For today’s guest post, we are featuring a guest post from Rick 29 focusing on three classics from the 1970s that explore the complexities of many different types of love. These films are all quite different, yet each has become iconic in its own way.
Director: Billy Wilder
One of Wilder’s last films stars Lemmon as an uptight American businessman who journeys to a small Italian town to retrieve the body of his father, who died in a car accident. To his surprise, Lemmon learns that his father was having an affair—secretly meeting his lover in the same hotel every August for the past 10 years. Furthermore, Dad’s mistress died in the same accident and her daughter (Mills) shows up for the funeral. After a very leisurely opening, this quirky love story turns on the charm…helped immeasurably by the scenic setting, memorable music, the two leads, and Clive Revill’s delightful performance as a hotel manager who can solve any problem. Juliet Mills—Hayley’s sister and John’s daughter—also shines in a rare lead role (although it’s a bit jarring to see the former star of TV’s Nanny and the Professor go for a swim in the buff). The instantly hummable song “Sensa Fine” (translated as “Never Ending”) has been played in numerous films before and since, but it’s hard to imagine it being put to better use. The film’s title is Italian for “proceed,” the response given when someone requests to enter one’s room. It’s the same response you should offer if given an opportunity to see this delicious postcard from one of the cinema’s most versatile filmmakers.
Director: Herbert Ross
Playwright Neil Simon penned this winning romantic comedy as a vehicle for his then-wife Marsha Mason. She plays the title character, a Broadway dancer/single mother recently jilted by her latest lover. To make matters worse, she learns that her New York City apartment has been subleased to Dreyfuss, a struggling actor. Once they reluctantly agree to share the flat, it’s only a matter of time before love blossoms. Simon wisely keeps sentiment to a minimum, while allowing his outwardly brash characters to reveal their inner insecurities. Mason is good, if a bit too theatrical, but Dreyfuss hits all the right notes in his Oscar-winning performance. Quinn Cummings, as Mason’s wise-beyond-her-years daughter, delivers most of Simon’s trademark zingers. She, Mason, Simon, and the film all earned Oscar nominations. David Gates, formerly of the rock group Bread, wrote and performed the memorable title tune, which peaked at #15 on the Billboard chart.
Harold and Maude (1971)
Director: Hal Ashby
Harold, a 20-year-old man obsessed with death, befriends and eventually falls in love with Maude, a 79-year-old woman with a zest for life. This offbeat blend of dark comedy and romance tries much hard to be quirky, which may account for its commercial failure when originally released. But it became a midnight movie favorite with college crowds by the late ’70s and has subsequently enjoyed status as a classic cult film. Ironically, the movie’s funniest scenes—Harold’s fake suicides and the blind dates arranged by his mother—don’t even involve Maude. Cort, looking as pale as humanly possible, and Gordon give likable performances, but director Ashby drags the film down with too many montages set to Cat Stevens songs. Harold’s Jaguar hearse rates among the cinema’s most memorable automobiles. Gordon essentially reprises her character in Clint Eastwood’s Every Which Way But Loose. A year earlier, Cort starred in Robert Altman’s genuinely bizarre Brewster McCloud as a young man obsessed with building wings and taking flight in Houston’s Astrodome—a plot with cult film potential written all over it, though the picture sank into obscurity.