HAROLD AND MAUDE (1971)
In my sixth decade, my favorite film ever is BEING THERE directed by Hal Ashby. But I forgot Ashby directed HAROLD AND MAUDE, and after 6 decades I decided to view it a 2nd time.
It's a chill masterpiece, people. There's no point in saying you should see this classic because you must see this classic. Not as a slick and pro as BEING THERE, but it works just fine.
During the time between viewings I wrote some plays and a lot of screenplays. So I'm picky, okay? I only saw two things I wanted tweaked, one tiny and one big. The second one is a spoiler and so if you haven't see this nutty film see it first before reading.
The tiny one is captured in the picture above. When Maude steals the cop's bike and she says, "Get the shovel!", that's historic cinematic perfection. But I want to add to it. I hoped the cop took a shot at them, hit the shovel, Harold doesn't drop the shovel but reacts in shock -- and Maude calmly says, "He's a helluva good shot."
The big one is spoiler territory, but here we go.
In screenwriting terms, there's a giant plant in this story that never paid off: the tattoo'd number on Maude's arm, indicating she was a Jew in a Nazi concentration camp. I had totally forgotten this and it shocked me as much as Harold. But they never discuss it.
Another related screenwriting best practice is "Don't put a gun on the stage if you're not going to use it." That probably goes back to theater.
What I saw was an opportunity to alter Maude's demise. In the story she takes pills to end her life because she's reached her 80th birthday. As if she had a pact with herself.
I think it's upsetting to the audience because her newfound friend and lover might be worth staying with a little longer, right? Art house film critics could argue that she was never going to feel any happier and so why not go out on top? Sure, but it still came off as a little cruel to Harold just the same.
If we wanted to keep the 'go out on top' thing, there would be a moment where Maude would have a heart attack. Maybe after getting off a carnival carousel. Or maybe simply at a lovely sunset. Either way I'd have Harold panic and say, "What's wrong?!?" and Maude would say, "Nothing dear. We're two of a kind. I died in Auschwitz 29 years ago darling..." and she dies in his arms.
Why?
Well when he drives like a maniac? Off that cliff? And impossibly survives it? I'd have made Maude JUST like him. Able to avoid death too. And she'd be up there with him and his banjo.
A happier ending, yes, but it would have explained the tattoo and why the two of them were ghouls of a feather.
I don't need anyone to agree, but I just had to share.
