Title: THE SWIMMER
Year of Release: 1968
Director: Frank Perry (with some assistance from Sydney Pollack)
Genre: Drama, Mystery
Synopsis: A man aims to swim in as many swimming pools as he can in a suburban town to reach his home, finding either acceptance, or antagonism, with each stop.
Within a film history context: Movies about characters reflecting upon their lives, many times searching for reasons as to why they went wrong, have been produced sporadically throughout cinematic history. The 1930s had two major examples which have held up well as motion pictures over more than eighty years since their initial release. One of the most famous was Edmund Goulding's DARK VICTORY (1939). Starring Bette Davis as a spoiled heiress whose life takes an unexpected turn, changing perceptions of herself, it was a master vehicle for Miss Davis. One of the most charming variations of this theme was GOODBYE, MR CHIPS (1939). Directed by Sam Wood, the film featured Robert Donat as a headmaster looking back on his life, and many achievements. It focused in detail on Mr Chips' teaching career and eventual marriage, and the events leading to his passing with great dignity. It is one of the most heart-warming, sentimental films of its type, providing Robert Donat and Greer Garson with excellent roles. Looking to the 1940s, further explorations of the theme were presented in cinema.
King Vidor's H.M. PULHAM, ESQ. (1941) was about a married man who reminisced about the young woman with whom he had fallen in love many years ago. An excellent example of filmmaking in a more adult, mature vein, it gave Robert Young, Ruth Hussey and, in particular, Hedy Lamarr, meaty roles. That same year, CITIZEN KANE, directed by Orson Welles, was unleashed to audiences. The magnificent tale of a man seeking love and acceptance, finding fortune, but always yearning for something he could not have, was possibly the most famous, knowing cinematic interpretation of loss ever captured on celluloid. While Mr Welles made other notable movies, nothing could ever really match his innovative, perceptive work on CITIZEN KANE. More films made in the 1940s also investigated how a protagonist's life had taken a path not desirable to them, with different results.
One of the most uplifting films about characters reflecting upon their lives, Frank Capra's IT'S A WONDERFUL LIFE (1946), a failure when first released, is now seen in a much kinder light. A man on the brink of suicide is brought to his senses by a guardian angel, making him realise certain truths about his life, and what his absence would have caused to the lives of those he loved. One of the director's best films, it is a revered Christmas classic. The British film THE PASSIONATE FRIENDS (1949), directed by David Lean, followed a similar, but contrasting narrative track. A married woman recalls the love affair she had with a man many years ago, aided by flashbacks to the past from the present for viewers to understand her feelings. An intricate, entertaining tale of romance, second chances, marriage and loyalty, Ann Todd and Trevor Howard thoroughly convincing as the ill-fated pair, with Claude Rains powerful as Miss Todd's husband. After the 1940s, several more examples of the theme appeared on film, some with increasingly downbeat endings.
Douglas Sirk's MAGNIFICENT OBSESSION (1955) was the character study of a playboy who causes angst in the life a woman, and changes his ways when he realizes what he has done through his actions. A success upon release, this story of loss, romance and redemption went down well with audiences at the time, and sealed the reputation of star Rock Hudson, and its talented director. THE GRADUATE (1967), directed by Mike Nichols, was a box-office smash of a young man whose life is seemingly set out for him, but whose dissatisfaction with this manifests itself in his relationship with a young woman. One of the first films of the 1960s to deal with youth disenchantment, it made a star of Dustin Hoffman, and gave its director leverage to make further movies.
Jerry Schatzberg's PUZZLE OF A DOWNFALL CHILD (1970) starred Faye Dunaway as a confused fashion model looking back on her life and the many mistakes she made during its course. A slightly convoluted tale, it nevertheless gave Miss Dunaway many moments to display her considerable skill, making the implausible, and sometimes lurid, ring true. THE SWIMMER had elements in common with CITIZEN KANE in the way it exhaustively analysed its central character's triumphs, and failures with panache. Where it diverted, though, was in the lack of flashbacks explaining Ned Merrill's life, preferring to follow a more episodic narrative progression.
THE SWIMMER was the emotional, heart-rending story of a man searching for his life which appears to have become awry by his own hand. Unlike PUZZLE OF A DOWNFALL CHILD, it was never heavy-handed in nature, with the fragments of Ned Merrill's life presented by the director a mixture of humorous, but also, serious moments. It is reminiscent of GOODBYE, MR CHIPS in this manner, with a jovial, charismatic tone. Where THE SWIMMER moved away from the other films in the category of reflection was that the main character, while cognizant of people and certain situations in the movie, did not seem to have an awareness of some events that had occurred. This is where the film has an intriguing sub-text missing from the other movies of its genre.
The first images of Ned Merrill appearing out of nowhere to begin his mission of swimming in the pools of his friends, and foes, bring many tantalizing thoughts to bear. Where did Ned come from at the beginning of the film? Does he remember the negative consequences of his actions that caused anger in many people when he approached them? Is he suffering from a form of memory loss, or is he consciously deluding himself? To some viewers these might appear as unanswerable questions that make the film inscrutable, and dissatisfying. The film leaves these questions open to interpretation, and these enigmas provide THE SWIMMER with an allure that only makes it more fascinating as a motion picture. A beautiful movie that makes the viewer examine their own life, and life in general, THE SWIMMER is a revelation of a film that deserves acclaim for its polished delivery, and is as relevant today as it was in 1968.
Within a film history context: Movies about characters reflecting upon their lives, many times searching for reasons as to why they went wrong, have been produced sporadically throughout cinematic history. The 1930s had two major examples which have held up well as motion pictures over more than eighty years since their initial release. One of the most famous was Edmund Goulding's DARK VICTORY (1939). Starring Bette Davis as a spoiled heiress whose life takes an unexpected turn, changing perceptions of herself, it was a master vehicle for Miss Davis. One of the most charming variations of this theme was GOODBYE, MR CHIPS (1939). Directed by Sam Wood, the film featured Robert Donat as a headmaster looking back on his life, and many achievements. It focused in detail on Mr Chips' teaching career and eventual marriage, and the events leading to his passing with great dignity. It is one of the most heart-warming, sentimental films of its type, providing Robert Donat and Greer Garson with excellent roles. Looking to the 1940s, further explorations of the theme were presented in cinema.
King Vidor's H.M. PULHAM, ESQ. (1941) was about a married man who reminisced about the young woman with whom he had fallen in love many years ago. An excellent example of filmmaking in a more adult, mature vein, it gave Robert Young, Ruth Hussey and, in particular, Hedy Lamarr, meaty roles. That same year, CITIZEN KANE, directed by Orson Welles, was unleashed to audiences. The magnificent tale of a man seeking love and acceptance, finding fortune, but always yearning for something he could not have, was possibly the most famous, knowing cinematic interpretation of loss ever captured on celluloid. While Mr Welles made other notable movies, nothing could ever really match his innovative, perceptive work on CITIZEN KANE. More films made in the 1940s also investigated how a protagonist's life had taken a path not desirable to them, with different results.
One of the most uplifting films about characters reflecting upon their lives, Frank Capra's IT'S A WONDERFUL LIFE (1946), a failure when first released, is now seen in a much kinder light. A man on the brink of suicide is brought to his senses by a guardian angel, making him realise certain truths about his life, and what his absence would have caused to the lives of those he loved. One of the director's best films, it is a revered Christmas classic. The British film THE PASSIONATE FRIENDS (1949), directed by David Lean, followed a similar, but contrasting narrative track. A married woman recalls the love affair she had with a man many years ago, aided by flashbacks to the past from the present for viewers to understand her feelings. An intricate, entertaining tale of romance, second chances, marriage and loyalty, Ann Todd and Trevor Howard thoroughly convincing as the ill-fated pair, with Claude Rains powerful as Miss Todd's husband. After the 1940s, several more examples of the theme appeared on film, some with increasingly downbeat endings.
Douglas Sirk's MAGNIFICENT OBSESSION (1955) was the character study of a playboy who causes angst in the life a woman, and changes his ways when he realizes what he has done through his actions. A success upon release, this story of loss, romance and redemption went down well with audiences at the time, and sealed the reputation of star Rock Hudson, and its talented director. THE GRADUATE (1967), directed by Mike Nichols, was a box-office smash of a young man whose life is seemingly set out for him, but whose dissatisfaction with this manifests itself in his relationship with a young woman. One of the first films of the 1960s to deal with youth disenchantment, it made a star of Dustin Hoffman, and gave its director leverage to make further movies.
Jerry Schatzberg's PUZZLE OF A DOWNFALL CHILD (1970) starred Faye Dunaway as a confused fashion model looking back on her life and the many mistakes she made during its course. A slightly convoluted tale, it nevertheless gave Miss Dunaway many moments to display her considerable skill, making the implausible, and sometimes lurid, ring true. THE SWIMMER had elements in common with CITIZEN KANE in the way it exhaustively analysed its central character's triumphs, and failures with panache. Where it diverted, though, was in the lack of flashbacks explaining Ned Merrill's life, preferring to follow a more episodic narrative progression.
THE SWIMMER was the emotional, heart-rending story of a man searching for his life which appears to have become awry by his own hand. Unlike PUZZLE OF A DOWNFALL CHILD, it was never heavy-handed in nature, with the fragments of Ned Merrill's life presented by the director a mixture of humorous, but also, serious moments. It is reminiscent of GOODBYE, MR CHIPS in this manner, with a jovial, charismatic tone. Where THE SWIMMER moved away from the other films in the category of reflection was that the main character, while cognizant of people and certain situations in the movie, did not seem to have an awareness of some events that had occurred. This is where the film has an intriguing sub-text missing from the other movies of its genre.
The first images of Ned Merrill appearing out of nowhere to begin his mission of swimming in the pools of his friends, and foes, bring many tantalizing thoughts to bear. Where did Ned come from at the beginning of the film? Does he remember the negative consequences of his actions that caused anger in many people when he approached them? Is he suffering from a form of memory loss, or is he consciously deluding himself? To some viewers these might appear as unanswerable questions that make the film inscrutable, and dissatisfying. The film leaves these questions open to interpretation, and these enigmas provide THE SWIMMER with an allure that only makes it more fascinating as a motion picture. A beautiful movie that makes the viewer examine their own life, and life in general, THE SWIMMER is a revelation of a film that deserves acclaim for its polished delivery, and is as relevant today as it was in 1968.
Overview: Frank Perry directed fourteen feature films between 1962 and his final being released in 1987. He made films which were character-driven in nature, peering deep into the psychology of his protagonists, making audiences understand situations on a more profound, fluid emotional level. His first motion picture, DAVID AND LISA (1962) was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963) which was centred around the effect of a possible nuclear attack on the students and personnel of a school. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964) and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB.
Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969) made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on an lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, it was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before they divorced in 1971, but they made one more together which was notable in film history.
DIARY OF A MAD HOUSEWIFE (1970) told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, Mr Perry took on another story of emotional torment, PLAY IT AS IT LAYS (1972). In the intense style of DAVID AND LISA and LAST SUMMER, this movie showcased Tuesday Weld as an actress who has a nervous breakdown, and surveyed for the audience what led to her stay in a mental health facility. The remainder of Mr Perry's output was varied, ranging from a western-comedy in RANCHO DELUXE (1975), to the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford. Mr Perry's final film, HELLO AGAIN (1987), was a comedy-fantasy of a woman who dies, but is reincarnated by her sister. THE SWIMMER had more in common with Frank Perry's earlier films such as LAST SUMMER than his later efforts, and is one of his best movies.
The character study of a man who aims to swim in every pool to reach his family home, at first glance, seems a strange concept for a motion picture, and something that would work on paper but not on screen. Preconceptions, though, are quickly dispelled by the director, and entire crew's, handling of the story. Based upon John Cheever's short story of the same name, THE SWIMMER is an emotional, triumphant film that hits all its targets, and where there is never a false note from beginning to end in all aspects, from acting to directing, writing, music, to cinematography. The film's linear structure could be said to contribute to its overall success as a convincing story. While some could say, though, that this structure limits the movie's scope, it neatly orders the film's events, making it easy to follow without being predictable in any manner.
THE SWIMMER flows gracefully from one set of situations to the next, without staginess, thoroughly exploring the protagonist's life through the various characters he encounters at each home, or location, he visits. With each visit the viewer gains more and more information about lead character Ned Merrill, building a profile for him, while also intriguing the viewer at the same time with the leisurely accounts of these details. There is a deft mix of humorous scenes which delve into Ned's life, and also, more heated sequences that are as telling. The viewer feels for his pain in these parts as his life mistakes are aired for him to consider and ponder, which gain momentum as the movie progresses, and point to the film's shattering climax. THE SWIMMER, in some ways, is related to Mr Perry's own movie, LAST SUMMER, in one key manner.
What makes both of these movies interesting is their metaphoric use of water. While in LAST SUMMER the youngsters play love games and cavort on the beach, and their summer of love turns into an horrific, revealing experience, exposure to the water has the effect of bringing certain truths about themselves, and their worst traits, to the forefront. THE SWIMMER is similar in that less-than-desirable truths about Ned Merrill are divulged the more he makes contact with the water, but the water here is more about discovering what went awry, trying to make compensation for acts committed, aiming to achieve a cathartic effect for Ned. Here, though, is where THE SWIMMER diverges from LAST SUMMER.
It could be said that THE SWIMMER has more of a spiritual, religious slant than LAST SUMMER, but this makes the film only the more moving, and never preachy. Realizations take place for Ned, and many of the people he encounters along his journey, which give the film a resonance, and truth that makes it all the more potent. For reasons such as these, THE SWIMMER could be said to be Frank Perry's greatest achievement, and a thoroughly powerful, memorable motion picture.
Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969) made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on an lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, it was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before they divorced in 1971, but they made one more together which was notable in film history.
DIARY OF A MAD HOUSEWIFE (1970) told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, Mr Perry took on another story of emotional torment, PLAY IT AS IT LAYS (1972). In the intense style of DAVID AND LISA and LAST SUMMER, this movie showcased Tuesday Weld as an actress who has a nervous breakdown, and surveyed for the audience what led to her stay in a mental health facility. The remainder of Mr Perry's output was varied, ranging from a western-comedy in RANCHO DELUXE (1975), to the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford. Mr Perry's final film, HELLO AGAIN (1987), was a comedy-fantasy of a woman who dies, but is reincarnated by her sister. THE SWIMMER had more in common with Frank Perry's earlier films such as LAST SUMMER than his later efforts, and is one of his best movies.
The character study of a man who aims to swim in every pool to reach his family home, at first glance, seems a strange concept for a motion picture, and something that would work on paper but not on screen. Preconceptions, though, are quickly dispelled by the director, and entire crew's, handling of the story. Based upon John Cheever's short story of the same name, THE SWIMMER is an emotional, triumphant film that hits all its targets, and where there is never a false note from beginning to end in all aspects, from acting to directing, writing, music, to cinematography. The film's linear structure could be said to contribute to its overall success as a convincing story. While some could say, though, that this structure limits the movie's scope, it neatly orders the film's events, making it easy to follow without being predictable in any manner.
THE SWIMMER flows gracefully from one set of situations to the next, without staginess, thoroughly exploring the protagonist's life through the various characters he encounters at each home, or location, he visits. With each visit the viewer gains more and more information about lead character Ned Merrill, building a profile for him, while also intriguing the viewer at the same time with the leisurely accounts of these details. There is a deft mix of humorous scenes which delve into Ned's life, and also, more heated sequences that are as telling. The viewer feels for his pain in these parts as his life mistakes are aired for him to consider and ponder, which gain momentum as the movie progresses, and point to the film's shattering climax. THE SWIMMER, in some ways, is related to Mr Perry's own movie, LAST SUMMER, in one key manner.
What makes both of these movies interesting is their metaphoric use of water. While in LAST SUMMER the youngsters play love games and cavort on the beach, and their summer of love turns into an horrific, revealing experience, exposure to the water has the effect of bringing certain truths about themselves, and their worst traits, to the forefront. THE SWIMMER is similar in that less-than-desirable truths about Ned Merrill are divulged the more he makes contact with the water, but the water here is more about discovering what went awry, trying to make compensation for acts committed, aiming to achieve a cathartic effect for Ned. Here, though, is where THE SWIMMER diverges from LAST SUMMER.
It could be said that THE SWIMMER has more of a spiritual, religious slant than LAST SUMMER, but this makes the film only the more moving, and never preachy. Realizations take place for Ned, and many of the people he encounters along his journey, which give the film a resonance, and truth that makes it all the more potent. For reasons such as these, THE SWIMMER could be said to be Frank Perry's greatest achievement, and a thoroughly powerful, memorable motion picture.
Acting: THE SWIMMER is a film where the performances raise it onto a special level. In the lead role of Ned Merrill, Burt Lancaster gives a sublime rendition of the multi-faceted Ned. Mr Lancaster's ardent and genial personality works well here, making Ned Merrill a very real, three-dimensional character. The viewer feels happiness at the friendly interactions Ned has with selected close acquaintances, and sadness at his most difficult moments. Mr Lancaster is the heart and soul of THE SWIMMER, so convincing is his acting that one begins to believe in the reality of the scenario. As Julie, a young woman who admires Ned, Janet Landgard, on the other hand, is the film's incarnation of youth, freshness, with an easygoing appeal. Julie could have been a mousy ingenue, but Miss Landgard gives her an edge which makes her more psychologically complex than first imagined. The other female performers add extra fire and sparkle to THE SWIMMER which gives depth to the proceedings.
Helen, one of the first women Ned encounters in his journey, is played with biting wit and glee by Diana Van der Vlis. Her dialogue delivery is akin to a self-satisfied Cheshire Cat which makes her small role all the more delicious, and one of the most revealing of the cameo parts in the film. Miss Van der Vlis had a resemblance to fellow actress Juliet Mills, and even sounded the same in some scenes. A more solemn, reserved female performance, that speaks volumes of Ned Merrill and his love life, is by Janice Rule as Shirley, one of the line of ladies in his life. Miss Rule always has a field day with bitchy dialogue and unrepressed emotions in her other films, but here she has that, coupled with a vulnerability that make her riveting.
In addition to the other female actresses, Diana Muldaur adds spice in a very brief role as Cynthia, another of Ned's conquests. A unique actress of beautiful appearance, she does well in the film, displaying a range of emotions from happiness, to seething rage at Ned. Another memorable, distinctive contribution is that of Cornelia Otis Skinner as Mrs Hammar. Hardly ever raising her voice, but whose icy, hard expression ensures that viewers know that she detests Ned Merrill, Miss Skinner delivers a performance that provides great insight into Ned Merrill for the viewer.
Helen, one of the first women Ned encounters in his journey, is played with biting wit and glee by Diana Van der Vlis. Her dialogue delivery is akin to a self-satisfied Cheshire Cat which makes her small role all the more delicious, and one of the most revealing of the cameo parts in the film. Miss Van der Vlis had a resemblance to fellow actress Juliet Mills, and even sounded the same in some scenes. A more solemn, reserved female performance, that speaks volumes of Ned Merrill and his love life, is by Janice Rule as Shirley, one of the line of ladies in his life. Miss Rule always has a field day with bitchy dialogue and unrepressed emotions in her other films, but here she has that, coupled with a vulnerability that make her riveting.
In addition to the other female actresses, Diana Muldaur adds spice in a very brief role as Cynthia, another of Ned's conquests. A unique actress of beautiful appearance, she does well in the film, displaying a range of emotions from happiness, to seething rage at Ned. Another memorable, distinctive contribution is that of Cornelia Otis Skinner as Mrs Hammar. Hardly ever raising her voice, but whose icy, hard expression ensures that viewers know that she detests Ned Merrill, Miss Skinner delivers a performance that provides great insight into Ned Merrill for the viewer.
Soundtrack: Marvin Hamlisch's sweeping instrumental score is superb, and the ideal accompaniment to what is taking place onscreen. Rousing when necessary in the livelier segments, and quieter in the more thoughtful scenes, it is one of the most beautiful scores ever featured in a motion picture. It also adds an emotional tone to the movie in keeping with the film's thoughtful presentation.
Mise-en-scene: The locations utilized in THE SWIMMER provide an excellent backdrop for the film, and a stunning visual experience for the viewer. The homes, backyards, and swimming pools which Burt Lancaster and the movie's cast inhabit during its running time are not only beautiful but functional, with one different from the other. In addition to this, THE SWIMMER also showcases other locations such as the public swimming pool near the film's conclusion, and scenes where Ned is in the woods with Julie. While several of these appear to have been shot in a studio, thankfully, they do not seem too artificial in retrospect, and blend in well with the other location sequences. The Technicolor stock, also, is carefully employed by cinematographer David L. Quaid, always being measured, never gaudy, but exquisite to witness.
Award-worthy performances in my opinion: Burt Lancaster, Janet Landgard, Janice Rule, Diana Van Der Vlis, Diana Muldaur, Cornelia Otis Skinner.
Award-worthy performances in my opinion: Burt Lancaster, Janet Landgard, Janice Rule, Diana Van Der Vlis, Diana Muldaur, Cornelia Otis Skinner.
Suitability for young viewers: Parental discretion advised. Adult themes, brief male nudity.
Overall Grade: A
Link: IMDB Page
Trailer
