SOMEONE TO LOVE
US, 1987, 110 minutes, Colour.
Henry Jaglom, Orson Welles, Sally Kellerman, Andrea Marcovicci, Michael Emil, Kathryn Harrold, Ronee Blakley, Monte Hellman.
Directed by Henry Jaglom.
Someone to Love is a film by Henry Jaglom - A Safe Place, Sitting Ducks, Can She Bake a Cherry Pie, Always. Jaglom is an independent writer-director who is something of a cult figure. He has his many admirers. He has even more people who dislike his films and condemn them as self-indulgent. They certainly revolve around his own personal preoccupations, even himself.
In this film he portrays Danny, a film-maker - who more than resembles Jaglom himself. He is divorced, in a relationship with Helene (Andrea Marcovicci) but she wants to remain alone. His brother Michael (Michael Emil - so humorous in many of Jaglom's films) comes from New York to Los Angeles and they discuss life and relationships. Danny gets the idea of hiring a theatre which is to be demolished as a location for a party and invites many friends, especially those with marital tensions, experiences of divorce. They meet, celebrate the party, begin to talk to one another, manifest dramatically the symptoms of their unhappiness. Eventually, Orson Welles (as himself - and he has appeared in several of Jaglom's films) arrives and sits in the back row of the theatre. He has a dialogue with Jaglom - on issues of happiness and unhappiness, on women's rights (Welles taking a very strong feminist viewpoint) and film-making because Danny has decided to film the proceedings.
Welles brings a great strength to the film - and it is interesting to see this large celebrity vigorously putting forward points of view. He appears as something of a magician as well as the elder statesman giving advice. In fact, this was Welles' last film and he has the final word of the film when Jaglom does not know how to end it. Welles calls out, `Cut,' and that is the end of the film (and in fact of Welles' career).
The film is not easy to sit through. It is very talkative - and not everybody is interested in types like Jaglom and his friends with their explorations of unhappiness (from a fairly comfortable standard of living and lifestyle).
1. The work of Henry Jaglom? Personal, idiosyncratic? His style of movie-making, on the fringe, experimental, home-movie style, improvisations? The content of his movies - his own life and preoccupations?
2. The world of Los Angeles, film-makers, business people, lifestyle, the theatre?
3. Jaglom's cinematic style, the long takes, improvisation, home movie style? The blend of artifice and the artificial? Editing? A movie on movie-making? The musical score and songs?
4. Jaglom himself in the central role, his performances in his previous films, his cast - and regulars such as Michael Emil? The importance of Orson Welles' presence? Jaglom as portraying himself - by portraying a character like him - and the character performing for a movie camera?
5. The presence of Orson Welles, his last movie: his being seen as oracular - and jocular? The wise man, the magician, the seer? The wise adviser? His views on Jaglom himself, on relationships, on love? His strong feminist views? His discussions about movie-making and their effect? His final word on film - "Cut"?
6. Jaglom as Danny, lifestyle, the meaning of his life, divorce, relationships, Helene, their talk, her wanting to be alone? Mickey's arrival, the two brothers, talking, sharing? The background of the real estate deal?
7. The idea of the party, hiring the theatre - and its being destroyed by Mickey's firm? Food and drink, the various personal quests? The reasons for inviting the guests? Setting up the cameras, creating a self-conscious and artificial tone? The talk, the various interactions? Airing views and sharing views? Conclusions and lack of conclusions? Helene and her presence, her irritation, departure? Mickey and his fast talk?
8. Themes of happiness and unhappiness in oneself, in relationships, in work?
9. Helene as alone, the compromise at the ending that there might be a possibility of resuming the relationship?
10. The portrait of Mickey, his work, New York style, experience, business?
11. The various guests and their performances: Sally Kellerman as Edith and her hysterical act? Yelena and her speech about wallowing in emotion?
12. The presence of the songwriters, their work, creativity?
13. The dynamic within the film: emotional, intellectual, performance, sharing of ideas?
14. The focus of the title - and the achievement of the film?
