“ADULT WITH SIDEKICK”

By Raymond Benson

Perhaps what might have been an unexpected Oscar nominee for Best Picture of 1965 was A Thousand Clowns, an adaptation of the Broadway play written by Herb Gardner (who also penned the screenplay and was nominated for his work). Fred Coe had directed the stage production, which garnered Tony nominations for Best Play, Best Featured Actor (Barry Gordon, who was around 14 at the time), and awarded Sandy Dennis a trophy for Featured Actress. Just about everyone involved in the Broadway production went on to make the film, also directed by Coe, except, oddly enough, Dennis (who was replaced by Barbara Harris, who is quite wonderful in the part). Martin Balsam is also new to the film, replacing Larry Haines, and Balsam walked away with an Oscar for Best Supporting Actor for his role as Jason Robards’ savvy brother and manager.

While Jason Robards (Jr.) as Murray Burns is the tale’s protagonist, it is indeed young Barry Gordon as Murray’s nephew, Nick, who steals the movie. Gordon went on to star in a few other films, several television series episodes and programs, and eventually served the longest as a president of the Screen Actors Guild.

The year is 1965. Murray is a comedy writer who used to work for a Soupy Sales-type children’s comic, Leo “Chuckles the Chipmunk” Herman (Gene Saks), but he quit in frustration and is enjoying life as an unemployed bum. His nephew Nick lives with him in a cluttered studio apartment in the city (Murray’s sister left Nick with Murray six years earlier and disappeared). The pair have lived together comfortably and have become a sort of adult-with-sidekick team. One day, the State Child Welfare board becomes concerned by Nick’s unusual intellectualism at school, so they send two social workers, Sandra Markowitz and Albert Amundsen (Barbara Harris and William Daniels) to investigate Nick’s living situation and interview his guardian. It does not go well. While stuffy and self-righteous Albert wants to take Nick away from Murray, Sandra sympathizes with what she views as a healthy relationship between the uncle and nephew—and she also begins a relationship with Murray. The expected crisis does come, though—and either Murray must get a job or Nick will indeed be removed.

While A Thousand Clowns is 75% comedy, there is a serious through-line about responsibility, conformity, and what it means to be “family” that elevates the picture to more meaningful fare. Coe directs the picture in the style of the French New Wave (e.g., radical editing and jump cuts), which was hot at the time but had not yet been fully embraced by Hollywood as a way to make mainstream pictures. This could be one reason why the movie was honored by the Academy at Oscar time.

Another plus with the film is the “opening up” of the play’s one-room setting by taking the characters onto the streets of mid-sixties Manhattan. This is a joy, especially for anyone who knows the city. At one point, Murray and Nick are strolling past Lincoln Center—and it’s under construction! The Metropolitan Opera building can be seen in the background covered by scaffolding and machinery. Amazing.

Kino Lorber’s new high definition restoration looks remarkably good and clear in its widescreen black and white glory. Of note is the supplemental video interview with today’s Barry Gordon, who is still recognizable as Nick, 55 years later. He provides some wonderful insights into his career as a child actor and the making of the film. The disk also includes the trailer for this and other Kino Lorber releases.

A Thousand Clowns is a slice of life, a piece of history, and a good time for anyone interested in excellent stage-to-film adaptations, fine acting, and a New York City milieu.

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