A significant commercial
and critical hit back in the day, the ensemble dramedy Lovers and Other Strangers mixes keen observations about marriage
with hit-or-miss sex-comedy vignettes. Based on a play by Joseph Bologna and
Renée Taylor, the movie concerns the wedding of a young couple and how the
event impacts the couple’s friends and relatives. On a deeper level, the story
is an exploration of changing values during the Women’s Liberation era. Does
marriage mean anything during a time when young people embrace premarital cohabitation?
Is the old notion of accepting contentment in marriage passé for kids who
expect to sustain passion forever? And how can young women protect themselves
from predatory men who use with-it lingo to pressure women into sex? These were
important questions in 1970, so even though time has dulled the edge off Lovers and Other Strangers, the picture
is still interesting as a snapshot of a turbulent period. Additionally, some of
the characters are rendered so well that they’re timeless.
The youngsters preparing
to marry are Mike (Michael Brandon) and Susan (Bonnie Bedelia). He’s terrified
of commitment even though he and Susan have lived together for some time, and
he’s nervous that his old-fashioned Italian parents will find out he’s “living
in sin.” The engaged couple’s anxieties are juxtaposed with problems plaguing
new marriages, troubles faced by single people, and the wisdom of people who have
been married for decades. One of the imperiled new marriages is between Susan’s
sister, Wilma (Anne Meara), and Johnny (Harry Guardino)—she tries to keep the
sexual spark alive while he resents her rejection of the idea that being male
entitles Johnny to unconditional dominance. The other endangered new union is
between Mike’s brother, Richie (Joseph Hindy), and Joan (Diane Keaton, in her
first movie role), who have scandalized the family by announcing plans to
divorce. Representing the singles scene is Susan’s friend Brenda (Marian
Hailey), who runs hot and cold with fast-talking horndog Jerry (Bob Dishy).
There’s also a subplot about Susan’s father, Hal (Gig Young), having an affair
with his sister-in-law, Kathy (Anne Jackson). Rounding out the principal cast
are Mike’s parents, Frank (Richard Castellano) and Bea (Beatrice Arthur).
Some
threads of the story have more punch than others. The stuff with Bea and Frank
is terrific because veteran stage actors Arthur and Castellano give pitch-perfect
comic performances; Castellano earned an Oscar nomination for his work, and Lovers and Other Strangers helped pave
the way for Arthur’s conquest of television a few years later. The Brenda/Jerry
storyline gets old quickly because Brenda is depicted as a mess of catch
phrases and neuroses, while Jerry is portrayed as nothing but a compendium of
come-on lines. Similarly, the Hal/Kathy storyline is mostly a vehicle for Hal
contriving ways to string Kathy along while Kathy endures humiliating treatment
because the alternative of being alone is too dismaying. Whereas those two subplots
feel shallow and trite, the Johnny/Wilma storyline pays off nicely when the
couple embraces compromise.
Lovers and
Other Strangers gives viewers a lot to digest, but despite some honest
insights and zippy one-liners, the movie never achieves real depth or hilarity.
Although the film is thoroughly respectable, the writers (including David Zelag
Goodman, who helped adapt the play) employ comedy as a means of dancing around
tough issues. Nonetheless, the mere fact that Lovers and Other Strangers engages with serious topics places the
movie a few notches above the average bedroom farce, and the presence of
consistently good acting raises the movie’s quality even higher.
Lovers and Other Strangers: GROOVY
Oh I think you are selling the performances of Gig Young and Ann Jackson short. The part where they are in a bathroom stall, and he is telling her how he doesn't want to hurt anyone is a semi-classic.
ReplyDeleteAgree 100% that the bathroom scene is performed well, and that the scene represents a strong comedic idea executed with flair. My remark was simply intended to convey that the Jackson/Young storyline felt familiar, whereas some other material in the film seemed fresher.
ReplyDeleteDo you think it seems familiar *now* or felt familiar *then*?
ReplyDeleteI was lucky enough to work this filmas an usher for the 13 weeks it played at the Pi Alley Theatre in Boston. Aside from the terrific performances the film while probaby dated today, was thoroughly satisfying on both an emotional and intellectual level. David Goodman was brought in to make the four one act plays into some sort of coherent script (over the objections of both Taylor & Bologna) . Cy Howard failed to turn his sizable success with this film into a successful directing career ( Every Little Crook and Nanny followed) but the movie had extraordinary word of mouth. It had been booked for an inital 3 - 4 week run but the weekend audiences were subtantial and even in the last couple of weeks the saturday night shows still sold out. Even though it won a fair amount of critical acclaim, I've always thought of it as an "audience picture".
ReplyDeleteFor myself the film "Goodbye Columbus" -- which I guess is not reviewed on this site since it was from the previous year -- is an infinitely more evocative and pleasurable exploration of the evolving mores of that moment in time in America -- albeit with more of an eye to the "Jewish question" , as 't'were ... With this one I find that those "farce"-ical elements are SO strident & SO overegged -- & often so ugly & vulgar -- that I wind up finding it just too off-putting and enervating ... But it does have a lot of interesting elements along the way, including the constant repetition of "For All We Know" , which became one of the great Carpenters songs...
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