A THOUSAND CLOWNS
US, 1965, 115 Minutes, Colour.
Jason Robards, Barbara Harris, Barry Gordon, William Daniels.
Directed by Fred Coe.
A Thousand Clowns is a very engaging comedy written by Herb Gardiner who was also to write Thieves. Expanded from a very successful Broadway play, it features Jason Robards in the central role as an irresponsible but genial New York man. His encounters with his nephew and with an attractive probation officer are very enjoyable as well as causing food for thought. Filmed in black and white on New York locations, the film is really the filmed play. Martin Balsam as Robards' brother won an Oscar for best supporting actor. There was a sequel made by Tom Gries featuring Robards and Katherine Ross. It was called Fools. It was not commercially successful.
1. An entertaining film? A moral fable? Overall impact and value?
2. The significance of the titles - to whom referring? The song and its lyrics and significance? The focus on people, the focus on the circus and the clowns? Tone of joy, funniness? Humour? Was the film funny?
3. The importance of black and white photography, photography of New York - as real and authentic, its feel, look? The contribution of the collage of images at the start - people, buildings, occupations? Crowds? The artificial arrangement of people and the comment that it made? Interiors and exteriors? References to the atmosphere of New York and its places? The bike travel? New York as a character?
4. The contribution of the score: song, satiric, the use of songs, rhythms?
5. Was it evident that the film was based on a stage play? Number of characters, quality of dialogue, interaction? The way the film was opened out to make it cinematic? The importance of symbols? Murray and his kites, symbols of escape, his room itself, the boats, songs? Sandra and her files and flowers? Nick and his books, dole?
7. How was it Murray's film? Audience interest in him, identification with him? Jason Robards' style and skill in making him authentic? Making a contrived character authentic? The quality of his articulateness - real, contrived, wise? was the screenplay for him or against him, his attitudes, behaviour? Seeing people and events through his eyes? The importance of the ending for this? The initial impact of Murray? Profile, the day with Nick and all its various events, points of view, discussions? His attitudes towards people, work? The importance of shouting? His confronting people - how willing was he to be confronted? His response to Albert and Sandra? The impact of Sandra and his love for her? Talk about the boat, the ride, the night and its repercussions for him? His facing up to decisions about Nick, and avoiding them? Work, getting the suit, the job and refusing? The impact of Leo's visit on him, Nick? Arnold and the bond between the two brothers, Arnold's influence? Doing favours for his brother, putting the opposite point of view? Sandra and Albert and their effect on him? The cumulative effect of people on him? How perceptive was he? How much did he learn from his perception? The film was full of witty sayings - how humorous, cogent, wise, the points being made?
10. How free was Murray? His own ideas of freedom, behaviour and attitudes? Escaping from the artificiality of New York? His being a child? His hopes, attitude towards responsibility, to change?
11. The contrast with Nick? Murray's explanation of his background and his kindness in taking in the boy? His parents? A boy and yet very adult? The importance of his change of names? The importance of the focus on transition from childhood to adulthood? How knowing and wise was Nick? The importance of the interview with Sandra and Albert and his assessment of it, his assessment of Sandra? His contrived answers and wanting to control the situation? His response towards Leo and the emphasis that he was not a child? The bond with Murray and his gratitude towards him, love for him? The scenes of their sharing? Sentiment yet the social situation and its realities?
12. How attractive was Sandra - an academic, related to her work and its jargon, the bout with Albert and her standing up to him? Her emotional involvement in her work and her assessment of this? Her laughing and crying? The importance of the day with Murray, the night? Her hopes? The change in her life? Being a mother for Nick? Loving him? Her leaving and saying "I'm sorry"? Her return? The file, the boat? Was the screenplay in favour of Sandra's attitudes or not? Audience response to Albert and his manner, his job? Audience feeling against him? His attitude towards Sandra? The significance of his return and his long speech about himself and his job? How much did it justify his stances and himself?
13. Arnold and his role - as brother, responsible for Nick, the fruit? His work, office, jobs? The importance of his visit? The significance of his long speech and his explanation of himself? How right was he? Did the audience agree with him?
14. The TV ideas men and the satire? The various contributions to satire on the media? The audience sharing Murray's spurning of them? Satire?
15. The character of Leo - seeing him at work, statues, the routines and the children? His pleas to Murray? His being hurt? The world in which he lived a mirror of Murray's world? How well delineated was the character of Leo especially in the television world?
16. The effect of the small number of characters. the strength of the dialogue? The intensity of the interactions? Insight? The long speeches presenting the point of view of each character?
17. A thousand clowns and the humour of words, actions? Insight into the American way of life?
18. Themes of values and relationships, responsibilities. sentiment and thought. the rat-race and contemporary coping with it?
