Monday, November 7, 2016
Harold and Maude
So this is an interesting movie to review, since usually when one sees a huge age disparity between the couple in a film, it's a man romancing a woman. And in classic films, that woman was frequently Audrey Hepburn (25 years younger than Cary Grant in Charade, 30 years younger than Fred Astaire in Funny Face - guess Hollywood thought that Audrey looked like the type to go for silver foxes). But Harold and Maude really flips the script by not just having a young man interested in an older woman (well before the advent of the cougar trope), but a baby-faced guy who looks barely 17 having very sexual feelings towards a woman who is obviously elderly. Elderly people aren't supposed to be the subject of love stories, especially not sexual ones. Yet here we are, having a complete script flip, from the elderly person being the fun-loving one to the young person making a sexual pursuit of an elderly person. Maude is a prototype Manic Pixie Dream Girl, only instead of being a big-eyed waif with crazy hair, she's a 79-year-old Holocaust survivor who steals cars, poses nude, and has a giant wooden sculpture of her vulva, which Harold fingers and then licks in a scene that seems more creepy than affirming attraction between the two.
I don't know why, but while I appreciate all the subversions, I just can't find where I'm supposed to be entertained by this film. It's ranked as a "Best Comedy", but I personally didn't laugh once. Maybe because the young guy obsessed with death has been used in plenty of other things since, or maybe because I don't see inherent humor in the idea that a couple with a 61-year age difference could form. I'm not sure if it's supposed to be the joke, or if the jokes are supposed to be Harold's obsession with death and elaborate suicide attempts. I guess the juxtaposition of Harold's suicides and his mother's exasperation are somewhat humorous. But where does one really go with this? This is by far the best movie I've found for showing that humor is totally subjective. Maude teaching Harold to live every day to the fullest with semi-controlled anarchy, then killing herself because she is convinced that 80 is the proper age to die doesn't really strike me as humorous. Maude's fast talk can be witty, but over all, the movie just seems to be congratulating itself on being so subversive that they forgot to put real characterization into the leads. Harold and Maude are both conglomerate characters of everything but the kitchen sink. Harold is a hodgepodge of neglected rich boy (the most famous of this trope is the preternaturally annoying Holden Caulfield), stereotypes about depression, and what the team seems to think are jokes about sexuality. Maude is given a lot of hints that she would be more interesting in the hands of another script writer, but she's a straight-forward "subversion" of Holocaust survivors (who are presumably all miserable and consumed with the horrors of their life?) and elderly people (who have no sex drives and don't like adventures? Tell that to the exploding STI rate in seniors) who speaks in affirmations and fortune cookies. I'm not saying there's nothing here for anyone. Obviously, there's something for some people. But I just can't appreciate it properly. Maybe the film didn't age well, or maybe the leads just really need more depth. We are overdue for a film that allows a young man to show attraction for an older woman, though. Maybe then it won't be considered ridiculous to cast a 30-year-old woman opposite a 45-year-old man, so a 22-year-old is cast instead. Then again, if we try to pull that subversion, then Hollywood will probably try to pass a woman of 35 as a woman of 50.