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Shelf Life: “Harold and Maude”

Harold and Maude

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Moving backwards through cinema history isn’t just fun, but essential for a person to develop a deeper sense of the medium: no matter how well you know the latest sci-fi opus or drama, its structure in some way, shape or form was almost invariably preceded by a similar one. Conversely, there are some movies that you just freaking love so, so much, and are lucky to discover ones came before it that could give you that same feeling, that sense of enjoyment, or yeah, a deeper appreciation of the one that made you look at it in the first place.

All of which brings us to the less conventional romantic comedies of the past two or three decades, and perhaps more specifically, the works of Wes Anderson. While I wouldn’t argue categorically that Anderson was inspired directly by folks like Hal Ashby in his films, looking back at Ashby’s work, there are indisputable similarities which, at the very least, will give you a few more films to watch if you a feeling of whimsy, magic realism, and wistfulness that all sort of commingles in a bouillabaisse of melancholy celebration. And the release of Criterion’s gorgeous new Blu-ray for “Harold and Maude” inspires another look at one of the filmmaker’s greatest works, to see not only how it may have influenced a generation of filmmakers, but whether it remains as impactful and entertaining as when it was released.


The Facts:

Released December 20, 1971, “Harold and Maude,” perhaps for obvious reasons, was not immediately embraced; its combination of pitch-black humor, off-kilter romance, and anarchic counterculturalism didn’t have quite the same zeitgeist-grabbing appeal as films like Easy Rider or The Graduate. Though the film maintains an 85 percent fresh rating on Rotten Tomatoes, it largely lives on as a cult classic – it never made much money, and most of its critical recognition came decades later, without a lot of significant attention. That said, both of the film’s stars, Bud Cort and Ruth Gordon, earned acting nominations for their performances as the title characters, and “Harold and Maude” was eventually awarded several nods from AFI, who declared it their #9 comedy of all time.


What Still Works

First of all, as a comedy it works like gangbusters. The opening scene is a small marvel of misdirection as Harold goes through the quiet a solemn process of preparing to hang himself, and there’s an odd, cathartic and sweeping sense of humor that colors everything from that point on after his mother walks in the room, acknowledges him, and then proceeds to go about her business as if he wasn’t there. From there, his dry and melancholy humor permeates the film – or at least Harold’s interactions with his mother – which we soon realize is deeper and more meaningful that the pranksterism that it initially seems like. And when Maude enters the film, her devil-may-care attitude to living constantly amuses without ever becoming too sanctimonious, empowering Harold (and the audience) rather than scolding them.

What’s most remarkable about the dynamic between the two characters, however, is how each of their approaches to life is not merely comical, it’s substantive. In Harold’s case, he explains pretty clearly why he pursues these death re-enactments and fake suicide attempts, but Maude’s motivations for a free, exuberant and delightfully reckless life are left, well, slightly more ambiguous; notwithstanding the Auschwitz ID number tattooed on her arm, she is racing to leave behind a deep-rooted and powerful pain, and celebrating the freedom she currently enjoys by constantly flirting with danger, far beyond the limits of even safe mischief-making. The moment that stands out most to me is during the police chase, where she spins her car in a circle until the cop’s motorcycle falls over and stops working: even after she’s prevailed over her pursuer, she takes a victory lap – or maybe just an unsafe extra twist of the steering wheel – that makes the audience fear that she and Harold won’t get away, but it also feels integral to literally the core of who she is.

The element which seems to resonate perhaps less today but seems still incredibly vital is the film’s dynamic between living a life of freedom and deliberate choice, and adhering to the expectations or demands of a society which has its own expectations for you. Harold desperately seeks to undermine his mother’s controlling influence, because she exists in a universe where people do certain things because they are expected, or “normal” – which feels utterly foreign to Harold. All of which is why he becomes so attracted to Maude and her lifestyle: she embraces passion – for literally everything – and lives her life according to the pursuit of something meaningful and individualistic rather than simply conventional and accepted. And it’s in the chemistry of their opposite worlds and the emotional connection they share that the film achieves its deepest resonance, feeling romantic and evocative and powerful, even if you’re typically not inclined to indulge a May-December romance.


What Doesn’t Work

At 91 minutes, the movie moves so quickly there’s nothing to trim, no superfluous gags and all of the content works either to support the comedy or the relationships – and often both. Suffice it to say this is not a weakness or shortcoming of the film, but the only thing that even theoretically could be said as a criticism is that its humor is occasionally so bleak that it becomes simply too intense – the sort of thing that one does not joke about, or some might so, anyway.


The Verdict

“Harold and Maude” is a truly beautiful film, in addition to being hilarious, and it holds up as well today as it did then – perhaps even better. There seems to be even more of an existential crisis today among young people about the vast universe of possibilities in life, and how they struggle to avoid the paralysis of indecision is imminently relatable to Harold’s efforts to escape his mother’s controlling influence. On the other hand, Maude’s fearlessness is more attractive than ever, because it never quite subscribes to a single character or personality type, nor functions in the service of judging other people for their fear.

Finally, Maude’s position as a manic pixie dream girl is the one thing that really does feel indisputable about the film, which makes it more relevant than ever, as filmmakers continue to create romances between awkward, stilted young men and free-thinkers and –doers like her who let or enable them to loosen up and appreciate life. And more than that, it’s just a beautiful romance that reminds viewers that there’s someone out there for everyone — and who doesn’t want that?

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SDCC OMG

Stan Diego Comic-Con

Stan Against Evil returns November 1st.

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Photo Credit: Erin Resnick, GIFs via Giphy

Another Comic-Con International is in the can, and multiple nerdgasms were had by all – not least of which were about the Stan Against Evil roundtable discussion. Dana, Janet and John dropped a whole lotta information on what’s to come in Season 2 and what it’s like to get covered in buckets of demon goo. Here are the highlights.

Premiere Date!

Season 2 hits the air November 1 and picks up right where things left off. Consider this your chance to seamlessly continue your Halloween binge.

Character Deets!

Most people know that Evie was written especially for Janet, but did you know that Stan is based on Dana Gould’s dad? It’s true. But that’s where the homage ends, because McGinley was taken off the leash to really build a unique character.

Happy Accidents!

Improv is apparently everything, because according to Gould the funniest material happens on the fly. We bet the writers are totally cool with it.

Exposed Roots!

If Stan fans are also into Twin Peaks and Doctor Who, that’s no accident. Both of those cult classic genre benders were front of mind when Stan was being developed.

Trailer Treasure!

Yep. A new trailer dropped. Feast your eyes.

Catch up on Stan Against Evil’s first season on the IFC app before it returns November 1st on IFC.

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Grow TFU

Adulting Like You Mean It

Commuters makes its debut on IFC's Comedy Crib.

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Jared Warner, Nick Ciavarella, and Tim Dean were once a part of Murderfist, a group of comedy writers, actors, producers, parents, and reluctant adults. Together with InstaMiniSeries’s Nikki Borges, they’re making their IFC Comedy Crib debut with the refreshingly-honest and joyfully-hilarious Commuters. The webseries follows thirtysomethings Harris and Olivia as they brave the waters of true adulthood, and it’s right on point.

Jared, Nick, Nikki and Tim were kind enough to answer a few questions about Commuters for us. Here’s a snippet of that conversation…

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IFC: How would you describe Commuters to a fancy network executive you met in an elevator?

Nick: Two 30-somethings leave the Brooklyn life behind, and move to the New Jersey suburbs in a forced attempt to “grow up.” But they soon find out they’ve got a long way to go to get to where they want to be.

IFC: How would you describe Commuters to a drunk friend of a friend you met in a bar?

Jared: It’s a show about how f*cking stupid people who think they are smart can be.

IFC: What’s your origin story? When did you all meet and how long have you been working together?

Jared: Nick, Tim, and I were all in the sketch group Murderfist since, what, like 2004? God. Anyway, Tim and Nick left the group to pursue other frivolous things, like children and careers, but we all enjoyed writing together and kept at it. We were always more interested in storytelling than sketch comedy lends itself to, which led to our webseries Jared Posts A Personal. That was a show about being in your 20s and embracing the chaos of being young in the city. Commuters is the counterpoint, i guess. Our director Adam worked at Borders (~THE PAST!!~) with Tim, came out to a Murderfist show once, and we’ve kept him imprisoned ever since.

IFC: What was the genesis of Commuters?

Tim: Jared had an idea for a series about the more realistic, less romantic aspects of being in a serious relationship.  I moved out of the city to the suburbs and Nick got engaged out in LA.   We sort of combined all of those facets and Commuters was the end result.

IFC: How would Harris describe Olivia?

Jared: Olivia is the smartest, coolest, hottest person in the world, and Harris can’t believe he gets to be with her, even though she does overreact to everything and has no chill. Like seriously, ease up. It doesn’t always have to be ‘a thing.’

IFC: How would Olivia describe Harris?

Nikki:  Harris is smart, confident with a dry sense of humor but he’s also kind of a major chicken shit…. Kind of like if Han Solo and Barney Rubble had a baby.

IFC: Why do you think the world is ready for this series?

Nikki:  I think this is the most accurate portrayal of what a modern relationship looks like. Expectations for what your life is ‘supposed to look like’ are confusing and often a let down but when you’re married to your best friend, it’s going to be ok because you will always find a way to make each other laugh.

IFC: Is the exciting life of NYC twentysomethings a sweet dream from which we all must awake, or is it a nightmare that we don’t realize is happening until it’s over?

Tim: Now that i’ve spent time living in the suburbs, helping to raise a two year old, y’all city folk have no fucking clue how great you’ve got it.

Nikki: I think of it similar to how I think about college. There’s a time and age for it to be glorious but no one wants to hang out with that 7th year senior. Luckily, NYC is so multifaceted that you can still have an exciting life here but it doesn’t have to be just what the twentysomethings are doing (thank god).

Jared: New York City is a garbage fire.

See the whole season of Commuters right now on IFC’s Comedy Crib.

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C'mon Fellas

A Man Mansplains To Men

Why Baroness von Sketch Show is a must-see.

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Mansplaining is when a man takes it upon himself to explain something to a woman that she already knows. It happens a lot, but it’s not going to happen here. Ladies, go ahead and skip to the end of this post to watch a free episode of IFC’s latest addition, Baroness von Sketch Show.

However, if you’re a man, you might actually benefit from a good mansplanation. So take a knee, lean in, and absorb the following wisdom.

No Dicks

Baroness von Sketch Show is made entirely by women, therefore this show isn’t focused on men. Can you believe it? I know what you’re thinking: how will we know when to laugh if the jokes aren’t viewed through the dusty lens of the patriarchy? Where are the thinly veiled penis jokes? Am I a bad person? In order: you will, nowhere, and yes.

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Huge Balls

Did you know that there’s more to life than poop jokes, sex jokes, body part jokes? I mean, those things are all really good things, natch, and totally edgy. But Baroness von Sketch Show does something even edgier. It holds up a brutal funhouse mirror to our everyday life. This is a bulls**t world we made, fellas.

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Oh Canada

After you watch the Canadian powerhouses of Baroness von Sketch Show and think to yourself “Dear god, this is so real” and “I’ve gotta talk about this,” do yourself a favor and think a-boot your options: Refrain from sharing your sage wisdom with any woman anywhere (believe us, she gets it). Instead, tell a fellow bro and get the mansplaining out of your system while also spreading the word about a great show.

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Dudes, that’s the deal.
Women, start reading again here:


Check out the preview episode of Baroness von Sketch Show and watch the series premiere August 2 on IFC.

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