Touches You

Overrated

Great Film overall

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

I have always loved "Loving. That's partly because during the 1970's I was an aspiring commercial artist in Sydney, Australia. My heroes were the great illustrators, mainly American: Norman Rockwell, Tom Lovell, Robert McGuiness, Bob Peak, Mitchell Hooks, dozens of them. I kept scrapbooks of their work - it wasn't safe to leave a magazine near me in those days. "Loving" gave an insight into their world - sort of.Brooks Wilson is a struggling illustrator in New York who is about to land a big account (the type that would have gone into my scrapbooks). However Brooks isn't happy. He is married to Selma (Eve Marie Saint) who loves him, and has two precocious daughters, but he is having an affair on the side. Brooks is bitter about many things and lets everyone down - it's hard to feel sorry for him.Like many illustrators, Brooks feels his work is just to pay the bills and isn't that worthwhile. In a telling scene, Brook's crosses a busy street in New York to look at some enigmatic paintings hanging in the window of an art gallery - real art.The film is based on a novel by J. M. Ryan, the pen name of John McDermott. McDermott was an accomplished illustrator especially of action scenes. He also hated the changes the filmmakers made to the story.McDermott's illustrations were used as props in the movie and can be seen in the agent's office, and when the assistant visits Brooks at home. All the detail of Brooks' art life is authentic, especially his working methods. In one fascinating sequence, Selma puts down her knitting to pose as a Southern belle for reference for sketches Brooks needs to have ready in the morning.George Segal's persona as a nice guy who somewhere along the way got cynical is in full flower here. The film was made at a time when faith in institutions was under pressure. "Loving" captures a disillusioned, hedonistic vibe with middle-aged guys running around with their new cookies.Keenan Wynn plays Brook's harassed agent, while Sterling Hayden as the demanding client, Lepridon, almost seems to be channelling Captain Ahab, and Roy Scheider has a small role as an ad rep. "Loving" is a bit close to the bone to be a comedy, but it's better than its obscurity would indicate. And if you feel nostalgic for those magnificent, hand-drawn illustrations of yesteryear, then it's a film to appreciate on a number of levels.

George Segal (not as scruffy as he typically had been at the start of the decade) plays a troubled husband and father suffering through career uncertainty who cheats on his wife (Eva Marie Saint, cast yet again as a doormat-spouse). Segal is an affable screen presence, but we never learn much about what makes him tick, what causes him to hurt the ones he loves. Talented director Irvin Kershner hit a few snags in his career; here, the semi-improvisational ground he's treading desperately needs a center, or a leading character we can attach some emotions to. The dramatic finale is well-realized, and Segal's comeuppance is provocative and thoughtful--at least something is HAPPENING; overall, it's a cynical slice of the marriage blahs, one that probably played a lot fresher in 1970 than it does today. ** from ****

I caught this film on late night cable (maybe even the 'romance' movie channel) and it left a deep impression. There is a gap between this type of melodrama in European cinema at the time and the 'revolution' that was happening in American cinema, particularly the suspension of moral judgment outside of epiphany. The main character is having a typical middle age, middle class crisis and we are allowed to see it unfold unencumbered by a personal transformation, a complete crash. This type of screen writing is having a revival in shows like 6 feet under on HBO. I would recommend it to anyone interested in that dark, muddy 1970's American cinema that seems to put the middle class of the 1960's to rest but doesn't become another 'desert road trip' film.

In the great Jean Renoir classic "Rules of the Game", a character played by the director himself comments that "everybody has his own good reasons." This rightly has been taken to be the great humanist director's basic philosophy of life. Seeing, over and over again, this understanding, non-judgmental attitude by a narrative artist toward his characters' weaknesses is what makes art film audiences love Renoir's work and consider him one of the greatest filmmakers of the 20th century. Irvin Kershner's "Loving" is one of the rare Hollywood films worthy of being called Renoirian, and it is for just this reason. Even though "Loving" is filled with highly-flawed characters making seemingly disastrous choices about their lives, its genius is how it puts the audience in a position where it cannot (or at least cannot with any decency) judge them. This may be more than many audience members can handle, being so used to films with heroes and villains about whom they are allowed to feel smugly superior. The legendary "New Yorker" critic Pauline Kael, in her rave review of the film, wrote that it "looks at the failures of middle-class life without despising the people; it understands that they already despise themselves" and that there's "a decency in the way that Kershner is fair to everyone." We could use a few more films like "Loving" out there in the American film cannon. If you every get a chance to see this film, don't hesitate to do so!