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on July 7, 2017
Great movie from the 1970's. The sound track is fabulous too.Who doesn't like Cat Stevens? Ruth Gordon and Bud Cort are wonderful. Sure, some people find this movie weird, but what wasn't back in the '70's?
Shipping from MPLUSL Entertainment in Germany was faster than anticipated. Kudos to them. I got my copy in record time.
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on March 27, 2017
A GREAT MOVIE! And as Mary said in "There's Something About Mary", "It's the greatest love story of our times!"
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on May 24, 2017
Another classic that should be seen by all.
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on January 21, 2015
I first saw this movie in 2000. I have been on a quest all these many years to find it on vhs or dvd. I finally own it and am so happy.
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on July 19, 2017
all's fine. :-)
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on April 12, 2017
Great transaction/great movie
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on November 10, 2014
Harold and Maude is an old cult classic movie. The humour is both outrageous and subtle. it still works for me laugh.
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on October 29, 2002
I know people who have visited Venice and Prague and seen only the graffiti. I know people who have watched Harold and Maude and seen only an affair between a young boy and an old woman. I suspect they're the same people, and I feel for them.
I love movies. I love a lot of movies for a lot of reasons. My "top ten" probably includes about a hundred. But if I have to choose one, I can never think of one more complete, sweet, amazing or satisfying than Harold and Maude.
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on March 9, 2004
Here is a film that I just cannot get enough of, and, I fear, is grossly misunderstood by far too many people. A love story like no other, an inspired lesson in self-awareness and fearlessness in self-expression - this may fall into the "cult" department, but should be seen by all.
Unfortunately, the extreme May-December romance of Harold and Maude raises eyebrows to the point that many see only this aspect of the film - "Oh my God he slept with an 80-year-old woman oh my God" - but in actuality, this has so little to do with the film's message. It points out that love comes in all shapes and sizes, and most often when we least expect it. Also, that a friend of any age can open us to seeing the world in a new, more truthful light. Harold begins as an introverted, unhappy young man, whose only creative outlet consists of tormenting his image-obsessed, utter snob of a mother (thus forming the most hilarious visuals for the viewer). After meeting with Maude, his world rapidly opens to new discoveries, and a greater understanding of his fellow human beings. If you have any kind of heart, the final sexual union (relax, folks - we don't see the details) between Harold and Maude doesn't offend - rather, it warms the heart and soul.
The DVD offers a few treats - theatrical trailers, and, well, a great print. I feel that this is a definite must-own... it is truly an amazing film.
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on May 28, 2002
I'm puzzled as to why some people have adopted this movie as a life manifesto as it is rather a nasty piece of work. Counter culture perniciousness is never far from the surface and the death stuff is pure 'Addams Family' corn, although undeniably amusing on that level.
Someone here mentioned the curious adoption of an 'Ubermensch' philosophy by Maude reminiscent of her war time captors and I don't know whether or not it was intended ironically. Before the fall she was obviously part of the same bourgeoise. Mind you, Hitler was a bit of a pleb and skint, too. Anyway, does 'aiming above morality' mean lack of responsibility to those closest to you? Despite surely being aware of Harold's emotional vulnerability, Maude does not make her 'saturday' intentions clear to him, other than as a vague reference in passing. The expression on Ruth Gordon's face as an actress while dropping this bombshell to Harold suggests she did not truly believe in this scene or the film as a whole, which uses the smokescreen of eccentricity to excuse Maude's lack of clarity. But since she is clearly articulate on most matters, there is an ambivalence at the heart of this picture. She appears to cruelly lead him on, only to crush him with a bromide. What are we to make of all of this? Even an offbeat film needs to maintain a certain internal logic. Likewise, stealing cars that may have been needed in a life and death emergency leaves a nasty taste. If there is an epiphany here, then I cannot see it.
This lack of internal logic extends to the direction, too. Ashby has great quirky timing but there is also a curious dishonesty at work. On the first date, how could Harold have got out from under those sheets and replaced them with a dummy without the girl in the house noticing? It would have taken exceptional sleight of hand and the director doesn't convince us. Likewise the business with Harold's hand on the second date. He clearly uses his real hands for the mouth freshner but are we then expected to believe he could have somehow slipped a false hand on to his sleave (miraculously lengthened) in front of his guest? This sloppy attitude can be seen in the opening scene. The shot behind Harold's head shows the rope not touching his body. From the other side we clearly see the rope going into his shoulder to support his weight. Also, in a later scene, the motorcycle cop aiming to shoot the fleeing protaganists with a civilian clearly walking into view. Should any of this matter in what is basically a comedy of (bad) manners? I think the film wants it both ways, that is seriousness and silliness, but it doesn't think it has to try too hard. However, if you sacrifice credibility in a style of dead pan realism you will not get away with it. Perhaps someone should have reminded Mr Ashby that comedy is, in fact, a serious business.
The main compensations in 'Harold and Maude' are the little details. The motorcycle cop's trouser problem. The way various vehicles splutter into life and barely get going suggesting the vulnerability of us all in a changing world. Harold's legs in the opening scene and his petulant reaction to furniture obstructing his way. The peculiar pause when Maude asks Harold whether it's wrong to pose nude.
As a whole though, it is distinctly uneven. The 'took my head' scene does not work but the actress scene is absolutely inspired.
This is the archetypal cult movie and beggers the question as to whether films can ever be 'cult' like this again, what with the closure of 'rep' cinemas which traditionally supported these pictures and the ready avaliability of home video. Will the definition of 'cult' simply mean failure at the box office?
The picture quality is reasonable. The chief advantage is the sound which is hugely superior to my video copy.
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