CARNAL KNOWLEDGE
(directed by Mike Nichols, 1971)
***** (out of 5)
.
> I remembered this sharp satire of male sexuality as a classic comedy, a judgement that was verified not more than a minute or two into the opening credits.
. There is nothing special about the sequence- just white lettering on a black background. It’s the soundtrack that announces the brilliance to come. Before you even see: “Directed by Mike Nichols”, the dialogue you are hearing tells you everything about the next 90 minutes: that you are about to see a painfully funny film that veers a little too close to reality for comfort. That brilliant, witty, effortlessly revealing dialogue was written by the great Jules Feiffer, and it hits the bullseye again and again and again, in a savage take-down of institutionalized misogyny, machismo, and gender entitlement.
. That first conversation we eavesdrop on, is between Art Garfunkle as ‘Sandy’ and Jack Nicholson as his best friend ‘Jonathan’. They are two college roommates coming of age together in the late 40’s. (Unconvincingly, because both actors are too old.) They are candidly discussing their frustrated male urges, and the exchange is hilarious- in a very painful way. Ouch, that stings!
. The film unfolds in three parts, with large gaps of time between. The first act introduces Candace Bergen as ‘Susan’, the fetching virgin one marries and the other woos. Oh yes, there is betrayal here, and jealousy and devotion and disillusionment and every other shade of human experience that can be ignited by the male/female dynamic. Along the way, the breezy recklessness of act one gives way to the sad dysfunction of the third act, and the comedy reveals itself as a kind of tragedy- a very black comedy in any case.
. Sandy is a sweet schlub, understandably transfixed by ravishing blonde Susan. But his mate Johnathan is a snake, oozing sticky charm meant to ensnare any ripe young coed who may cross his path with his irresistible swaggering braggadocio. The man’s a skirt chaser alright, and in addition to that curve-revealing cardigan, Susan is wearing a skirt. Jonathan is the proverbial male dog- an animal that thinks with its dick and uses its head to scout out places to put it.
. But all this may just be about to change in part two, when he meets older sexpot ‘Bobbie’, played with or without clothing by a stunning Ann-Margaret. Jonathan decides that for the first time in his life, his habitual lust has given way to love, and as much as he cringes at the thought, he begins his first stab at monogamy- a journey that like it or not, may lead him down the aisle with the woman he both loves and hates, for her emotional neediness. (And she is a mess. A beautiful mess!)
. In part three, Sandy is feeling stuck in a comfortable but boring marriage that makes him restless to cross over to Jonathan’s side of the street, and take a mistress if he can. Things come to a head in a horrible and perfect scene where Jonathan shows Sandy and his much younger date ‘Jennifer” (a silent, disapproving Carol Kane), a slideshow he calls “Ball-busters on Parade”, featuring all the women he’s bedded in his carnal career. (Was that a quick glimpse of Susan? How’d that get in there?) Hopeless. The man is a hopeless beast. Is Jules Feiffer saying men are like ultra-horny zebras, completely unable to change their stripes? And it all leads to that notorious scene with Jonathan entertaining his usual prostitute (a savvy, roleplaying Rita Moreno), that landed the film in hot water with the law. It’s not nearly as graphic as it seemed to me as an impressionable youth, but it’s clear what’s going on: Successful but lonely Jonathan has been so emasculated by his own warped sexuality that he can’t get excited anymore unless his partner is constantly reassuring him that he is a strong, powerful, desirable, macho man. Is CARNAL KNOWLEDGE a cynical film? Ya think?
. All these accomplished actors absolutely shine in every scene. Nicholson is as good as he’s ever been, but the real revelation here is Art Garfunkle. He keeps up with the great iconic scenery-chewer in every frame, beautifully embodying the insecure American male, struggling to navigate the swiftly changing cultural landscape of the battleground between the sexes once women’s lib hits. He’s trying to be more evolved, (what we now would call “woke”), but the persistent old boy’s network sets a very bad example. Ann-Margaret is spectacular here, well-deserving of the Oscar nomination here fierce, naked performance earned. (My own inner male animal was awakened by Ann-Margaret when I was only about 7-years old, when I saw her at the beginning of BYE BYE BIRDIE, lying on her bed singing while shimmying into a pair of sheer pantyhose. Good gracious, young Kevin!)
– CARNAL KNOWLEDGE hurts like hell, but that’s genius for you.
*
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