Year of Release: 1979
Director: Hal Ashby
Starring: Peter Sellers, Shirley MacLaine, Melvyn Douglas, Jack Warden, Richard Dysart, Richard Basehart, Ruth Attaway, David Clennon, Fran Brill
Genre: Comedy, Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:
Celebrated director Hal Ashby, who had a string of successful films, both critically and commercially, during the 70s (including "Coming Home" and "Shampoo"), capped that decade with the well received "Being There" which premiered at the end of 1979 and went on to win (and be nominated for) a series of awards during the following year. The film follows the story of Chance, a gardener, whose whole life has been spent in his employer's estate, and whose daily chores are centered around watching television and taking care of the garden. Chance doesn't know how to read and write and is very unaware of the way of the world. When his employer passes away, he resumes his life, up until a team of attorneys appears at the house, and informs him he must get out. Chance doesn't know where to go, and finds himself on the streets of Washington DC, perplexed by everything and everyone. He is accidentally hit by the car of Eve Rand, who decides to bring him home to her estate, where her elderly husband lives in permanent care (due to flailing health). Both Eve and Ben, her husband, assume Chance's name is Chauncey Gardiner, and are dazzled by what they think are his metaphors and ways to interpret reality and the challenges that come from it.
Hal Ashby films were always interesting character studies of individuals at odds with reality. Either politically aware, or coming from hardened social backgrounds, or in this case, from a sheltered and secluded existence. The film plays out like a fable, one where Chance is the representation of the lost innocence, someone who's pure at heart, and who views the world through television, but who isn't part of the world. A so-called savior, who is also someone untouched by the darkness of the world and of the most vile human behaviors. A lot of this of course has some parallels with Robert Zemeckis' "Forrest Gump", but while in that film the main character was sufficiently self aware to understand his short comings, Chance is almost completely oblivious to what surrounds him (and his effect on others). It's an interesting premise, even if not an entirely accomplished one. The performances from the supporting cast are enticing and heartfelt, particularly Shirley MacLaine and Melvyn Douglas, a couple separated in age, but not in disposition or even in love/affection for each other. Peter Sellers' Chance is portrayed flatly, emotionless, and almost robotic. It's a curious interpretation and performance for what innocence is suppose to be and behave like. It's an interesting film, even if not totally accomplished in what it sets out to unmask and reveal.
Hal Ashby films were always interesting character studies of individuals at odds with reality. Either politically aware, or coming from hardened social backgrounds, or in this case, from a sheltered and secluded existence. The film plays out like a fable, one where Chance is the representation of the lost innocence, someone who's pure at heart, and who views the world through television, but who isn't part of the world. A so-called savior, who is also someone untouched by the darkness of the world and of the most vile human behaviors. A lot of this of course has some parallels with Robert Zemeckis' "Forrest Gump", but while in that film the main character was sufficiently self aware to understand his short comings, Chance is almost completely oblivious to what surrounds him (and his effect on others). It's an interesting premise, even if not an entirely accomplished one. The performances from the supporting cast are enticing and heartfelt, particularly Shirley MacLaine and Melvyn Douglas, a couple separated in age, but not in disposition or even in love/affection for each other. Peter Sellers' Chance is portrayed flatly, emotionless, and almost robotic. It's a curious interpretation and performance for what innocence is suppose to be and behave like. It's an interesting film, even if not totally accomplished in what it sets out to unmask and reveal.
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