Harold and Maude
|Harold and Maude|
|Directed by||Hal Ashby|
|Produced by||Colin Higgins|
Charles B. Mulvehill
|Written by||Colin Higgins|
|Music by||Cat Stevens|
|Edited by||William A. Sawyer |
|Distributed by||Paramount Pictures|
Harold and Maude is a 1971 American coming-of-age dark comedy–drama film directed by Hal Ashby and released by Paramount Pictures. It incorporates elements of dark humor and existentialist drama. The plot revolves around the exploits of a young man in his early 20s named Harold Chasen (Bud Cort) who is intrigued with death. Harold drifts away from the life that his detached mother (Vivian Pickles) prescribes for him, and slowly develops a strong friendship, and eventually a romantic relationship, with a 79-year-old woman named Maude (Ruth Gordon), a Nazi concentration camp survivor who teaches Harold about the importance of living life to its fullest and that life is the most precious gift of all.
The film was based on a screenplay written by Colin Higgins and published as a novel in 1971. The film closely mirrors the novel in most respects, but differs in several details and in the omission of certain scenes and characters. For example, the novel's version of Maude is described as having white hair (unlike Ruth Gordon in the film) and introduces herself as "the Countess Mathilde Chardin," a different name and title than is given by the character in the film version. In the novel, Maude's home is characterized as a "cottage" (unlike the retired railroad car Maude inhabits in the movie), and she and Harold briefly interact with Maude's neighbor, Madame Arouet, who is not present in the film. And the film omits a scene during the tree-planting expedition in which, in the book, Maude leads Harold in climbing to the top of a very tall pine tree to show him the view over the forest from near its summit.
Critically and commercially unsuccessful when originally released, the film developed a cult following and in 1983 began making a profit. The film is ranked number 45 on the American Film Institute's list of 100 Funniest Movies of all Time and was selected for preservation in the National Film Registry of the Library of Congress in 1997, for being "culturally, historically or aesthetically significant". The Criterion Collection special-edition Blu-ray and DVD were released June 12, 2012.
Harold Chasen is a 19-year-old man obsessed with death. He stages elaborate shocking fake suicides, attends funerals-(usually for people that he doesn't know), and drives a hearse, all to the chagrin of his cold, narcissistic, wealthy socialite mother. His mother sets up appointments with a psychoanalyst for him, but the analyst fails to get Harold to talk about his real emotions. She also sets him up with dates he does not want and buys him an expensive car, a Jaguar, that he hates and doesn't use until after he has modified it to resemble the hearse he had owned previously.
One day, while at a random stranger's funeral service, Harold meets Maude, a seventy-nine-year-old woman who shares Harold's hobby of attending funerals. He is entranced by her quirky outlook on life, which is bright and excessively carefree in contrast with his morbidity. Maude lives in a decommissioned railroad car. She thinks nothing of breaking the law, including stealing cars, uprooting a tree from a public space to re-plant it, speeding, and parking on a city sidewalk. She and Harold form a bond and Maude shows Harold the pleasures of art and music (including how to play banjo), and teaches him how to make "the most of his time on earth." Meanwhile, Harold's mother is determined, against Harold's wishes, to find him a wife. One by one, Harold frightens and horrifies each of his appointed dates, by appearing to commit gruesome acts such as self-immolation, self-mutilation and seppuku. His mother tries enlisting him in the military by sending him to his uncle, who served under General MacArthur in the Second World War and lost an arm, but Harold deters his recruiting-officer uncle by staging a scene in which Maude poses as a pacifist protester and Harold seemingly murders her out of militarist fanaticism.
When Harold and Maude talk at her home he tells her, without prompting, the motive for his fake suicides: when he was at boarding school, he accidentally caused an explosion in his chemistry lab, leading police to assume that he had been killed. Harold returned home just in time to witness his mother react to the news of his death by faking a ludicrously dramatized fainting. As he reaches this part of the story, Harold bursts into tears and says, "I decided then I enjoyed being dead."
As they become closer, their friendship blossoms into a romance. Holding her hand, Harold discovers a number tattooed on her forearm, meaning that Maude is a survivor of the German Nazi death camps. Harold announces that he will marry Maude, resulting in disgusted outbursts from his family, analyst, and priest. Unbeknownst to Harold, Maude is secretly planning to commit suicide (which she has earlier referred to vaguely as "mov[ing] on") on her eightieth birthday. Maude's birthday arrives, and Harold throws a surprise party for her. As the couple dance, Maude tells Harold that she "couldn't imagine a lovelier farewell." Confused, he questions Maude as to her meaning and she reveals that she has taken an overdose of sleeping pills and will be dead by midnight. She restates her firm belief that eighty is the proper age to die.
Harold rushes Maude to the hospital, where she refuses treatment and dies. In the final sequence, Harold's car is seen going off a seaside cliff, but after the crash, the final shot reveals Harold standing calmly atop the cliff, holding his banjo. After gazing down at the wreckage, he dances away, picking out on his banjo Cat Stevens's song "If You Want to Sing Out, Sing Out", which Maude played and sang for him.
- Ruth Gordon as Dame Marjorie "Maude" Chardin, a 79-year-old free spirit. Maude believes in living each day to the full, and "trying something new every day". Her view of life is so joyful that, true to the film's motif, it crosses a blurred, shifting line into a carefree attitude toward death as well. We know little of her past, but learn that as a young woman she lived in pre-war Vienna, was once married and has a Nazi concentration camp tattoo on one arm.
- Bud Cort as Harold Parker Chasen, a young man who is obsessed with death. He drives a hearse, attends funerals of strangers and stages elaborate fake suicides. Through meeting and falling in love with Maude, he discovers joy in living for the first time.
- Vivian Pickles as Mrs. Chasen, Harold's opulently wealthy mother, is controlling, snooty and seemingly incapable of affection. Hoping to force him into respectability, Mrs. Chasen replaces Harold's beloved hearse with a Jaguar (which he then converts to a miniature hearse) and sets up several blind dates, or more accurately, "bride interviews" with young women.
- Cyril Cusack as Glaucus, the sculptor who makes an ice statue of Maude and lends them his tools to transport a tree.
- Charles Tyner as General Victor Ball, Harold's uncle who lost an arm in the war and now pulls a hidden cord to make his wire prosthetic "salute". At Mrs. Chasen's request, he attempts to prepare Harold to join the armed forces. The effort is thwarted by a planned stunt in which Harold appears to "kill" Maude.
- Eric Christmas as the Priest.
- George Wood as Harold's psychiatrist.
- Ellen Geer as Sunshine Doré, an actress, Harold's third blind date. She is one of the few arranged dates who take part in mimicking Harold's suicides, giving a histrionic rendition of Juliet's death scene.
- Judy Engles as Candy Gulf, Harold's first blind date, whom he scares off by apparently setting himself on fire.
- Shari Summers as Edith Phern, Harold's second blind date, whom he dissuades by pretending to cut off his hand.
- Tom Skerritt (credited as "M. Borman") as the Motorcycle Officer who stops Maude and Harold.
UCLA student Colin Higgins wrote Harold and Maude as his master's thesis. While working as producer Edward Lewis's pool boy, Higgins showed the script to Lewis's wife, Mildred. Mildred was so impressed that she got Edward to give it to Stanley Jaffe at Paramount. Higgins sold the script with the understanding that he would direct the film but he was told he wasn't ready, after tests he shot proved unsatisfactory to the studio heads. Ashby would only commit to directing the film after getting Higgins' blessing and then, so Higgins could watch and learn from him on the set, Ashby made Higgins a co-producer. Higgins says he originally thought of the story as a play. It then became a 20-minute thesis while at film school. After the film came out, the script was turned into a novel then a play, which ran for several years in Paris.
Ashby felt that the actress portraying Maude should ideally be European and his list of possible actresses included dames Peggy Ashcroft, Edith Evans, Gladys Cooper and Celia Johnson as well as Lotte Lenya, Luise Rainer, Pola Negri, Minta Durfee, and Agatha Christie. Ruth Gordon indicated that in addition she heard that Edwige Feuillère, Elisabeth Bergner, Mildred Natwick, Mildred Dunnock, and Dorothy Stickney had been considered.
For Harold, in addition to Bud Cort, Ashby considered all promising unknowns, Richard Dreyfuss, Bob Balaban, and John Savage. Also on his list were John Rubinstein, for whom Higgins had written the part, and then-up-and-coming British pop star Elton John, whom Ashby had seen live and hoped would also do the music.
Anne Brebner, the casting director, was almost cast as Harold's mother, when Vivian Pickles was briefly unable to do the role.
Harold and Maude received mixed reviews, with several critics being offended by the film's dark humor. Roger Ebert, in a review dated January 1, 1972, gave the film one-and-a-half out of four stars. He wrote, "And so what we get, finally, is a movie of attitudes. Harold is death, Maude life, and they manage to make the two seem so similar that life's hardly worth the extra bother. The visual style makes everyone look fresh from the Wax Museum, and all the movie lacks is a lot of day-old gardenias and lilies and roses in the lobby, filling the place with a cloying sweet smell. Nothing more to report today. Harold doesn't even make pallbearer." Vincent Canby also panned the film, stating that the actors "are so aggressive, so creepy and off-putting, that Harold and Maude are obviously made for each other, a point the movie itself refuses to recognize with a twist ending that betrays, I think, its life-affirming pretensions." "The film was a runaway cult favorite, and, most memorably, in Minneapolis, residents actually picketed the Westgate Theater, and tried to get the management to replace the picture after a consecutive three-year run."
The reputation of the film has increased greatly; Rotten Tomatoes, which labeled the film as "Certified Fresh", gave it a score of 85% based on 46 reviews, with an average score of 7.66/10. A consensus on the site read, "Hal Ashby's comedy is too dark and twisted for some, and occasionally oversteps its bounds, but there's no denying the film's warm humor and big heart." In 2005, the Writers Guild of America ranked the screenplay #86 on its list of 101 Greatest Screenplays ever written. Sight & Sound magazine conducts a poll every ten years of the world's finest film directors, to find out the Ten Greatest Films of All Time. This poll has been going since 1992 and has become the most recognized poll of its kind in the world. In 2012, Niki Caro, Wanuri Kahiu, and Cyrus Frisch voted for "Harold and Maude". Frisch commented: "An encouragement to think beyond the obvious!" In 2017, Chicago Tribune critic Mark Caro wrote a belated appreciation, "I'm sorry, Harold and Maude, for denying you for so long. You're my favorite movie once again."
On June 12, 2012, The Criterion Collection released Harold and Maude for Region 1 on DVD and Blu-ray, both of which includes a collection of audio excerpts of director Hal Ashby from January 11, 1972 and of screenwriter Colin Higgins from January 10, 1979, a new video interview with Yusuf/Cat Stevens, a new audio commentary by Ashby biographer Nick Dawson and producer Charles B. Mulvehill, and a booklet which includes a new film essay by film and television critic Matt Zoller Seitz. Exclusive to the Blu-ray edition are a new digital restoration of the film with an uncompressed monaural soundtrack and an optional remastered uncompressed stereo soundtrack. Other exclusives are a New York Times profile of actress Ruth Gordon from 1971, an interview from 1997 with actor Bud Cort and cinematographer John Alonzo, and an interview from 2001 with executive producer Mildred Lewis.
Harold and Maude is #45 on the American Film Institute's list of 100 Years... 100 Laughs, the list of the top 100 films in American comedy. The list was released in 2000. Two years later, AFI released the list AFI's 100 Years... 100 Passions honoring the most romantic films for the past 100 years, Harold and Maude ranked #69. In September 2008, Empire listed Harold and Maude as #65 in Empire's 500 Greatest Movies of All Time. Entertainment Weekly ranked the film #4 on their list of "The Top 50 Cult Films."
In June 2008, AFI revealed its "Ten Top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Harold and Maude was acknowledged as the ninth-best film in the romantic comedy genre.
The film is recognized by American Film Institute in these lists:
- 2000: AFI's 100 Years...100 Laughs – #45
- 2002: AFI's 100 Years...100 Passions – #69
- 2006: AFI's 100 Years...100 Cheers – #89
- 2008: AFI's 10 Top 10:
- #9 Romantic Comedy Film
|Harold and Maude|
|Soundtrack album by|
|Released||December 28, 2007|
The music in Harold and Maude was composed and performed by Cat Stevens. He had been suggested by Elton John to do the music after John had dropped out of the project. Stevens composed two original songs for the film, "Don't Be Shy" and "If You Want to Sing Out, Sing Out" and performed instrumental and alternative versions of the songs "On the Road to Find Out", "I Wish, I Wish", "Miles from Nowhere", "Tea for the Tillerman", "I Think I See the Light", "Where Do the Children Play?" and "Trouble" which were either on the album Mona Bone Jakon or Tea for the Tillerman. Those albums had been released before the film. "Don't Be Shy" and "If You Want to Sing Out, Sing Out" were not released on an album, until his 1984 compilation Footsteps in the Dark: Greatest Hits, Vol. 2.
There is some additional non–Cat Stevens music in the film. "Greensleeves" is played on the harp during dinner. During the scene where Harold is floating face-down in the swimming pool, the opening bars of Tchaikovsky's Piano Concerto No. 1 are heard. The Sunnyvale HS Marching Band is also heard playing "The Klaxon" by Henry Fillmore outside the church following a funeral. At the amusement park, a calliope version of the waltz "Over the Waves" by Juventino Rosas is played. And Harold and Maude waltz together in her home to "The Blue Danube" by Johann Strauss II.
The first soundtrack was released in Japan in 1972 on vinyl and cassette (A&M Records GP-216). It omitted the two original songs and all instrumental and alternative versions of songs and was generally composed of re-released material that was in the film, along with five songs that were not in the film.
- Track listing
- Side one
- Side two
The second soundtrack was released in December 2007, by Vinyl Films Records, as a vinyl-only limited-edition release of 2,500 copies. It contained a 30-page oral history of the making of the film, comprising the most extensive series of interviews yet conducted on Harold and Maude.
- Track listing
- Side one
- "Don't Be Shy"
- "On the Road to Find Out"
- "I Wish, I Wish"
- "Miles from Nowhere"
- "Tea for the Tillerman"
- "I Think I See the Light"
- Side two
- "Where Do the Children Play?"
- "If You Want to Sing Out, Sing Out"
- "If You Want to Sing Out, Sing Out (banjo version)"—previously unreleased
- "Don't Be Shy (alternate version)"—previously unreleased
- "If You Want to Sing Out, Sing Out (instrumental version)"—previously unreleased
- Bonus 7" single
- "Don't Be Shy (demo version)"—previously unreleased
- "If You Want to Sing Out, Sing Out (alternative version)"—previously unreleased
Colin Higgins later adapted the story into a stage play. The original Broadway production, starring Janet Gaynor as Maude and Keith McDermott as Harold, closed after four performances in February 1980. The Yugoslav premiere of the play was staged at the Belgrade Drama Theatre (BDP) on March 23, 1980, two months after its performance on Broadway. Directed by Paolo Magelli, the main roles were played by Tatjana Lukjanova (Maude), Milan Erak (Harold), and Žiža Stojanović (Mrs. Chasen). After Milan Erak's passing, the role of Harold was taken over by Slobodan Beštić. The play was on the BDP repertoire until 2003 when Tatjana Lukjanova passed away.
A French adaptation for television, translated and written by Jean-Claude Carrière, appeared in 1978. It was also adapted for the stage by the Compagnie Viola Léger in Moncton, New Brunswick, starring Roy Dupuis.
A musical adaptation, with songs by Joseph Thalken and Tom Jones, premiered at the Paper Mill Playhouse in Millburn, NJ, in January 2005. The production starred Estelle Parsons as Maude and Eric Millegan as Harold.
Unproduced sequel and prequel
Higgins expressed interest in 1978 about both a sequel and prequel to Harold and Maude. The sequel, Harold's Story, would have Cort portray Harold's life after Maude. Higgins also imagined a prequel showing Maude's life before Harold, Grover and Maude had Maude learning how to steal cars from Grover Muldoon, the character portrayed by Richard Pryor in Higgins' 1976 film Silver Streak. Higgins wanted Gordon and Pryor to reprise their respective roles.
- ALJEAN HARMETZ (8 Aug 1983). "After 12 Years, a Profit For 'Harold and Maude'". The New York Times. p. C14.
- Peary, Danny (1981). Cult Movies. Delta Books. ISBN 0-517-20185-2.
- National Film Registry list of films 1989–2006. Library of Congress. Retrieved 2011-09-08.
- "New to the National Film Registry (December 1997) - Library of Congress Information Bulletin". www.loc.gov. Retrieved 2020-10-13.
- "Harold and Maude; Criterion Collection".
- Bozzola, Lucia. "Harold and Maude > Overview". Allmovie. Retrieved 8 March 2010.
- "Tom Skerritt tells us the funniest thing he ever witnessed on the Alien set". Film.
- Dawson, Nick (2009). Being Hal Ashby : life of a Hollywood rebel. University Press of Kentucky. pp. 120–121. ISBN 9780813125381.
- Wilson, John M. (Apr 14, 1978). "Up From the Underground Harold; Maude". Los Angeles Times. p. g14.
- Dawson, pp. 122–123
- Gordon, Ruth (1986). My Side: The Autobiography of Ruth Gordon. D.I. Fine. p. 392. ISBN 9780917657818.
- Dawson, p. 122
- Brebner, Anne (guest); Morrison, John (Host) (May 6, 2011). Aspect Ratio - April 2011 Archived 2011-05-18 at the Wayback Machine. blip.tv. Retrieved 2011-09-08.
- Ebert, Roger (January 1, 1972). "Harold and Maude". Chicago Sun-Times. Retrieved 2011-09-08.
- "Screen: 'Harold and Maude' and Life: Hal Ashby's Comedy Opens at Coronet; Ruth Gordon, Bud Cort Star as Odd Couple", The New York Times review by Vincent Canby, December 21, 1971. Copyright © 1971 The New York Times Company.
- Peary, Danny (1981). Cult Movies: The Classics, The Sleepers, The Weird and the Wonderful. U.S.A.: Gramercy Books. p. 135. ISBN 0-517-20185-2.
- "Harold and Maude". Rotten Tomatoes. Retrieved 2010-10-20.
- Savage, Sophia (February 27, 2013). "WGA Lists Greatest Screenplays, From 'Casablanca' and 'Godfather' to 'Memento' and 'Notorious'". Retrieved February 28, 2013.
- "Cyrus Frisch | BFI". www.bfi.org.uk.
- Caro, Mark (March 24, 2017). "A Movie Date With My Younger Self". The New York Times.
- "Harold and Maude (1971)". The Criterion Collection. The Criterion Collection. Retrieved 17 August 2015.
- Atanasov, Svet (26 May 2012). "Harold and Maude Blu-ray Review". Blu-ray.com. Blu-ray.com. Retrieved 17 August 2015.
- Katz, Josh (16 March 2012). "Criterion Blu-ray in June: Chaplin, Ashby, Boyle, Soderbergh, Hitchcock, Inagaki". Blu-ray.com. Blu-ray.com. Retrieved 17 August 2015.
- 100 Years, 100 Passions. American Film Institute. Retrieved 2011-09-08.
- "Empire's 500 Greatest Movies of All Time". imdb.com. 2011-08-21.
- "The Top 50 Cult Films". Entertainment Weekly. May 23, 2003.
- American Film Institute (2008-06-17). "AFI Crowns Top 10 Films in 10 Classic Genres". ComingSoon.net. Retrieved 2008-06-18.
- "AFI's 100 Years...100 Laughs" (PDF). American Film Institute. Retrieved 2016-08-06.
- "AFI's 100 Years...100 Passions" (PDF). American Film Institute. Retrieved 2016-08-06.
- "AFI's 100 Years...100 Cheers" (PDF). American Film Institute. Retrieved 2016-08-06.
- "AFI's 10 Top 10: Top 10 Romantic Comedy". American Film Institute. Retrieved 2016-08-06.
- Actor In A Leading Role – Musical Or Comedy. TheGoldenGlobes.com. Retrieved 2011-09-08.
- Harold and Maude at AllMusic
- Harold and Maude at Discogs
- Dawson, p. 124
- Forrester, Cathy (June 1971). "1971 SHS Yearbook page 132". secure.classmates.com. Retrieved 2020-07-24.
- From the FAQ section of "CatStevens.com". Archived from the original on April 5, 2005. Retrieved 2013-07-09.CS1 maint: bot: original URL status unknown (link)
- "Harold and Maude Broadway @ Martin Beck Theatre – Tickets and Discounts". Playbill.
- "Harold i Mod". LIFE+. 2016-08-29. Retrieved 2020-12-07.
- Chalifour, Annik (2008-10-21). "Viola Léger: de la langue de la Sagouine à celle de Musset". L'Express d'Ottawa (in French). Retrieved 2016-08-08.
- "Roy Dupuis" (in French). ICI Radio-Canada Télé. Archived from the original on 2014-11-29. Retrieved 20 November 2014.
- Beckerman, Jim (January 12, 2005). "No deviations from the deviants". The Record. Hackensack, NJ. Retrieved November 27, 2020.
- Molyneaux, Thom (January 13, 2005). "Parsons commands stage in Paper Mill's new musical". The Item of Millburn and Short Hills. Millburn, NJ. Retrieved November 27, 2020.
- Beck, Marilyn (August 6, 1978). "Higgins eyes 'Harold's Story'". Pacific Stars and Stripes. p. 16. Retrieved 2014-01-30.
- Harold and Maude at IMDb
- Harold and Maude at the TCM Movie Database
- Harold and Maude at the Internet Broadway Database
- Harold and Maude at AllMovie
- Harold and Maude at Rotten Tomatoes
- Guide to Harold and Maude filming locations
- A Boy of Twenty and a Woman of Eighty an essay by Leticia Kent at the Criterion Collection
- Harold and Maude essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 677-679