Title: THE LANDLORD
Year of Release: 1970
Director: Hal Ashby
Genre: Drama, Comedy
Synopsis: A young man from a wealthy family decides to buy a derelict building, wishing to renovate it to live in as a new home, but the tenants have other ideas, changing his views on life, and love.
Within a film history context: Movies with a landlord protagonist have been fitfully featured in film history. One of the most famous to feature a landlord central character was Alfred Hitchcock's silent film THE LODGER (1927). In this movie, a landlady to a handsome man has suspicions that he may be a psychopathic killer murdering young women in London. With MURDER AT THE INN (1934), directed by George King, a young couple become implicated in the murder of a landlord. More comical in execution was Lew Landers' LIVING ON LOVE (1937). In this film, the landlord is of a friendlier disposition than other examples, assisting two young people, a man and a woman, to share an apartment, with many complications ensuing. Matters again were of a comic nature in SING FOR YOUR SUPPER (1941), directed by Charles Barton. In this movie, a young woman who is a landlord becomes a nightclub singer in disguise, which causes trouble between her and her beau. In a similar comic vein was Sam Newfield's FIGHT THAT GHOST (1946). Here, the landlord has more of a supporting role than other movies, as two people attempt to short-change him of rent money, with many amusing consequences. Further films explored the landlord theme, with interesting results.
Mexican film HIDDEN RIVER (1948), directed by Emilio Fernandez, had an unscrupulous, dictatorial landlord of the town making his evil presence felt by all. Equally sinister was J. Lee Thompson's MURDER WITHOUT CRIME (1950). The landlord is this was also of a mean persuasion, using blackmail to make a man guilty for an accidental death. BROADWAY JUNGLE (1955), directed by Phil Tucker, was about a man pressured by his landlord for the rent, explaining that he was working on a film project, and would have his payments up to date soon. Into the 1960s came two films that approached the landlord theme in a humorous manner. Richard Quine's THE NOTORIOUS LANDLADY (1962) added a mystery angle to its largely droll mood, with Kim Novak as a landlord believed to have committed murder, and Jack Lemmon as the man who falls for her in London. Matters were more romantic in UNDER THE YUM YUM TREE (1963), directed by David Swift. Again starring Jack Lemmon, but this time as the landlord, in love with his tenant, and doing his best to make her love him, and leave her fiancé. THE LANDLORD shared elements of the more jocular and dramatic films within its structure, but also, contained its own bold strokes.
THE LANDLORD, was, at heart, a comedic film with many dramatic elements, much deeper than the other films previously mentioned. The comedy, though, is never far-fetched or antic based, but reflects upon the characters, making their emotions palpable to the audience. Even in the most dramatic moments, the viewer can feel for the characters and what they are going through. In saying this, THE LANDLORD is a sympathetic treatise, to name a few examples, in understanding, race relations, interracial relationships, finding one's self of self, and place in the world. Unlike the other movies, in which the landlord was a peripheral or supporting player, in THE LANDLORD, the lead character from whom the action originates was the landlord himself. The people with whom the landlord comes into contact reveal intimate sides of themselves that make them real, and, in turn, sides of himself emerge that may not have been evident at first glance. The narrative events are more complex in nature than the other movies, with many unexpected incidents occurring that take the viewer by total surprise. A film that is balanced in every respect, with the ability to amuse, shock, and move at different turns, THE LANDLORD is an original, and successful triumph in filmmaking.
Within a film history context: Movies with a landlord protagonist have been fitfully featured in film history. One of the most famous to feature a landlord central character was Alfred Hitchcock's silent film THE LODGER (1927). In this movie, a landlady to a handsome man has suspicions that he may be a psychopathic killer murdering young women in London. With MURDER AT THE INN (1934), directed by George King, a young couple become implicated in the murder of a landlord. More comical in execution was Lew Landers' LIVING ON LOVE (1937). In this film, the landlord is of a friendlier disposition than other examples, assisting two young people, a man and a woman, to share an apartment, with many complications ensuing. Matters again were of a comic nature in SING FOR YOUR SUPPER (1941), directed by Charles Barton. In this movie, a young woman who is a landlord becomes a nightclub singer in disguise, which causes trouble between her and her beau. In a similar comic vein was Sam Newfield's FIGHT THAT GHOST (1946). Here, the landlord has more of a supporting role than other movies, as two people attempt to short-change him of rent money, with many amusing consequences. Further films explored the landlord theme, with interesting results.
Mexican film HIDDEN RIVER (1948), directed by Emilio Fernandez, had an unscrupulous, dictatorial landlord of the town making his evil presence felt by all. Equally sinister was J. Lee Thompson's MURDER WITHOUT CRIME (1950). The landlord is this was also of a mean persuasion, using blackmail to make a man guilty for an accidental death. BROADWAY JUNGLE (1955), directed by Phil Tucker, was about a man pressured by his landlord for the rent, explaining that he was working on a film project, and would have his payments up to date soon. Into the 1960s came two films that approached the landlord theme in a humorous manner. Richard Quine's THE NOTORIOUS LANDLADY (1962) added a mystery angle to its largely droll mood, with Kim Novak as a landlord believed to have committed murder, and Jack Lemmon as the man who falls for her in London. Matters were more romantic in UNDER THE YUM YUM TREE (1963), directed by David Swift. Again starring Jack Lemmon, but this time as the landlord, in love with his tenant, and doing his best to make her love him, and leave her fiancé. THE LANDLORD shared elements of the more jocular and dramatic films within its structure, but also, contained its own bold strokes.
THE LANDLORD, was, at heart, a comedic film with many dramatic elements, much deeper than the other films previously mentioned. The comedy, though, is never far-fetched or antic based, but reflects upon the characters, making their emotions palpable to the audience. Even in the most dramatic moments, the viewer can feel for the characters and what they are going through. In saying this, THE LANDLORD is a sympathetic treatise, to name a few examples, in understanding, race relations, interracial relationships, finding one's self of self, and place in the world. Unlike the other movies, in which the landlord was a peripheral or supporting player, in THE LANDLORD, the lead character from whom the action originates was the landlord himself. The people with whom the landlord comes into contact reveal intimate sides of themselves that make them real, and, in turn, sides of himself emerge that may not have been evident at first glance. The narrative events are more complex in nature than the other movies, with many unexpected incidents occurring that take the viewer by total surprise. A film that is balanced in every respect, with the ability to amuse, shock, and move at different turns, THE LANDLORD is an original, and successful triumph in filmmaking.
Overview: Hal Ashby was a director who made films that on the surface only seem full of incident and sass, many times ludicrous in nature. When examined more carefully, though, these films reveal facets of humanity and events that are thoroughly compelling. From 1970 until 1986, several years before his death in 1989, he directed eleven feature films. Mr Ashby's second film, HAROLD AND MAUDE (1971), was a trend-setting black comedy about the unlikely romance between a woman in her seventies, and a young man in his twenties. Next came THE LAST DETAIL (1974), starring Jack Nicholson and Randy Quaid as a sailor escorting a young sailor on a wild odyssey before he ends up in jail. Filled with coarse language, ribald behaviour but also, a pathos that puts all the hijinks in an understandable perspective, it was possibly Mr Ashby's most touching, tragic, true to life movie. Coming next was the box-office bonanza SHAMPOO (1975). Featuring an all-star cast with Warren Beatty as a womanizing hairdresser in Beverly Hills, variously coupling with Julie Christie, Lee Grant, Goldie Hawn, and Carrie Fisher, it was another film that had an outrageous premise on paper, given depth by Mr Ashby and his illustrious cast. Moving on from these films, Mr Ashby produced more films that continued his cinematic tradition of combining dramatic and comedic content with style.
BOUND FOR GLORY (1976) was a change of pace for Mr Ashby, this time taking on the real-life story of folk singer Woody Guthrie, with positive critical results. Later in the decade, Mr Ashby had another artistic and commercial triumph with COMING HOME (1978). With Jane Fonda in the starring role of a woman falling for a man injured in Vietnam, her husband away in Vietnam, it was nominated for major awards, winning Oscars for Miss Fonda and Jon Voight as the man who wins her heart. One of Mr Ashby's final films of note was 1979's BEING THERE. An all-star cast including veteran Melvyn Douglas, Peter Sellers and Shirley MacLaine, it told the story of a man involved in politics who teams with a gardener, their friendship blossoming. It was similar to Mr Ashby's other films in detailing relationships which seem improbable at first glance, but through which something special eventuates. The remainder of Mr Ashby's output was not as prominent as his 1970s films, variously tackling comedy subjects, SECOND-HAND HEARTS (1980), LOOKIN' TO GET OUT (1982), THE SLUGGER'S WIFE (1985), and action-drama in 8 MILLION WAYS TO DIE (1986). THE LANDLORD was Mr Ashby's directorial debut, and is one of his best motion pictures.
The story of race relations, and how a white landlord purchases a dilapidated apartment block for his own purposes, is given a joie de vivre and sense of irreverence by Mr Ashby in THE LANDLORD. Hypothetically speaking, in other hands the film may have been one where either the comedy, or dramatic elements would have been laid on too thick, but in THE LANDLORD everything is just right. Trying to work out how the director has succeeded in making the film so effectively, and affecting, is a puzzle, but it is best to enjoy the experience, and not think about it too much. The disparate elements could have rendered it as lopsided or a mishmash, but here things work in an indescribably enjoyable way. This is a feature of many of Hal Ashby's movies, whereby events and characters may seem over the top on initial impression, but as his films unreel, another layer to people and events makes itself felt. The freewheeling handling of THE LANDLORD is reminiscent of a late 1960s film, ALICE'S RESTAURANT. While that film was quite enjoyable in its choppy, disjointed manner, it does not have the depth, or emotional resonance, of THE LANDLORD. In summing up the film, it is safe to say that THE LANDLORD is one of Hal Ashby's best films, and a memorable, perceptive examination of race relations.
BOUND FOR GLORY (1976) was a change of pace for Mr Ashby, this time taking on the real-life story of folk singer Woody Guthrie, with positive critical results. Later in the decade, Mr Ashby had another artistic and commercial triumph with COMING HOME (1978). With Jane Fonda in the starring role of a woman falling for a man injured in Vietnam, her husband away in Vietnam, it was nominated for major awards, winning Oscars for Miss Fonda and Jon Voight as the man who wins her heart. One of Mr Ashby's final films of note was 1979's BEING THERE. An all-star cast including veteran Melvyn Douglas, Peter Sellers and Shirley MacLaine, it told the story of a man involved in politics who teams with a gardener, their friendship blossoming. It was similar to Mr Ashby's other films in detailing relationships which seem improbable at first glance, but through which something special eventuates. The remainder of Mr Ashby's output was not as prominent as his 1970s films, variously tackling comedy subjects, SECOND-HAND HEARTS (1980), LOOKIN' TO GET OUT (1982), THE SLUGGER'S WIFE (1985), and action-drama in 8 MILLION WAYS TO DIE (1986). THE LANDLORD was Mr Ashby's directorial debut, and is one of his best motion pictures.
The story of race relations, and how a white landlord purchases a dilapidated apartment block for his own purposes, is given a joie de vivre and sense of irreverence by Mr Ashby in THE LANDLORD. Hypothetically speaking, in other hands the film may have been one where either the comedy, or dramatic elements would have been laid on too thick, but in THE LANDLORD everything is just right. Trying to work out how the director has succeeded in making the film so effectively, and affecting, is a puzzle, but it is best to enjoy the experience, and not think about it too much. The disparate elements could have rendered it as lopsided or a mishmash, but here things work in an indescribably enjoyable way. This is a feature of many of Hal Ashby's movies, whereby events and characters may seem over the top on initial impression, but as his films unreel, another layer to people and events makes itself felt. The freewheeling handling of THE LANDLORD is reminiscent of a late 1960s film, ALICE'S RESTAURANT. While that film was quite enjoyable in its choppy, disjointed manner, it does not have the depth, or emotional resonance, of THE LANDLORD. In summing up the film, it is safe to say that THE LANDLORD is one of Hal Ashby's best films, and a memorable, perceptive examination of race relations.
Acting: The acting in THE LANDLORD is of a very high caliber, lifting the material, and making it into something exceptional. In the lead role of Elgar, the ambitious young man who purchases the run-down apartment block, Beau Bridges delivers a natural, charismatic performance. He is always a performer with a likable disposition in all his films, and it is no exception in this movie. As Elgar's mother Joyce, Lee Grant displays her versatility at playing what appears, at first, to be a dizzy socialite, but Miss Grant reveals layers of comedy and pathos which is her trademark. Miss Grant's line deliveries are always pithy and entertaining, adding allure to the film. Susan Anspach shines as Susan, Elgar's sister, displaying a zaniness not always captured on film. An actress who excelled in dramatic pieces such as her role in FIVE EASY PIECES, here her ditziness is contagious, and works very well. Apart from these actors, three other performers add great contributions to THE LANDLORD which deserve evaluation.
As Marge, the oldest tenant in the apartment block, Pearl Bailey is imperious but sympathetic, a woman of much depth. Her scenes with Elgar, and, above all, Joyce, bring out something different but special in all the actors. Diana Sands, as the passionate, earthy Fanny, was one of the best African-American film actors ever. An actress who passed away too soon, depriving the cinema of more edgy, excellent portrayals, her work here as a woman wanting to stay with her charismatic but troubled husband, but attracted to the good-looking, charming Elgar, has definite punch, and a sad subtext. As Copee, Fanny's husband, Louis Gossett Jr. brings a danger and excitement to THE LANDLORD. From his first appearance on screen with a bow and arrow, Mr Gossett knows how to push the buttons not only of the other characters but also, those of the audience, featuring in some of the film's most scary but also, saddest moments.
As Marge, the oldest tenant in the apartment block, Pearl Bailey is imperious but sympathetic, a woman of much depth. Her scenes with Elgar, and, above all, Joyce, bring out something different but special in all the actors. Diana Sands, as the passionate, earthy Fanny, was one of the best African-American film actors ever. An actress who passed away too soon, depriving the cinema of more edgy, excellent portrayals, her work here as a woman wanting to stay with her charismatic but troubled husband, but attracted to the good-looking, charming Elgar, has definite punch, and a sad subtext. As Copee, Fanny's husband, Louis Gossett Jr. brings a danger and excitement to THE LANDLORD. From his first appearance on screen with a bow and arrow, Mr Gossett knows how to push the buttons not only of the other characters but also, those of the audience, featuring in some of the film's most scary but also, saddest moments.
Soundtrack: THE LANDLORD is not overloaded with music within its running time, in common with many other 1970s films, which lends it a balance that serves it well. THE LANDLORD's soundtrack is peppered with many tunes by African-American artists which give the film an inimitable spice and life, particularly during the opening credits. Other sequences such as the chase scene with Elgar, holding a large pot, feature funky music which greatly embellishes the comic nature of what is taking place. One of the most vivid uses of diegetic music is in the dance nightclub where Lanie performs. Coupling the blaring music with Lanie dancing above the crowd, and dark lighting creates a effervescent, yet intimate atmosphere.
Mise-en-scene: THE LANDLORD has a very interesting, vivid use of locations and sets. On the one hand, there is Elgar's run-down apartment block where the majority of the action takes place. The sense of decay is evident in the shabby nature of the building, with its dark, small rooms, gothic foyer, and in the outdoor scenes with unkempt streets and litter. This can be contrasted with Elgar's family home, with elegant rooms, a clean, spacious atmosphere, and well-manicured gardens. The film clearly draws distinctions between the 'haves' and the 'have-nots' in this respect for the audience to consider.
Award-worthy performances in my opinion: Beau Bridges, Lee Grant, Susan Anspach, Diana Sands, Pearl Bailey, Louis Gossett Jr.
Award-worthy performances in my opinion: Beau Bridges, Lee Grant, Susan Anspach, Diana Sands, Pearl Bailey, Louis Gossett Jr.
Suitability for young viewers: No. Low-level coarse language, adult themes, low-level violence.
Overall Grade: A
Link: IMDB Page
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