HAROLD & MAUDE: A LOVE STORY FOR YOUNG, OLD–AND APPARENTLY, EVER
By Logan Crow
What can I say about my favorite film that hasn’t already been said by 40 years’ worth of devoted fans? How do I keep from lapsing into immediate hyperbole, gushing like a schoolgirl over its sweetness, its grace, its utter sublimity? How do I refer to this film as a 91-minute love letter—love for humanity, love for oneself, love for being alive—without making eyes roll?
I can say, simply, that I am screening Harold and Maude—twice—this Friday and Monday because it is Valentine’s Day weekend. I did the same thing last year, too, and it’s going to become a tradition. It’s already a tradition among many revival theatres across the nation, including the Egyptian Theatre in Los Angeles, where the film will be shown Thursday night.
Although I booked Harold and Maude months ago, I was still told by Paramount that I was lucky to land a print—it’s that popular a Valentine’s Day pick, and there are (sadly) not very many 35mm prints of the film in circulation.
For anyone who’s seen the film—and I truly believe, to see it is to love it—its popularity this time of year should come as no surprise. Every audience for Harold and Maude features many devoted faces of people who have had their own strong personal connection with the film.
For those who have yet to see the story—how young, rich and death-obsessed Harold finds himself changed forever when he meets lively septuagenarian Maude at a funeral—here’s what I can tell you about this incredible work of art: Harold and Maude is perfect.
Perfection is not a word I throw out a lot—some of my favorite films are far from perfect (I’m looking at you, Xanadu)—but there are some films that seem to defy the slightest criticism, as if every single element seems clandestinely placed, culminating into a rare and shimmering celluloid gem.
As a comedy, Harold and Maude is absolutely hilarious. As a romance, Harold and Maude is peerless; pick several popular romantic comedies, count the gimmicks that they share, and just try to find any of them in this film. As an inspiration—a celebration of the significance of being alive—Harold and Maude is as light and charming on its feet as it is deeply profound and penetrating. Its colossal feat has never been replicated, try as Wes Anderson might.
And as matrimony of a film and its soundtrack, there are no more-sanctified unions. Without Cat Stevens, there is no Harold and Maude. Imagine The Graduate without Simon & Garfunkel or A Clockwork Orange without Beethoven, and you’re not even close.
Director Hal Ashby structures Harold and Maude to the strains and beats of such classic Cat Stevens songs as “On the Road to Find Out,” “Don’t Be Shy,” and “Where Do the Children Play?” By the time Ruth Gordon herself cheerfully sings “If You Want to Sing Out, Sing Out,” Stevens’ music has become a third and indispensible character in the film. In sound and lyrics, it perfectly complements the rich soul of the screenplay, and ultimately—when “Trouble” kicks in—part of the very emotional DNA of Harold and Maude’s journey.
To call Harold and Maude “celebrated” is an understatement.
In 2000, the American Film Institute (AFI) compiled Top 100 lists based on several categories. Harold and Maude made four lists—Laughs (No. 45), Passions (No. 69), Cheers (No. 89) and was voted the No. 9 Romantic Comedy of all time.
Two years later, Entertainment Weekly magazine voted Harold and Maude No. 4 on its list of Top 50 Cult Films, topped only by Freaks, The Rocky Horror Picture Show, and This Is Spinal Tap.
Forty years after Harold and Maude was released—just before the Christmas of 1971—it is still inspiring people to reexamine their perspectives, count their blessings, and go on and love some more.
HAROLD AND MAUDE ART THEATRE • 2025 E 4TH ST • LONG BEACH 90814 • 562.438.5435 • ARTTHEATRELONGBEACH.COM • FRI MIDNIGHT, MON (VALENTINE’S DAY) 9PM • $10
Logan Crow is the founder and executive director of the Long Beach Cinematheque, a non-profit organization dedicated to celebrating classic and independent cinema by programming film screenings and multimedia events throughout Long Beach. The Cinematheque’s cult cinema series, Mondo Celluloid, runs every Friday at midnight at the Art Theatre of Long Beach. For more information, visit lbcinema.org. For tickets, visit readyticket.net
5 Comments
This movie is also one of the best anti-war movies ever made. It is the underlying theme and blends the romance of a Holocost survivor with a man who may have to go to war. The Uncle who was “MacArthur’s Right Hand Man” says it all.
It’s an anti-war movie only insofar as it’s preaching to the converted, or the twits. It continues to baffle me why “anti-war” ignoramuses enjoy talking crap about which they usually know little about, while benefitting by the outcome. It’s very cowardly to talk crap when you’re a million miles away from the circumstances.
Grow a pair.
Speaking of “pick and choose” standards, why not make “Maude” into “Mark,” an eighty year old man, have him “romance” an 19 year old girl, and see how that plays. If libs adopted a permissive attitude towards that, I’d be all for it. Something nice to look forward to in advancing years.
It would appear Hugh Hefner has already cornered the story of the old man, young girl romance.
“twits”, “libs”? Such a colorful vocabulary.
Note to Commish: not relevant, since the hugh hefner “story” is reality, while harold and maude is a screenplay.
I continue to be baffled by those who don’t understand that having an “anti-war” sensibility doesn’t make someone “anti-military.”
Personally, I find myself quite “anti-crashing-my-car-against-a-tree.” I’m not a big fan of the idea of crashing my car against a tree. It sounds like a pretty horrific experience, both to myself and to my car. Say nothing of the tree.
Does that make me “anti-insurance”? No, I’ll be happy and grateful that I had insurance in the eventuality that I accidentally crash my car against a tree, because unfortunately, that can happen. Am I “anti-the-police-and-paramedics-who-will-come-to-assist-me”? No, I’ll be grateful for their service, and glad to know that brave men and women commit their lives to standing at the ready to assist the public as police officers, firemen, paramedics, and yes, even insurance representatives like the great Glenn Agoncillo who actually care about checking up and making sure you were taken care of in the eventuality that you crash your car against a tree.
Similarly, I continue to be happy and grateful to know that there are brave men and women standing at the ready to defend my country, my very life, in the event of war. I commend them, and what’s more, I find myself humbled by their bravery and their selflessness. I was infuriated to read today for example that a possible government shut-down might mean delayed checks to the families of our military fighting overseas – as if serving ones country isn’t a powerful sacrifice enough, to have to face this further unexpected financial struggle is incredibly unjust.
Now that does make me “pro-war”? No, I’m not a fan of war; I don’t find myself very enthusiastic about the concept of a prolonged walking nightmare for young men and women, miles from home, watching their brothers and sisters die daily as they fight to stay alive in defense of their country. But I admire them for doing it, and again – I understand that war is an eventuality. I’m not a fan of cancer either, but I understand that cancer exists, it attacks and wages war against the innocent, and when it does, I respect those who dedicate their lives to try to stop it.
There are some truly horrible people in this world who would commit unspeakable acts to our country and our civilians given the resources and the opportunity, and I am glad to know we have a military working to identify and stop them. I just wish that the tremendous loss and chaos of war wasn’t necessary. I don’t think talk of “libs” or conservatives enters into it – I don’t think anyone on either side of the fence would argue that in a perfect world, we wouldn’t find ourselves fighting wars. But of course, indeed, til then, this is not a perfect world.
As far as Hal Ashby’s “Harold and Maude” goes, it’s important to note that the film’s critique on war – and it’s definitely there, as it is in Ashby’s “The Last Detail” and “Coming Home” as well – comes at the heels of the Vietnam War. And I think coupled with Maude’s references to her experiences in World War II and that quick moment where we see that she is a Holocaust survivor (the tattoo on her arm), the film is definitely pointing to some of the uglier chapters of war history, and not necessarily to war as a whole. With all due respect to the military – many of whom would easily concur – Vietnam was an unholy clusterf***, and moreover, a war fought against an ideology (the Domino Effect), and not in defense of an enemy who had engaged or attacked us. When “Harold and Maude” was filmed and released in 1971, the war was still waging, and sentiment was high. I actually think Ashby took it pretty easy on the military – as far as a satirical approach, Uncle Victor’s comical missing arm is nothing compared to the man-child histrionics of “Dr. Strangelove’s” General Buck Turgidson…
Point is, I can see where our servicemen and women get defensive when one speaks out against war – and no doubt there are many an extremist on the left who make it incredibly difficult for those of us who simply wish to look at things pragmatically – but to Jason and to others who are fighting for us (and I’m assuming you’re in the military, Jason – otherwise you’re just passionate about the defense of our military, which is commendable as well), please know that one can have a negative view of war – and specific wars in particular – without having a negative view of those who fight it. And that voicing an objection to a war does not equate to voicing an objection to the military. Far from it.
Interesting thread. War and Hugh Hefner. Reminds me of a great scene from “Apocalypse Now”.