University of Virginia Library

'B&C&T&A': Today's 'Hip' Parents

By Carl Erickson
Cavalier Daily Staff Writer

This past year's New York Film
Festival opened with the highly
controversial choice of "Bob and
Carol and Ted and Alice." Certain
critics vociferously protested the
committee's selection, objecting to
the film's Hollywood origin and
maintaining that such "crass commercialism"
did not deserve to
contaminate a festival which
boasted films from such creative
talent as Bergman, Godard, Chabrol,
and Ophuls. Many detected the
pungent order of commercial interests
seeping into the festival's
decisions and vindictively panned
the film. Whether or not
"B&C&T&A" appeared in this
festival because of Hollywood's
commercial influence is pretty
much a matter of conjecture (I
would give an unqualified no) but if
one considers only the artistic
qualities of the film it would seem
that the festival's selection committee
made a highly logical choice.

"B&C&T&A" takes on the
"hip" parents of today who smoke
grass (leaving the roaches in the
ashtray), talk freely about sex, and,
most importantly, hold an excessively
liberal attitude regarding
conjugal ties and outside relationships.

Bob and Carol, played by
Robert Culp and Natalie Wood, are
the emancipated couple who take
part in a group therapy session
where they are taught to express
their emotions freely. Their avant-garde
education causes them to
make a declaration of love for their
two friends, Ted and Alice, played
by Elliott Gould and Dyan Cannon,
in a hilarious scene which successfully
satirizes the liberated couple.
This scene is typical of director
Paul Mazursky's humorous outlook
on the young enlightened couples
of today. Bob's confession to Carol
about an affair, Carol's reciprocal
confession, Alice's meeting with her
psychiatrist, and of course the final
boudoir quartet are excellent scenes
which exemplify the comic awareness
of Mazursky and Larry Tucker,
who co-scripted the film with him.

Mass confusion is the final result
of "B&C&T&A." Sexual permissiveness
is equated with understanding
(as long as the affair is
purely physical). Curiosity is mistaken
for interest. If one confesses
to have had an affair he is
considered a sincere marriage partner
while the affair itself is not
considered important. Emotional
displays are distrusted because who
knows whether you are expressing
your true feelings. Lastly, more
traditional views on marriage (regarding
fidelity at least) find their
way into the couples' own liberal
outlook. Mazursky's only solution
to the mess is found in the
concluding song, "What The World
Needs Now Is Love" and though
this appears to be the easy way out
it is a logical and motivated
conclusion.

The artistic value of
"B&C&T&A" is substantial, thanks
to an outstanding screenplay. However,
equally important is the fact
that Mazursky knows when to trust
the script and when to compliment
it or supplant it. Very little footage
is wasted and each shot is successful
in conveying the mood and idea of
the moment. The few slow motion
shots and the birthday party scene
are the only exceptions which come
to mind.

All of the actors are competent
and in the case of Natalie Wood and
Elliot Gould they are outstanding.
Miss Wood's eyes are the perfect
vehicle for the conveyance of the
character's naivete. Gould's facial
expressions are hilarious and in the
scenes with Dyan Cannon in bed,
one is reminded of Charles Aznavour
in "Shoot the Plano Player."
He's that good.

Humorous, honest, and economical
are all words which can be
used to describe "B&C&T&A."
However, none of them can be used
without the other two. And
"B&C&T&A"s combination of
humorousness, honesty and economy
makes it an excellent choice
for any film festival.

(Now at the University)