CARNAL KNOWLEDGE 1971 lecinemadreams.blogspot.com/2016/12/carnal-knowledge-1971.html
“The who, the how, the why…they dish the dirt, it never ends.” Girl Talk Neal Hefti/Bobby Troup -1965 “Don’t come any closer. Don’t come any nearer. My vision of you can’t get any clearer.” Girls Talk Elvis Costello - 1979 In Mike Nichols’ Carnal Knowledge, college buddies Jonathan (Jack Nicholson) and Sandy (Art Garfunkel) engage in an awful lot of girl talk. Or, more to the point, a lot of awful talk about girls. Each weighs in on what qualities constitute the “ideal woman”; they speculate on their chances of “getting laid”; they rate women’s body parts in an effort to determine her desirability, aka worth; they rate and evaluate physical intimacies as though they are sports statistics, charting the speed of numbered bases reached (1st base, 2nd base, homerun) vs. the number of dates logged. They equate a woman’s susceptibility to their seduction ploys as evidence of her virtue: if she succumbs too easily she’s a slut, if she resists for too long, she’s a ballbuster; and they bemoan the fact that, no matter how perfect, a woman is never beautiful enough, submissive enough, or ANYTHING enough to sustain interest over an extended period of time.
Jonathan & Sandy: Amherst College, Massachusetts - Late 1940s
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The casual dehumanization serving as the sexist throughline in all of Jonathan and Sandy’s incessant girl talk is attributable, at least in part, to the callowness of youth (when introduced, both boys are virginal teens at Massachusetts’s Amherst College) and reflective of the repressed sexual mores of the American middle-class during the late-1940s (their creepy sexual banter is similar to the same kind of talk played for nostalgic/sentimental humor in Summer of '42, released the same year). However, as Carnal Knowledge follows the faultfinding Jonathan and ever-questioning Sandy through some 20 years of friendship, we come to see that neither the passage of time nor America’s evolving sexual landscape does much to alter the content, timbre, and tone of the conversations between these two perennial hard-y boys.
Older, But Not Wiser Sandy & Jonathan: New York - Early 1960s
As each fumbles and stumbles their way through dating, marriage, “shacking up,” and parenthood—with love and tenderness making only fleeting appearances, and then, more often than not, couched in erotic desire—the overall impression we’re left with is of two men who’ve approached sexual exploration not as a journey of discovery, but as a quest to have already-established ideas about women confirmed or disproved. Self-reflection and introspection play no part, for the male gaze is ever outward and always infallible. Faced with the option of uncomplicated fantasy over unpredictable reality, men who grow old without benefit of growing up invariably opt for holding onto the wish for the unattainable, unsullied, idealized dreamgirl. Proving that carnal knowledge is perhaps one of the few forms of education one can acquire without without ever learning a single thing.
Jack Nicholson as Jonathan Fuerst 2/13
Ann-Margret as Bobbie Templeton
Arthur Garfunkel as Sandy
Candice Bergen as Susan
Carnal Knowledge screenwriter Jules Feiffer (Little Murders, Popeye) conceived of his dark comedy of sexual bad manners as a stage play, but director Mike Nichols told the famed cartoonist/author/playwright that he saw it instead as a film. As such, the movie has a stylistically theatrical feel to it, both in the dominance of language (the script is sharp as a razor) and the frequently used device of making it appear as though a character is breaking through the fourth wall and speaking directly to us. The cramped framing and preponderance of close-ups makes the world of Jonathan and Sandy seem strangely underpopulated, isolated, and self-centered (in the way dreams and memories often appear to us), while at the same time feeling confessional and all-too intimate. Most distinctively, Carnal Knowledge retains a classic theatrical three-act structure which neatly divides the arrested-developmental stages of its two leads into chapters mirroring America’s shifting sexual mores. Each era designated by the significant woman in the life of 3/13
Jonathan, the film’s chief chauvinist.
It's Complicated Susan and Jonathan connect behind Sandy's back
Act I: Susan (Candice Bergen) The late 1940s * "The Kinsey Report" Alfred Kinsey 1948 Both Jonathan and Sandy fall hard for Susan, a neighboring student at Smith College who looks like the WASP dreamgirl: i.e., she superficially embodies the era-specific attributes deemed ideal for assuming the role of girlfriend, wife, and mother. But Susan is no passive male fantasy figure. She's postwar woman emergent. Straining against gender constraints and just as uncertain of how she is supposed to "be" in the uncharted territory of sex and relationships, Susan is intelligent, opinionated, ambitious, and conflicted. In short, an actual complex human being during an era when all that’s expected of her is ornamental perfection. Things between these three get messy in a hurry.
Carnal Knowledge explores how both men and women can feel pressured into engaging in sexual activity
Act II: Bobbie (Ann-Margret) Early 1960s * "The Feminine Mystique" Betty Friedan 1963 Jonathan is now an accountant of some sort, single, embittered by a string of unsatisfying relationships, and still searching for his “perfect woman” -- that ideal whittled-down by this stage to an exacting checklist of physical specifications. Sandy, now a physician, is married to Susan and lives in a passionless suburban rut he takes great pains to justify. Susan, though unseen, sounds as though she has matured into precisely the kind of vaguely dissatisfied Smith-graduate-turned-suburban-housewife Betty Friedan surveyed as the basis for her groundbreaking feminist tome The Feminine Mystique. 4/13
Although in the film 29-year-old Bobbie is an enticing older woman to 20-something Jonathan, in real life, AnnMargret (who really WAS 29) was four years younger than co-star Jack Nicholson's 33.
Into Jonathan’s life comes Bobbie, a TV commercial model who is the physical embodiment of the Playboy ideal and Jonathan’s fantasy-girl come to life. Unfortunately, since Playboy magazine failed to disclose just how one goes about living day-to-day with an individual one needs to objectify for the purpose of sexual arousal, things begin to head south for the pair rather rapidly. The pliant, none-too-bright bombshell who only wants to get married and have kids proves an easy and willing emotional punching bag for Jonathan’s aggression, scorn, and callousness.
"I wouldn't kick her out of bed!" Jonathan's favorite expression of female endorsement is realized in its most literal, ironic terms with Bobbie, the sexualized dreamgirl whose depression and willing subjugation results in her almost never getting out of bed
That the blossoming and eventual disintegration of their relationship plays out almost exclusively within the confines of their bedroom (a playroom turned prison) underscores the realization that Jonathan's and Sandy's quest to align adolescent sexual fantasy with adult reality is a task far beyond either of their capabilities. Easily the most emotionally brutal and devastating section of the film, Act II of Carnal Knowledge lays bare the battle of the sexes in a way that spares no one. As the men approach middle age, wondering whether their teen ideals will ever be realized, it becomes obvious that neither knows any more about women than they did during their days at Amherst.
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Divorced, indecisive and easily bored, Sandy finds temporary solace with Cindy (Cynthia O'Neal), a woman whose self-assurance suits his sly passive-aggressiveness
Act III: Louise (Rita Moreno) Late '60s/'70s * "The Female Eunuch" Germaine Greer 1970 The college buddies have grown older, but only chronologically. Sandy, sporting sideburns, shaggy moustache, and pot belly over his bell-bottomed jeans, has found a kind of restless peace in his midlife romance with a hippie young enough to be his daughter (Carol Kane). Jonathan, very successful, very alone, and something of a drinker (and looking uncannily like '80s-era Robert Evans), is reduced to regaling guests with a self-narrated slideshow titled “Ballbusters on Parade!” in which the sad spectacle of a lifetime of empty sexual conquests are trotted out and disparaged in escalatingly vulgar terms (sort of like the published autobiographies of Tony Curtis and Eddie Fisher).
As the film nears its conclusion, we’re left with a sense that Sandy’s endless searching (ever external, never within) might perhaps eventually lead to some level of fulfillment; after all, he at least concedes that there is a great deal about love he doesn’t know. But Jonathan, firm in the cynic’s resolve to mistake mislearned lessons for wisdom, thinks he has it all figured out. What he has gleaned from twenty-some years of acquired carnal knowledge is revealed in the memorized, methodically recited, misogynist monologue delivered by Louise, the prostitute the now-impotent Jonathan must regularly visit.
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The Misogynist's Maxim Able to achieve arousal under only the most compulsively controlled circumstances, Jonathan has Louise ritualistically recite a carefully prepared (pitiful) speech designed to reassure him of his male dominance.
If, as Mike Nichols once remarked, Carnal Knowledge is about the fact that men just don’t like women very much, I’d say the only thing surprising about that statement would be anybody attempting to refute it. Certainly not in today's world where the crude, dehumanizing sentiments attributed to Jonathan (a character whose woman-hating harangues brand him shallow and contemptible) sound eerily like what America shrugged off during this recent shitstorm of an election as appropriate “locker-room talk” from “boys” well into their sixth decade running for the highest office in the land.
Has "Boys Will Be Boys" always meant "Boys Will Be Hollowed-Out Husks of Shame & Self-Loathing"?
THE STUFF OF DREAMS My strongest memory of Carnal Knowledge when it first came out is how shrouded in secrecy it was. Beyond its provocative title and the prestige implied by the collaboration between highbrow satirist Jules Feiffer and Hollywood wunderkind Mike Nichols (his Who's Afraid of Virginia Woolf? -The Graduate winning streak took a hit with the costly flop of Catch-22), little to nothing was known about the film’s content in advance of its release. Nichols’ reputation for extracting unexpected performances from his actors made Carnal 7/13
Knowledge’s unusual cast a prime focus of interest. For who but the man who deglamorized Elizabeth Taylor to an Academy Award win would have the nerve to assemble in one film: getting-along-in-years up-and-comer Jack Nicholson; high-pitched pop-singer Art Garfunkel; beautiful but glacially aloof “actress” Candice Bergen, and, most intriguing of all, maturing sex kitten and industry punchline Ann-Margret.
After having a 1972 obscenity verdict overturned, Carnal Knowledge was re-released in 1974 with new poster artwork. In 2001 Mike Nichol's Closer recreated that ad's quadripartite portrait design
Carnal Knowledge was promoted with a minimalist ad campaign so calculatingly discreet— white text against a stark black background, the title in scarlet letters—it proved tantamount to wrapping the film in a plain brown wrapper. Imaginations ran wild as the public (essentially doing the studio’s work for them) envisioned a film of such sexual explicitness and candor, no advertising dare elaborate. I was 14 at the time and desperately wanted to see Carnal Knowledge. Imagining it to be just the kind of cerebral smut my parents would begrudgingly allow me to see (provided I namedropped a few choice critique sources like Saturday Review or The New York Times), but no such luck. My parents had active imaginations, too, and I’m afraid I underestimated the combined effect Ann-Margret and the word “carnal” would have on their faith in my adolescent maturity. Forbidden from seeing the film, I had to content myself with borrowing a copy of Feiffer’s published screenplay from the local library. I didn't get around to actually seeing Carnal Knowledge until the 1980s.
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Carnal Knowledge is not one long misandrist harangue about how terrible men can be. As J.W. Whitehead notes in the book "Mike Nichols and the Cinema of Transformation," the women are also prone to exploitation and are often subtly complicit in their objectification.
WHAT I LOVE ABOUT THIS FILM My oft-expressed fondness for movies that give vent to brutal, blistering, peel-the-wallpaper emotional pyrotechnics, places Mike Nichols Carnal Knowledge high on a list of favorite films that include: They Shoot Horses,Don’t They?, The Day of the Locust, Reflections in a Golden Eye, Last Summer, Looking for Mr. Goodbar, Maps to The Stars, Carnage, and, of course, the Nichols’ own Closer and Who’s Afraid of Virginia Woolf? Arguing that the ability to lie to oneself is the greatest special effect known to man, and that nothing is more exciting or dramatically compelling as emotional conflict; these films are my action movies, my superhero flicks, my adventure sagas, and (non) CGI thrill rides. I’m drawn to films of emotional violence because I consider physical violence is mere kid’s stuff by comparison. Americans have always found it easier to face a gun than to face themselves. These movies, when they are as honest and insightful as Carnal Knowledge, are very humane in their perspective, and bracingly insightful in their compassion. And like all good art, they have the potential to lend an air of poetry to what in real life is often merely chaos and banal cruelty.
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Never Trust Anyone Who Begins a Sentence with the Words "Believe Me" In 1971, a line of dialogue branding Jonathan contemptible and superficial. Today, likely a 3am tweet from a 70-year-old cretin.
What inspired my revisit to Carnal Knowledge is the degree to which the baby-man words and behavior of a prominent celebrity in our recent election (he is no political figure by any stretch of the imagination and his name will go unmentioned on these pages) exposed and solidified the unassailable reality that America’s misogyny (like its racism) is so systemic, deep-rooted, and essential to the perpetuation of the status quo; we as a culture actually reward men for never growing up. I agree with the assertion by Feiffer and Nichols that Carnal Knowledge is about the fact that men don't seem to like women very much; but to that I'd also add that, in the end, men clearly dislike themselves even more.
Rita Moreno as Louise
PERFORMANCES I've met young film fans who, having grown up with the Ann-Margret of Tommy, The Return of the Soldier, The Two Mrs.Grenvilles, and A Streetcar Named Desire, were more surprised by her sex-kitten past in Bye Bye Birdie and Kitten With a Whip than by her startling, careerrejuvenating turn in Carnal Knowledge. She's is indeed outstanding and gives a very moving performance every bit deserving of her 10/13
Golden Globe win and Oscar nomination; but looking at the film today, I'm more surprised that Jack Nicholson's performance escaped Academy notice. He's perhaps the oldest-looking college boy on record, but he is electric to watch and plays Jonathan with a naked complexity I can't believe many others could mine so effectively. In truth, everyone in Carnal Knowledge shines brightly, and the performances have only grown richer with the passing of time.
Carol Kane as Jennifer
THE STUFF OF FANTASY In our heteronormative culture, we've devised names for men who hate women (misogynists), and women who hate men (misandrists); but I've yet to come across a suitable word for the parallel cultural phenomenon of gay men who hate other gay men (the word homophobe doesn't cut it for me). I bring this up because, as a gay man, I only see Carnal Knowledge as being partially about the battle between the sexes.
Ken Russell's Tommy (1975) reunited Jack Nicholson and Ann-Margret 11/13
When I can listen to Jonathan and Sandy talk in degrading terms about women and associate those exact same dehumanizing phrases to experiences I've had listening to gay men talk about other gay men in locker rooms, dance studios, bars, gyms, and supermarkets; I recognize toxic masculinity is not limited to straights. While definitely one of cinema's most acerbic visions of male-female sexual politics, the ragingly heterosexual Carnal Knowledge also has a lot to say to the gay male viewer about the ways our culture teaches ALL men (gay and straight, alike) that sex, masculinity, and "maleness" has to do with dominance, objectification, and a disdain for vulnerability. But that's for another essay at another time.
BONUS MATERIAL
In 2001, Vanity Fair reunited the cast and director of Carnal Knowledge for this spectacular group portrait by photographer Annie Leibovitz
In November of 1988 at the Pasadena Playhouse in California, Jules Feiffer revived his theatrical version of Carnal Knowledge. A few excerpts from a truly jaw-dropping "Ladies' self-help book" book published in 1945 (its attitudes chillingly reflective of Carnal Knowledge's first act) titled What Men Don't Like About Women by Thomas D. Horton. Clearly the Steve Harvey of his day. YouTube: Mike Nichols talks about Carnal Knowledge: 2011 Film Society of Lincoln Center
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"You want perfection."
Copyright © Ken Anderson
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