THE GROUP

THE GROUP (1963). Director: Sidney Lumet. 

"Who'da thunk it?" -- various.

"Sacrifice is dated. You don't reform a man. They just drag you down." -- Dottie.

In 1933 a group of women friends graduate from Vassar. The first to get married is Kay (Joanna Pettet), whose husband is a philandering playwright named Harald (Larry Hagman) whose mistress, Norine (Carrie Nye), also went to Vassar (but is not part of the group). Helena (Kathleen Widdoes) is the one who sends out a newsletter detailing the activities of the others. Priss (Elizabeth Hartman of The Beguiled) gets married to a controlling doctor, while Dottie (Joan Hackett) disillusioned by her first lover (Richard Mulligan), marries a much older man. Although she seems man-hungry, the bitchy Libby (Jessica Walter) reveals that she's a virgin when one suitor tries to assault her. Lakey (Candice Bergen) turns out to be a committed lesbian who comes back from Europe with a German baroness in tow. Polly (Shirley Knight) dallies with a married publisher (Hal Holbrook) before uniting with a doctor (James Broderick) who befriends her somewhat unusual father (Robert Emhardt). Pokey (Mary Robin-Redd) is a friendly and plump gal who seems a bit on the fringes of the group.  As the years go by the women interact, have babies, divorces, break-ups and react to world events such as communism and Hitler. Then one of their lives takes a decided and tragic turn for the worse. 

Lidia Prochnicka as the baroness with Bergen 

The Group is an interesting if very talky movie with some well-drawn characters and excellent performances. In the early scenes, of course, the actors all seem too old for their parts, but that isn't a problem in the later sequences. You expect -- and get -- memorable  performances from such as Joan Hackett, Jessica Walter (although perhaps a bit too arch and brittle at times), Kathleen Widdoes, and Hartman, but there's also good work from Candice Bergen and excellent work from Joanna Pettet, who is essentially the main character and is on top of things every step of the way. 

Bill Fletcher (seated) with some of the ladies

Larry Hagman has some good moments, as do the other fellows, with Broderick perhaps getting the most time on screen. Doreen Lang (of The Birds) makes a highly sympathetic nurse in one sequence. Bill Fletcher makes an impression as a rude actor who takes on Harald at a party. Sidney Buchman's screenplay seems to be fairly faithful to the novel (judging by a synopsis) while Sidney Lumet's direction covers the action competently but isn't especially inspired. There are no wipes, dissolves or other segues in the movie and nothing whatsoever to denote the passage of time, although there is period atmosphere. The ladies all had many credits after this film, with Bergen, Hackett, Knight, and Walter having the highest profiles. Kathleen Widdoes did work on the soaps. 

Verdict: If you can take all the cute nicknames -- what, no "Pukey?" -- this is an absorbing film with some fine performances. ***.  

THE MEPHISTO WALTZ

THE MEPHISTO WALTZ (1971). Director: Paul Wendkos.

Based on a novel by Fred Mustard Stewart, this was one of a slew of big-studio supernatural films that were released in the wake of Rosemary's Baby. Miles, a journalist (Alan Alda) is given a chance to interview the reclusive pianist genius Duncan Ely (Curt Jurgens), who remarks upon Alda's hands as being “the hands of a great pianist.” After Ely's death, Alda, who inherits most of the man's fortune, himself becomes a great pianist while Alda's wife, Jacqueline Bisset, develops the perhaps not-so-paranoid delusion that Ely, a Satan worshiper, is inhabiting her husband's body. But what is she going to do about it? The idea is terrific, but the execution is mediocre and much of the acting insufficient; the film hasn't a single outstanding sequence and isn't memorable. Alda from Mash isn't bad as the journalist Miles, and Jurgens is at once authentically sinister and charming. Bradford Dillman, Kathleen Widdoes, and Pamelyn Ferdin also appear, the last as the young couple's likable doomed daughter. Barbara Parkins plays Jurgens' daughter/lover. Jerry Goldsmith's score is a bit too loud and jangling, although it makes good use of Lizst's fascinating piece "The Mephisto Waltz."

Verdict: Not so hot. **.