As the film opens, Harold Chasen (Bud Cort), a 20-ish young man, is carefully walking through the study, making a little name tag, lighting a candle, and then hanging himself. His not-very-startled mother (Vivian Pickles) responds by asking him if he thinks it’s funny. A tiny smile from the apparent suicide victim indicates that yes, he does…very much so. With that scene, we begin a journey through the life experience.
Obsessed with death, Harold tools around in a hearse, and frequents funerals of people he doesn’t know. While his upper crust mother has decided it’s time for him to get married or join the military, Harold has no interest in either vocation. One day, at a funeral, Harold meets Maude Chardin (Ruth Gordon), a seventy-nine-year-old woman who loves life and believes in “trying something new every day.” She is like no senior citizen Harold has ever met. She lives life by her own rules and says what she wants to say. When she needs a ride, she steals someone’s vehicle. Almost instantly, the two form a bond that finds them attracted to one another.
Their unusual relationship doesn’t unfold like those seen in countless romantic comedies—though there is a humorous scene of intimacy with the couple blowing bubbles in bed—instead, there’s appears to be a deeply spiritual connection; one that transcends age and societal conventions. These two bring real joy to each other, and it soon becomes clear that they make the perfect couple.
While black humor is a big part of Harold and Maude, screenwriter Colin Higgins manages to interject a bit if social commentary, concerning Vietnam and other issues of the day. In perhaps the most important shot of the film, the camera lingers on Maude’s forearm for two seconds, and cuts away—what appears to be a concentration camp tattoo in full view. In that moment, Maude’s need to live life to the fullest becomes easier to understand. For Harold, a young man stuck under the thumb of his suffocating mother, Maude helps him to realize that he must shed the pessimism of his generation and create his own sense of purpose.
Baby-faced Bud Cort (22 at the time of filming), and veteran actress/screenwriter Ruth Gordon are both perfectly cast. Their acting style has a looseness that makes the movie work. Vivian Pickles is hilarious as Harold’s mother; utterly clueless as to her son’s needs. Pickles droll reactions to Harold’s antics are priceless and add to the films darkly comedic tone.
Having won an Oscar for editing In the Heat of the Night (1967), Harold and Maude was Hal Ashby’s second directorial effort. Even so, he already had a distinctive style—symmetrical compositions highlight his sight gags (see the perfectly-framed pre-Watergate portrait of Nixon in Harold’s uncle’s office), and his pokerfaced humor keeps the film from collapsing under the weight of its darker undertones.
Newly restored by Paramount, they’ve done an excellent job. Though it should be noted, those that own the 2012 Criterion Blu-ray may not need to buy this newer release. While very well rendered, Paramount’s release marks just a slight improvement over the 2012 version. This offers excellent grain reproduction and a wonderful image throughout. It’s a shame Paramount opted for a Blu-ray release since its already available to stream in 4K with Dolby Vision.
The soundtrack is English 5.1 Dolby True HD. Other options are German and French 2.0 Mono Dolby Digital. The English track offers clean and clear vocals for this dialogue heavy film. Ruth Gordon speaks hurriedly on several occasions and the dialogue never sounds muffled. The track is front heavy but environmental sounds are clear if not immersive.
While the special features can’t compare to the earlier Criterion release, there are a few:
- Audio Commentary with Larry Karazewski and Cameron Crowe
- Yusuf/Cat Stevens on Harold and Maude (HD, 5:48)
- Theatrical Trailer #1 (HD, 3:03)
- Theatrical Trailer #2 (HD, 3:03)
- Digital Code
