: Donald Sutherland, Lou
Jacobi, and Arkin himself.
Sutherland's part as the minister of
the First Existential Church appears
to be one created expressly for him.
He handles it quite well and gets a
lot of laughs out of material that is
already very funny. Jacobi plays a
judge, or rather a man who is
constantly playing a judge (shades
of "The Balcony"); he paces his
chambers and addresses the
audience as though there were a
crucial case before him, and the
decision would be recorded in every
history book. Arkin has been
criticized for overacting as the
police inspector, but his appearance
comes at such a dramatic time in
the film that we welcome and
appreciate his madness.

The most impressive member of
the cast is Marcia Rodd and Patsy
Newquist. This woman can talk
forever! You will really hate Patsy
within the first four minutes of the
film, and hate her up to the very
end. To achieve this, one must have
considerable talent.

I was very surprised with Gould.
After "I Love My Wife," "Getting
Straight," and what I'd heard about
"Move," I was afraid his
performance would consist of a lot
of now familiar glances, double
lakes, and vocal inflections. Arkin
has somehow managed to keep
Gould toned down throughout the
film, letting his creative energies
loose in the last scene.

Feiffer's script could use a lot of
strengthening in places. The subject
matter appears to shift mid-way
through the film, but the change is
rather subtle. From its appearance,
it would be hard to tell "Little
Murders" was once a stage play.

The bothersome elements about
the film lie with the change of
Alfred during the film. In the
beginning. Alfred is not a pacifist,
but, as he calls himself, an
"apathist," a man who refuses to
fight anyone. By the end of the
film, events have led him to become
as sick and perverted as the
Newquists. The world of "Little
Murders" is a society where people
are slaughtered in the streets and
live in homes decorated with Kitsch
furniture and doors bolted shut in
fear.

What humor there is in "Little
Murders" is often grotesque, and by
the film's end, many will possibly
be gagging instead of laughing.
"Little Murders" I feel maintains its
humor throughout, and even has
moments of tenderness that are
deeply moving. With the excellent
acting and promising direction of
Alan Arkin, "Little Murders" ranks
very highly as a candidate for one
of 1971's best films.

(Now at the University)

***

It seems it's Movies Weekend
this week in Charlottesville. In
addition to "Little Murders," one
may find another fine film in
"Patton," last year's big Oscar
winner, which is now at the
Barracks Road Theatre. Downtown,
however, looks like a filmed rock
concert.

The Paramount is offering "Mad
Dogs and Englishmen," a filmed
journal of Joe Cocker's tour last
fall. Reviews are quite mixed about
this film, as well as "Gimme
Shelter," which is showing at the
Cinema. Last February, I called this
film "a poor documentary saved
only by the virtuosity of Mick
Jagger's live performance." In any
event, the choice is varied, so enjoy
yourself and have a good summer.