In fashion as in history trends that were previously
forgotten return to repeat themselves once again. The old adage that ‘what once
was old is now new’ also holds true for cinema, as sequels and remakes are
routinely released as new despite their recycled themes and plots. Another way
that Hollywood makes the retro trendy is by reviving styles and genres long
since fallen out of favor. One genre that Hollywood has routinely attempted to
remarket is the screwball comedy. Due to its effervescent nature and Depression-era
origins the screwball comedy, while always entertaining is difficult to
modernize. One film, however, managed to successfully pay homage to the
screwball comedies of Hollywood’s Golden Age while adding its own modern twist;
the 1981 Arthur.
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| Nightcap anyone? |
Like many of the 1930’s comedies that inspired, Arthur follows the hijinks of a wealthy
eccentric whose unique world view is beyond the comprehension of either his
healthy family or working class friends. Unlike those earlier films which left
their protagonists’ unconventional lifestyles without motive or explanation, Arthur delves into the psyche of its
loveable oddball, making the film both a hilarious genre throwback and a
surprisingly heartfelt character study. The story begins with Arthur (Dudley
Moore) aimlessly pursuing whatever thrills he can find or buy as his best
friend and butler, Hobson (Sir John Geilgud), does his best to keep Arthur out
of trouble and Arthur’s name out of the newspapers. Conflict enters when
Arthur’s stern tycoon father (Thomas Barbour) demands that Arthur marry Susan
(Jill Eikenberry), the mousy daughter of his best friend ruthless businessman
Burt Johnson (Stephen Elliott). When Arthur refuses, his father threatens to
cut Arthur off from all family funds. Still childishly dependent upon his
family’s money, Arthur finds himself unable to fathom life beyond the family
estate and reluctantly agrees to his father’s demands, resigning himself to a
loveless marriage. Just as Susan prepares to reform her playboy fiancée,
however, fate intervenes in the form of charismatic waitress and aspiring
actress Linda Marolla (Liza Minnelli). As the wedding draws near, Arthur is
forced to choose between a hard-working but fun-loving life with Linda and the
emotionally void but financially secure life that Susan and his family offer,
and begins to grow-up in the process.
While at first glance, Arthur may appear to be a frivolous comedy, the film successfully
blends lessons about, love, family, the search for meaning and growing up
between its many laughs. Although endearingly zany until the film’s final
frame, Arthur is for much of the story a tragic character. Despite, and in
large part because of his wealth, he leads a life that is almost entirely
devoid of connection or meaning. After regular rejection by his family and
constant reminders from his fiancée of the many ways in which he needs to
change he realizes that the people who are supposed to be closest to him are
close to him in proximity only. Compounding his isolation is the fact that his
sheltered existence has left him unprepared to do anything except follow his
father’s orders. As a result, he is a mean without passion or interests beyond
the temporary thrills that his parent’ money affords him. Fully aware of the
emptiness of his lie, he self-medicates, relying upon alcohol to dull the ache
of his loneliness and distract him just long enough to maintain the illusion of
his carefree existence. Through his budding romance with the equally quirky
Linda, however, he eventually finds understanding and begins to see how
fulfilling adult relationships can be. When the father-son relationship between
Arthur and Hobson is reversed by Hobson’s failing health, he learns the value
of helping others and begins to find meaning in give back to, rather than
always taking from, his relationships. Although the script acknowledges the
necessity of money to sustain life, by the film’s finish Arthur finally
realizes that it is only by living with purpose amongst those you care about
that makes life truly worth living for.
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| You could almost swear they're related! |
Although initially criticized for playing alcoholism
for laughs, Arthur actually provides
a more realistic depiction of alcoholism, albeit from the perspective of an
alcoholic. At the film’s start, Arthur is happily engaging in inebriated
antics, leading the more entertaining and social life that alcoholics convince
themselves drinking provides. As the story continues, however, and his
addiction begins to take its toll, he becomes isolated from those around him
and begins to see how his addiction has actually added to rather than cured his
problems. Finally, it is only when personal loss gives him the courage to live
a full and sober life while he still can that he is able to regain control of
his life and earn Linda’s love. Thus, while its story ultimately ends with its
glass half-full, Arthur uses its
hero’s struggles to show the lure of addiction and its consequences.
While Arthur’s
screwball take on a Don Quixote-esque
quest for a better world is an enticing premise, the script alone could not
have made the film the enduring fan favorite that it is. The cast turn in
uniformly superb performances, with the tree central players creating
characters that remain highlights in each of their lengthy careers. Through a
unique balance of slapstick comedy and poignant emotion Dudley Moore brings
Arthur, a character that easily could have been a one-dimensional role, roaring
off of the screen and straight into audiences’ hearts. Similarly, Sir John
Geilgud rises above the stereotype of the devoted and proper butler through his
by turns caustic and emotionally resonant portrayal of Arthur’s mentor,
father-figure, and unwilling partner in shenanigans, Hobson. Liza Minnelli
completes the trio in her portrayal of the outwardly tough and sassy, but
inwardly vulnerable Linda, in a performance that is reminiscent of her
Oscar-winning work as Sally Bowels in Cabaret.
The supporting cast perfectly complement the performances of the leads with Stephen
Elliott and Geraldine Fitzgerald earning particular notice in their
side-splitting turns as Arthur’s volatile future father-in-law and saucy
grandmother.
Life, love, and the pursuit of happiness; through his
whimsical journey Arthur Bach learns the meaning of all these things and more.
Through its winning combination of comedy, romance, and life lessons, Arthur is
a film that defies both genre definitions and audience expectations. Just ‘once
around the park’ with Arthur, Hobson, and Linda and you too will be feeling a
buzz that will linger long after the final reel.
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| Laughter and tears; the formula for any lasting relationship |
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