THE MARRIAGE OF A YOUNG STOCKBROKER (1971)

Title: THE MARRIAGE OF A YOUNG STOCKBROKER

Year of Release: 1971

Director: Lawrence Turman

Genre: Comedy, Drama

Synopsis: A stockbroker's voyeuristic tendencies cause a wedge between him and his wife, his vocal sister in law another of the thorns in their relationship.

Within a film history context: Films which explore voyeurs, and voyeurism, can be found in cinema over the years. While many films feature fleeting voyeurism within their structures, movies that focus more intensely on the topic were present from the 1950s. One of the first to deal with voyeurism was Alfred Hitchcock's REAR WINDOW (1954). A man with a broken leg watches his neighbors through a telescope, and witnesses many and varied events. VIOLENT SATURDAY (1955), directed by Richard Fleischer, among its various stories, had a bank employee watching a woman undressing by the window in the evening. More blatant in the treatment of its themes was Michael Powell's PEEPING TOM (1960). In this movie, a psychopathic man lures women in front of a camera, and records their reactions to the impending deaths. Somewhat violent for its time, and accused of tastelessness by many, it nevertheless set a precedent for cinematic explorations of voyeurism, obsession, and murder. In a similar style, but with less of a concentration on voyeurism than PEEPING TOM, PSYCHO (1960), directed by Alfred Hitchcock, featured a scene in which Norman Bates spies on Marion Crane while she is undressing. A much more comical take on voyeurism was on show in H. Haile Chace's PARADISIO (1962). In this bawdy comedy, a professor owns sunglasses which allow him to see through the clothes of other people, with a number of consequences for the lascivious professor.  Several other films of the 1960s, and early 1970s looked at voyeurism in different ways.

BLOW-UP (1966), directed by Michelangelo Antonioni, was about a photographer who takes images of two lovers in a park, only to discover that he has inadvertently photographed a murder. Similar to REAR WINDOW in that a voyeuristic protagonist utilizes equipment to spy, and discovers something more sinister than he ever expected, BLOW-UP is one of Mr Antonioni's best-regarded films. Brian de Palma's GREETINGS (1968) had a main character, a filmmaker, Jon Rubin, with a penchant for peeping on women. This was continued by the director in his follow-up, HI, MOM! (1970), charting the further furtive adventures of his character Jon Rubin. An entirely contrasting tone was employed in CARRY ON CAMPING (1969), directed by Gerald Thomas. A small voyeuristic component was evident in the peeping by the male characters into the female changing rooms at the camping site, with hilarious results. It was the one film in the list where matters were more of a comical nature. Milton Moses Ginsberg's COMING APART (1969) had more in common with PEEPING TOM in the treatment of technology for voyeuristic purposes. A psychiatrist has a hidden camera in his home, and thus films his unsuspecting patients, capturing their innermost thoughts, and encounters with him, for his own sexual obsessions. COVER ME BABE (1970), directed by Noel Black, again uses technology, this time with a filmmaker whose voyeuristic eye films incidents such as a couple making love in a car, and others, for a film he wishes to make. THE MARRIAGE OF A YOUNG STOCKBROKER had an openly voyeuristic character as its lead, but deviated from the above examples in terms of its story.

The film, of all the above movies, is the most telling, thoughtful, and realistic of the voyeur genre. It is closest to real life, relationships, and emotions than other examples such as COMING APART and GREETINGS. In these films, the voyeurism is something that drives the narrative, but is not examined in terms of being particularly destructive to relationships, an arena in which THE MARRIAGE OF A YOUNG STOCKBROKER thrives. In THE MARRIAGE OF A YOUNG STOCKBROKER, voyeurism is treated as a problem for the characters concerned, but the film's unique handling of the matter, intermixing humorous and serious moments, gives the film both an edifying, but also, a lighter feel. It has not been intended as being a social problem picture, nor a comedy, but balances a fine line between the two in maintaining both entertainment value, and a sense of social conscience. Other features of the movie merit discussion.

In the case of THE MARRIAGE OF A YOUNG STOCKBROKER there is a nod to other films, such as the employment of a telescope in REAR WINDOW, and a camera in COMING APART, where the main characters use apparatus to view unsuspecting people. With THE MARRIAGE OF A YOUNG STOCKBROKER, though, William peers through binoculars to look at women, but, in the majority of other sequences, with just his eyes. It is a voyeurism that is out in the open for all to see, such as the bank employee's actions in VIOLENT SATURDAY, and largely not hidden from view. In addition, there is less of a sleazy subtext to William's actions than in films such as HI, MOM!, GREETINGS, PYSCHO, and COVER ME BABE. It is not voyeurism for the sake of voyeurism in THE MARRIAGE OF A YOUNG STOCKBROKER. There is more of an examination as to why William is peeping at other women, even though he is married. 

The reasons why William peeps are psychological in nature, and linked to deep-seated insecurities. Even though he is married to a sympathetic woman and has a high-paying job, he feels that something is missing, and thus indulges in this behavior. It is also revealed that this tendency began before he was married, which gives William's situation extra dimension. It is something acknowledged as occurring for some time, but William is unable to control it. Going beneath the surface of a situation is something the film does exceptionally well, and not treating the voyeurism as a gimmick. While it could be stated that the film ties up William's predicament too neatly at the end, one can witness events that make him change his view on life, such as his extramarital affair, and verbal sparring with the psychiatrist. The film's backwards and forwards plot movements provide unexpected twists and turns that make sense for the characters, giving it a true-to-life feel. The best of the movies dealing with voyeurism, THE MARRIAGE OF A YOUNG STOCKBROKER is a picture with depth, and one that justifies a higher reputation than what it has, and for its director.

Overview: Lawrence Turman is a prolific movie producer with many notable films to his credit, such as PRETTY POISON (1968) with Tuesday Weld and Anthony Perkins, I COULD GO ON SINGING (1963), starring Judy Garland, THE FLIM-FLAM MAN (1967) with George C. Scott, THE GREAT WHITE HOPE (1970), a showcase for James Earl Jones and Jane Alexander, and the box office success THE GRADUATE (1967). This film launched Dustin Hoffman's career, and was one of the pivotal movies of New Hollywood for its fresh approach to its subject of youth disenchantment. As director Mr Turman helmed two movies in his career, the second being SECOND THOUGHTS (1983), a comedy drama starring Lucie Arnaz as a woman involved in a complicated love triangle with two men. His first film, THE MARRIAGE OF A YOUNG STOCKBROKER, is the best of his two motion pictures for various reasons.

On first impression, THE MARRIAGE OF A YOUNG STOCKBROKER would appear to be a light romantic comedy, without a deep level of insight into its subject, but this is quickly dispelled once the entire movie has been seen. An adaptation of Charles Webb's novel to the screen by Lorenzo Semple Jr., it is a film that deftly balances comedic and dramatic elements with assurance, never becoming boring, but always real. The director has ensured that the action takes place in a rapid manner, but always with an attention to the feelings of his protagonists, making them understandable at all times. Mr Turman has also wisely steered away from making his main character into someone unrelatable and villainous. The viewer is with William throughout the whole film, and the best part of the film is seeing his feelings towards his life, wife, and voyeurism alter during the course of the movie. The film offers a message of hope to people whose marriages are in jeopardy that things can change for them, only if they change, will their lives improve. There are other features of the movie which warrant examination.

In an era when there was a loosening of on screen content in American movies, Mr Turman has succeeded in keeping THE MARRIAGE OF A YOUNG STOCKBROKER away from prurient and lurid aspects, which would have resulted in a much lesser movie. There is frank talk of sex, and life, which have a place in the movie, never seeming as if they are there for shock value, or the titillation factor. It is natural to the characters and their function in the narrative. The scene of adultery is handled excellently, without resorting to nudity and other tactics to draw in the viewer. In addition, the sequence at the adult film theatre is also well orchestrated and logical. While a scene from an adult movie is shown, much of it is obscured, mainly concentrating upon William's reaction to it, and what it means to him. The film does not have to go down the slippery slope of sex and nudity to make its points as it has a story, and involvement in the characters' journey takes precedence over everything else. The film is psychological in intent, and the spare, candid approach taken by the director makes it a winner. The best examination of voyeurism in film, THE MARRIAGE OF A YOUNG STOCKBROKER makes one wish that Lawrence Turman had directed further films in his career.

Acting: The trio of lead actors in THE MARRIAGE OF A YOUNG STOCKBROKER help to make it a thoroughly convincing film. In the lead role of William Alren, the stockbroker of the title, Richard Benjamin gives a mutli-faceted performance. Whether William is peeping, collecting his emotions, or battling his demons, Mr Benjamin is excellent no matter what the situation. As his wife Lisa, Joanna Shimkus provides the movie's most understated acting. This works as she is often a pawn between liberated older sister Nan and husband William, and her quiet contemplations and protests is a real contrast in the sparring and warring of Nan and William. As always, Elizabeth Ashley creates another full-blooded character in Nan, whose machinations and schemes give the film its spice and allure. An actress who knows how to make an indelible impression with her strong personality, this is a great showcase for Miss Ashley. Three supporting actors also contribute to THE MARRIAGE OF A YOUNG STOCKBROKER with their roles.

Adam West, as Nan's husband Chester, exhibits an ease and charm which makes him a delightful foil to the intrigues of Elizabeth Ashley's Nan. It would have been great to have seen even more of him in the film, but his limited appearance nevertheless has appeal. Tiffany Bolling, as the mysterious, monosyllabic woman who lures William into her apartment, is a distinctive performance that makes a definite mark. Hardly stringing together a single sentence in the time she is on screen, Miss Bolling is striking as the woman who makes William change his tune on his life, and wife. The final acting of note was by Patricia Barry as psychiatrist Dr Sadler. An actress who has a great facility with words, Miss Barry scores as the smarmy, emotionally manipulative doctor in her cameo role.

Soundtrack: Fred Karlin's pleasant score is typical of late 1960s and early 1970s filmmaking in its thoughtful, somber tone. An instrumental version of the tune 'Can It Be True' is played during the opening credits of THE MARRIAGE OF A YOUNG STOCKBROKER, and a version with lyrics performed by Linda Ronstadt at the film's conclusion. Incidental music as with many films is scattered through the movie, in scenes such as William being harangued by another driver in his car, and preparing for a peeping session on the beach some of the more prominent examples. 

Mise-en-scene: Laszlo Kovacs' cinematography is beautiful, especially highlighting the locations which the film spotlights, such as the pretty California beaches, and coastal town environs. Interior sets reflect the high socio-economic profile of its characters, with Nan and Chester's elegant mansion the standout. Costuming is naturalistic but elegant, in keeping with the characters and their distinctive personalities. Lisa's clothes are more demure than Nan's, whose apparel is more revealing, with short dresses and skimpy swimwear some of the outfits she sports, befitting her individualistic, headstrong persona.

Notable Acting Performances: Richard Benjamin, Joanna Shimkus, Elizabeth Ashley, Adam West, Tiffany Bolling, Patricia Barry.

Suitability for young viewers: No. Brief female nudity, adult themes.

Overall Grade: A

Link: IMDB Page

Trailer