UnThe Arrangement movie review (1969)titled

The Arrangement movie review (1969)

Elia Kazan's "The Arrangement" was one of the long, boring, star-filled "serious" films that was popular in the 1950s, before we began to value style more highly than the director's good intentions. It didn't work, especially not in Kazan terms (he saw it, no doubt, as a bitter sermon about the consequences of selling). But it draws food from the excellent performances of Kirk Douglas and Faye Dunaway.

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They are the best things in film, achieving effect even when Kazan's script is the most uncomfortable. And it's an uncomfortable, awkward script, working on the obvious and ignoring the rest. Kazan considers the tragedy of a talented man (Douglas) who sold his soul to an advertising agency and then nearly killed himself trying to buy it back. His crisis comes when his employer (Dunaway) denounces him and his "value system" and causes him to re-examine his empty life and empty wife (Deborah Kerr).

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This is, indeed, exactly the story you might expect in a 1950s film; but it's not a story like Kazan's tone is wrong. He gives Douglas endless scenes of self-analysis, hysterics, guilt, guilt, disintegration. By the time she analyzes the cause of her crisis (it was her mother's fault, of course), we feel like we've been through it ourselves a time or two. This was especially the case because Kazan was jumping up and down a lot; just when we think we're getting somewhere, he slips in a flashback and we're back where we started.

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Kirk Douglas and Faye Dunaway, however, get through this confusion with so much confidence that we get involved with their characters, and the film almost succeeds. Douglas has been around for so long and made so many films (this is his 49th) that we almost forget to rate him new; however this is not "Kirk Douglas performance" but an act, finely crafted from the materials Kazan provided for him, and maintained despite the flaws Kazan has in common.

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Douglas' best scene is with Miss Dunaway, whose acting is not only on par in "Bonnie and Clyde" but is, indeed, the only good acting she's done since. The reason they fit together, I think, is because there's so much intelligence at work on the screen. When Douglas, the witty actor, plays opposite Deborah Kerr, we feel like no one is there; Miss Kerr even kept her vacancies in reserve. But Faye Dunaway interacts well and sensitively with Douglas, and the scenes involving their affair form a separate story (almost apart from the confusion of the main event) that is absorbing and real.

Even Douglas isn't quite capable of doing some hysterical scenes and wall climbing, however; Kazan seems reluctant to direct a personal confrontation at anything under a dull roar. This film ends up touching our moral feelings so much that our moral feelings tire and become defensive, and in the end we're just grateful for Faye Dunaway's beauty, and the way she doesn't raise her voice.