KnotMissPriceless Why so much hype?

Cleveronix A different way of telling a story

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

SimonJack When comedy movies are dated, they often appear much less funny to people in later years. Such is the case with "The Loved One." It retains the satire of the film with its three to four targets. The main spoof is of the funeral business in California. A huge industry had grown up around it by the 1940s. That's the part of the comedy that is most dated and that is time worn. But the satire of British high society living in America, of Hollywood, and of America, as epitomized in and by Californians, are still funny decades later. One wonders about change over time. As technical progress continues to shrink the world, the distinctions of cultures and societies fade and disappear. The human race seems pointed toward a universal sameness. Should we reach that point, the distinctions that for generations have been the source of much interest, investigation, comedy and humor will be gone. Who would want to live in such a bland state? Anyway, this film is based on a very clever satire by British author, Evelyn Waugh. He wrote "The Loved One" after a 1947 trip California. He stayed a time in Hollywood to discuss the possible filming of his 1945 book, "Brideshead Revisited."The plot itself is the funniest thing about this film. Numerous actors of note appear, from cameos to major roles. Robert Morse is the main character around whom the story unravels, but his role has very little real comedy. Jonathan Winters has the major comedy lead, playing two roles as Wilbur and Harry Glenworthy. His businesslike portrayal of Wilbur is somewhat funny. But the best humor in the film comes from Rod Steiger as Mr. Joyboy. In this wildly different comedy character, Steiger shows why he is one of the great actors of the 20th century. This isn't loud laughter comedy, but the kind that elicits chuckles. Robert Morley provides the last bit of humor. John Gielgud has a significant role but the humor is long past worn out. He is Sir Francis Hinsley, uncle to Morse's Dennis Barlow. Various cameos range from a little funny to ho-hum. Dana Andrews, Milton Berle, James Coburn, Tab Hunter, Margaret Leighton, Roddy McDowall, Barbara Nichols, Lionel Stander, and Liberace are among the better-known names of the past. This movie was promoted as having something to offend everyone. I don't know that it quite achieved that even in 1965, but even legitimate mortuaries today shouldn't be offended. The film did have some dark aspects, and crudity in places. Those are still evident as such. Some may enjoy the film in the early 21st century. But many others may find its two hours too slow, or its entertainment rather lame. Here are some favorite lines. See the Quotes section under this IMDb movie page for more humorous dialog.Sir Francis Hinsley, "The people here are so kind and generous. They talk entirely for their own pleasure. And they never expect you to listen. Just remember that, dear boy - the secret of social success in this country." Sir Francis Hinsley, pointing out an actor to Dennis, "He usually plays prime ministers or butlers."Wilbur Glenworthy, "There's got to be a way to get those stiffs off my property."

winters_day After reading the loved one not once but twice in a week I knew I had to see this movie. I had to order it from the US because I couldn't find it here in Australia. I was looking forward to seeing the movie and it didn't disappoint. My version is in black and white but that does not bother me. The movie differs slightly from the novel but I think the deviations are in the spirit of the book. The standout performances were Rod Steiger as Mr Joyboy, Anjanette Comer as Aimee and the one and only Liberace as a coffin salesman. I also have to give an honourable mention to the young actor who plays the science geek. This film could be remade today but you would have to choose the cast very carefully. If you love the book, I think you will love this film too. Enjoyed it so much now one of my favourites.

MartinHafer I must admit that for a while during this film, I wasn't very impressed. However, the longer it went, the weirder and more offensive it became---and I really liked that! Back in 1965, it was seen as very sick and offensive. However, given societal changes, it's only a bit sick and offensive today...and well worth your time.The film begins with Dennis (Robert Morse) moving from England to Los Angeles. He moves in with his uncle (John Gieldgud) and this part of the film and its look into Hollywood didn't particularly interest me--especially since I had heard about how wacky the film was. But, when the uncle kills himself, Morse is taken into the world of the funeral industry....and then it gets mega-strange. You are taken into the bizarre world of some ultra-fancy cemetery run by a very odd reverend (Jonathan Winters). Then, Morse gets a job at a pet cemetery--and it gets stranger. I could tell you a lot more about all this, but think you just need to see it for yourself. Be sure to look for some very odd and funny cameos--particularly Liberace as a coffin salesman and a great bit with Milton Berle. I also loved the lady with the suckling pig--again, you need to see it for yourself.The film works because it is very outrageous and silly. It also works because so much of the humor is very dry and underplayed--with folks reacting pretty normally when insane things happen all around them. I think the best thing to say about the film was said by my youngest daughter when she said "This is really funny for an old movie"! Clever and sick...and a lot of fun.

Lechuguilla Maybe in its time this film was provocative and entertaining. The decade of the 1960s was known for its cinematic audacity and spunk, descriptions befitting the film's underlying concept. But what seems daring and futuristic today can look stunningly grotesque when the future actually arrives. And forty years after it was made, "The Loved One" just seems ... bizarre.We're led to believe that the film lampoons the funeral and burial industry. And part of the film's first half does just that. Here, humor derives partly from dialogue, especially as it relates to burial terminology. Our casket salesman, Mr. Starker (Liberace), explains to the film's protagonist: "I can give you our eternal flame in either perpetual eternal or standard eternal". Then he asks: "propane or butane, Mr. Barlow?" Marvelous. And part of the humor is visual, as we watch the finicky embalmer, Mr. Joyboy (Rod Steiger), trying out various expressions on the loved one's face.But the funeral and burial industry satire consumes less than half of the film's two-hour runtime. The rest of the plot is a mishmash of assorted gags, skits, and pranks, strictly tangential to the stated concept. You get the feeling that the script was written by a committee. Some of this plot tangle derives from too many celebrity cameos. These actors (James Coburn, Milton Berle, Tab Hunter, and many others) appear in a scene or two, then vanish, to be replaced later by others, none of whom are essential to the plot.Probably the best elements of the film are its B&W cinematography and the production design. Outdoor scenes at Whispering Glades are visually lush. And the interior is interestingly ornate, although far more Gothic than any funeral home I've ever been in.The film's casting and acting for major roles get mixed grades from me. Robert Morse as the protagonist, Sir John Gielgud as his uncle, and Rod Steiger as the embalmer are all fine. But as much as I like Jonathan Winters, his performance here, for whatever reason, just does not work; I found it grating and annoying.If I had seen this film when it first came out, I might have had a more favorable impression of it. And, to repeat, it does have a certain charm, if only sporadic. But so much has happened in the last forty years, and there's been so many changes in America's culture, "The Loved One", for all its intended courage and boldness in 1965, now seems, for the most part, just puerile and pointless.