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send flowers to a loved one - The Loved

The Loved One

The Loved One

The funeral business gets a giant raspberry in this wickedly wacky, resplendently ridiculous farce based on Evelyn Waugh's macabre comic masterpiece and directed with inspired verve by Tony Richardson (Tom Jones). But the American way of death isn't the film's only target: sex, greed, religion and mother love are also in the crosshairs of its satirical shots. Robert Morse plays a bemused would-be poet who gets entangled with an unctuous cemetery entrepreneur (Jonathan Winters), a mom-obsessed mortician (Rod Steiger) and other bizarre characters played by such adept farceurs as John Gielgud, Robert Morley, Tab Hunter, Milton Berle, James Coburn and Liberace. If The Loved One doesn't make you laugh, call the undertaker!
DVD Features:
Featurette:Trying to Offend Everyone
Theatrical Trailer

In olden days, as Cole Porter famously observed, a mere glimpse of stocking was looked on as something shocking. So it's heartening to report that this 1965 black comedy still delivers on its billing as "the motion picture with something to offend everyone." Tony Richardson, fresh off the liberating Tom Jones, brings Evelyn Waugh's self-described "little nightmare" to the screen with all its sacrilegious shocks (and then some!) intact, courtesy of screenwriters Terry Southern (Dr. Strangelove) and Christopher Isherwood. Robert Morse stars as Dennis Barlow, an Englishman abroad and a fish out of water in Southern California. Stumbling across the Hollywood landscape like a cross between Candide and Jerry Lewis. Barlow gets a unique perspective of the American experience when he finds employment at the Happier Hunting Ground, a ramshackle pet cemetery, and the flipside of the fabulously vulgar Whispering Glades. In a virtuoso dual role, Jonathan Winters costars as glad-handing Happier Hunting Grounds proprietor Harry, whose brother, Whispering Glades' Blessed Reverend, has some out-of-this-world plans for the "Loved Ones." The mad, mad, mad mad cast also includes John Gielgud as Dennis's ill-fated expatriate uncle, an artist unceremoniously booted from the movie studio where he has worked for 31 years; Anjanette Comer as Aimee, a Whispering Glades cosmetician torn between Dennis and embalmer Mr. Joyboy (an unforgettable Rod Steiger), who registers his broken heart on the faces of his corpses; a teenage Paul Williams as a science prodigy; Liberace as a funeral salesman peddling eternal flames both "perpetual or standard"; Milton Berle and Margaret Leighton as "a typical well-adjusted American couple" whose deceased dog puts a crimp in their dinner plans; and even Jamie Farr, seen fleetingly as a waiter. The Loved One anticipates the "New Hollywood" with its naturalistic cinematography by Haskell Wexler (Medium Cool) and "anything goes" sensibility (the dinner scene with Joyboy and his obese mother would not be out of place in a John Waters movie). By turns creepy and grotesquely funny, The Loved One will bury you. --Donald Liebenson

81% (9)

Where Loved Ones Accidentally Expire, Anywhere, USA (South Dakota) - 18x24 Digital Photo Painting : Gone to Look for America - Patrick Alan Swigart

Where Loved Ones Accidentally Expire, Anywhere, USA (South Dakota) - 18x24 Digital Photo Painting : Gone to Look for America - Patrick Alan Swigart

Found: Where ever you go around this fair land, you will see reminders of the tragedy in people's lives. Crosses by the roadside universally stand for the loss of life on our highways. The broken-hearted mothers and fathers, sisters and brothers who survive these victims place simple memorials, such as this one in South Dakota, to remember these loved ones. They also serve to remind the living of the dangerousness of driving and the precarious edge between a life and a death. This cross, I believe is for someone born in 1982 who died at a young age in 2002. I lost my first son and coincidentally he was born in 1982 and died in 2000. My thought and heart went out to the parents and relatives of this young person. It is a terrible thing to lose our young ones. We fully expect to be outlived by our children. The "family of man" shares in similar experiences and feels empathy for the tragedies of others. It is knowing how we would feel if it were us that connects us to others. I never saw the accidents as a boy, but I lived across the street from a hospital on the emergency entrance. Just a block from where I lived was a gas station with an active towing concern. The cars from our town's highway accidents were placed there. Every once in a while, a new car would appear. It usually coincided with the sirens and the stretchers at the hospital which we saw. All of us kids would look into the cars down at the gas station. We saw front seats ripped asunder, steering wheels caved in by force, head-damaged windows, and crumpled remains of what had once been cars. Often they were burned. Invariably there was still blood. Truly horrifying to us kids. To think that we might be looking at a death car made it particularly haunting. When I became a driver, the awareness of traffic accidents and the diceyness of mortality stayed with me, making me, I believe, a better driver. When I see these crosses, such thoughts and feelings and connections come back to me. I believe it is so with others, too.

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send flowers to a loved one

send flowers to a loved one

The Loved One

Mr. Joyboy, an embalmer, and Aimee Thanatogenos, crematorium cosmetician, find their romance complicated by the appearance of a young English poet.

The prolific Waugh--an English novelist and satirist perhaps best known for Brideshead Revisited--described this slim, vicious comedy as "a little nightmare produced by the unaccustomed high living of a brief visit to Hollywood." The setting is the L.A. funeral industry, where Whispering Glades provides deluxe service to deceased stars and their families, and the Happier Hunting Ground does the same for dead pets. (At Whispering Glades, staff must refer to the corpses only as "Loved Ones.") The industry provides a perfect foil for Waugh's deadpan wit--and an apt metaphor for the movie business.

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