NATALIE WOOD: WEB SITE: BOB & CAROL & TED & ALICE (1969)

BOB and CAROL and TED and ALICE (1969) Natalie Wood, Robert Culp, Elliott Gould, Dyan Cannon, Greg Mullavey, Paul Mazursky.Any film made during the "Swinging Sixties" is almost sure to look silly to us today - a plethora of "groovy man"s as well as doped-up pontifications about "letting it all hang out" and becoming one of the "beautiful people", all served up with garish camera tricks and gaudy production design. You know, "Austin Powers" but without the wink-wink knowingness. (NOTE: To see how a so-called "classic" can be killed by the passage of time - and the absence of pharmaceuticals in one's system - check out "Easy Rider". That is, if you can stand it.) On the surface, "B&C&T&A" seems to be in line with such films: it is, after all, how a quartet of middle class "squares" become indoctrinated into the hippie values of free love and "doing your own thing." However, the film uses that set-up as a means to deflate - gently and good naturedly - those very values. For, as the group becomes more uninhibited and "with it," the more goofy and ridiculous they all seem. This is particularly true of Robert Culp and Natalie Wood (Bob and Carol), as they take on the hippie philosophy full-bore and unquestionably. Casting here is impeccable: seeing the square-jawed, All-American looking Culp (then the epitome of middle-brow, as star of "I Spy") utter lines straight out of the Dennis Hopper - Peter Fonda playbook is just unutterably funny; he's got the words all right, but the music is woefully wrong. Same thing with Natalie Wood; can there be anyone more whitebread than her? The more she attempts to be "groovy" the more perfectly square she seems, particularly as Carol appears to just be parroting everything her husband says and does in adopting this new lifestyle. Quite the opposite of "liberation", wouldn't you say? Perhaps funnier, though, are Elliot Gould and Dyan Cannon as Ted and Alice, since they get to register all the (comic) shock and horror of their friends' complete abandonment of rationality. And the equally strong undercurrents of jealousy that their friends are getting to enjoy all the freedom and sexual gratification that they themselves, as good well-behaved members of society - are missing out on. Cannon's neurotic sessions with her psychiatrist - where she continually broaches, and then backs off of, what's really troubling her - provide wonderful moments of comic denial and delusion. What the film ultimately exposes is the moral vacuity of much of the hippie philosophy - that happiness and feeling good about oneself are not all there is to life, and that focusing too narrowly on them leads ultimately to emptiness. It also makes the subtle point, however, that much of what might initially have been good about hippie thought (or at least, the thoughts of those who inspired the hippies in the first place) was oversimplified and thereby corrupted when the middle class tried to incorporate it, seizing only upon those elements of it which seemed "fun" or "a turn-on" to them. Let's face it: how much of the so-called Woodstock Nation really had any deep political or philosophical commitments; most were just middle class kids turned on to the immediate buzz of easy drugs, free sex, and rebellion for its own sake. Likewise, cosmetic changes such as longer hair or listening to rock'n'roll didn't necessarily change the minds or policies of many in the power structure. As John Lennon said in 1971: "The Sixties didn't change anything. The same b***ards are in power now, it's just they've all got long hair." I don't mean to suggest that the film gets into issues like this directly; it is never less than a pleasant and even sunny comedy. But these issues in a very real way undergird the film and make it ahead of its time. Released in 1969, "Bob, Carol et al. . ." displays a jaundiced attitude about the counterculture - at least, the middle-class *embrace* of the counterculture - that wouldn't come widely into vogue until at least a decade later. Indeed, the film almost seems contemporary in its bemused and dismissive view of Sixties mores. Austin Powers fans would do well to check it out

Production Credits

Director - Paul Mazursky
Screenplay - Paul Mazursky
Screenplay - Larry Tucker
Producer - Larry Tucker
Executive Producer - Mike Frankovich
Production Manager - William J. O'Sullivan
Assistant Director - Anthony Ray
Director of Photography - Charles B. Lang
Editor - Stuart H. Pappe
Music - Quincy Jones
Cast Credits

Natalie Wood - Carol
Robert Culp - Bob
Elliott Gould - Ted
Dyan Cannon - Alice
Horst Ebersberg - Horst
Lee Bergere - Emilio
Donald F. Muhich - Psychiatrist
Noble Lee Holderread Jr. - Sean
K. T. Stevens - Phyllis
Celeste Yarnall - Susan
Lunn Borden - Cutter
Greg Mullavey - Group Leader
Andre Philippe - Oscar
Diane Berghoff - Myrna
John Halloran - Conrad
Susan Merin - Toby
Jeffrey Walker - Roger
Vicki Thal - Jane
Joyce Easton - Wendy
Howard Dayton - Howard
Alida Ihle - Alida
John Brent - Dave
Garry Goodrow - Bert
Carol O'Leary - Sue
Constance Egan - Norma
Lynn Borden - Cutter
Paul Mazursky - Screaming Man At Institute

Awards

Win

Best Screenplay - Paul Mazursky - 1969 New York Film Critics Circle

Best Screenplay - Larry Tucker - 1969 New York Film Critics Circle

Best Supporting Actress - Dyan Cannon - 1969 New York Film Critics Circle

Nomination

Best Performance by an Actress in a Motion Picture - Musical or Comedy - Dyan Cannon - 1969 Hollywood Foreign Press Association

New Star of the Year - Female - Dyan Cannon - 1969 Hollywood Foreign Press Association

Best Cinematography - Charles B. [ph] Lang - 1969 Academy of Motion Picture Arts and Sciences

Best Original Screenplay - Paul Mazursky - 1969 Academy of Motion Picture Arts and Sciences

Best Original Screenplay - Larry Tucker - 1969 Academy of Motion Picture Arts and Sciences

Best Supporting Actor - Elliott Gould - 1969 Academy of Motion Picture Arts and Sciences

Best Supporting Actress - Dyan Cannon - 1969 Academy of Motion Picture Arts and Sciences

CRITICA EN EL PERIODICO "LA VANGUARDIA" (6-5-1977)

.Del autor de <Next stop Greenwich Village> que entró en programación con escasa fortuna pese a sus merecimientos en el último festival de Cannes, una película anterior en la filmografía de Mazursky, que en su tiempo se juzgaba demasiado atrevida, tanto en un filme como en otro, Mazursky nos habla con humor de la sociedad norteamericana: En <Bob...> bajo un aspecto que hace ocho años, en la época de realización de la película, suponía una crónica de costumbres bastante picante. Hoy, la temática puede estar superada. Pero no aquí, donde la censura nos ha mantenido en una etapa de inocencia, que parecia hacernos invulnerables a los males de la sociedad permisiva. Que son los que con una ironía de buen gusto, canta Mazursky en lo que refiere a las relaciones matrimoniales e intermatrimoniales. Con <Bob and Carol and Ted and Alice> pasa Mazursky a la realización cinematográfica. Dispone de un buen guión, de una intencionalidad critíca bajo la óptica del humor y sabe sacar el máximo partido de sus interpretes, Dyan Cannon y Elliot Gould <bordan> sus papeles en compañía de Natalie Wood y Robert Culp. Una vida conyugal que pasa las fronteras de lo que hasta el momento se ha visto en la pantalla dentro de los esquemas de la familia burguesa. Pero Mazursky se apuntaba un tanto en aquellos momentos en que daba a su comedia un tono atrevido pero dejaba la sensación de que lo fundamental quedaba inamovible. En todo caso, se trataba solo de hacer comedia de la vida cotidiana en una sociedad que pretendía liberarse. Mazursky que comenzó como actor, y ha llevado a cabo una buena dirección teatral en Broadway y en la televisión, consigue una perfecta situación de los personajes en su circunstancia. Lleva el ritmo de la historia con buen pulso y atiende perfectamente al diálogo, lo que es básico en el tipo de comedia que ha pensado. La cinta era un buen principio para Mazursky que en 1974, dirigía <Harry and tonto> con la que Art Cartney obtenía el Oscar en Hollywood. <Próxima parada Greenwich Village> (1976) representa una meta más ambiciosa para el realizador norteamericano. Es un filme en el que abunda las anotaciones autobiográficas. En su primer largometraje, sin embargo, Mazursky demostraba ya su ingenio en la creación de los tipos y su dominio de las situaciones humorísticas. Angeles MASO