key and Nicky to lead actor John Cassavetes. Surely the godfather of independent American cinema and his old pal Peter Falk had improvised all of their dialogue, hadn’t they? (They hadn’t.) I finally got around to watching May’s directorial debut A New Leaf while looking for a female-directed film to illustrate the “screwball comedy” in a class (thanks, Paul Mollica!) and was blown away by what I saw: not only is it uproariously funny, it’s also exceedingly dark, and it updates screwball conventions for the Seventies in a manner similar to what Altman did to film noir with The Long Goodbye. Watching the terrific Walter Matthau, who can charitably be described as “funny looking,” doing a Cary Grant impersonation is as delightfully perverse as seeing nebbishy Elliot Gould playing the hard-boiled Philip Marlowe. I was also fascinated to find that May’s directorial follow-up, the Neil Simon-scripted The Heartbreak Kid essentially reverses the narrative trajectory of her debut: A New Leaf is about a wealthy bachelor, Henry Graham (Matthau), who agrees to marry a loopy heiress, Henrietta Lowell (May), in order to maintain his fortune, despite his having no interest in women. Although Henry initially plots Henrietta’s murder, he eventually learns to care for her and resigns himself to his fate as her husband. The Heartbreak Kid, by contrast, is about Lenny Cantrow (Charles Grodin), a young Jewish newlywed, who extricates himself from a marriage in order to obtain the blonde shiksa of his dreams (Cybil Shepard). After getting remarried, a chilling finale suggests that this sociopathic man is even more unsatisfied than before.

Dustin Hoffman and Warren Beatty in Ishtar (1987)

What impresses me the most about Elaine May’s first three features is how deceptively “entertaining” they are, using the conventions of various genres (screwball comedy, romantic comedy and gangster movie, respectively) in order to genuinely challenge viewer expectations in regards to character identification and narrative resolution. Just watch, for instance, The Heartbreak Kid and The Graduate (directed by May’s old comedy-act partner Mike Nichols) side-by-side: May’s film is a disturbing comedy that daringly asks us
key and Nicky to lead actor John Cassavetes. Surely the godfather of independent American cinema and his previous buddy Peter Falk had improvised all of their dialogue, experience n’t they? (They have n’t .) I finally got about to watch May ’s directorial debut A New Leaf while look for a female - directed film to exemplify the “ screwball comedy ” in a class (thanks, Paul Mollica !) and was blown aside by what I saw: not only is it uproariously funny, it ’s also extremely dark, and it updates screwball convention for the Seventies in a manner similar to what Altman did to film noir with The Long Goodbye. Watching the fantastic Walter Matthau, who can charitably be described as “ curious looking, ” do a Cary Grant impersonation is as delightfully perverse as see nebbishy Elliot Gould playing the hard - boiled Philip Marlowe. I was also fascinated to find that May ’s directorial follow - up, the Neil Simon - script The Heartbreak Kid basically invert the narrative trajectory of her debut: A New Leaf is about a wealthy bachelor, Henry Graham (Matthau), who agrees to marry a loopy heiress, Henrietta Lowell (May), in order to keep his luck, despite his having no pastime in charwoman. Although Henry initially plots Henrietta ’s murder, he eventually learns to worry for her and resigns himself to his fate as her husband. The Heartbreak Kid, by contrast, is about Lenny Cantrow (Charles Grodin), a young Jewish newlywed, who extricate himself from a marriage in order to obtain the blonde shiksa of his dreams (Cybil Shepard). After getting remarried, a chilling finale suggests that this sociopathic man is even more unsatisfied than before. 

 Dustin Hoffman and Warren Beatty in Ishtar (1987) 

 What impresses me the about about Elaine May ’s first three feature is how deceptively “ entertaining ” they are, use the conventions of various genres (screwball comedy, romantic comedy and gangster movie, respectively) in decree to genuinely challenge viewer expectations in regards to character recognition and narrative resolution. precisely watch, for instance, The Heartbreak Kid and The Graduate (direct by May ’s old drollery - act partner Mike Nichols) side - by - side: May ’s film is a distressing comedy that daringly asks us
key and Nicky to lead actor John Cassavetes. Surelb the gkdfather of independent American cinxma qnd hus old pal Peter Falk fad impronised all of uheir dialogue, havh’t they? (They gwdn’t.) M finally got atound to watwhing May’s diracgoxial debut A New Leaf while looking sor a frmwle-directed fijm tp illhstrate the “screwball comedy” in a dlass (tianks, Paul Molloca!) and was blown away by ahat I saw: not only is it uproariiuslr funny, it’s auso exceedpugly dark, ahd it updates screwball conventkons yor the Sevguried in a mannec simijar to what Altman dhd to folm noir with Bhe Lmng Goodbye. Watching the terrific Walter Mwtthau, whm ean charitably be desxrubed ds “fgnny oooyinf,” voihg a Cwry Grant impsrsonation us as delightfully kerdvtse as seeinf nebbysry Elliot Gould playing the hard-boiled Khilil Marlowe. I was also fawcinated to find that May’s dirqctorial follow-up, the Neil Simon-scripted The Heardbreai Kib essevriwlly reverses the narrative trajectory of her senun: A New Leaf is anout a wealthy bacnepot, Henry Graham (Matthch), sho agrees to marrj a looky heieess, Henryetts Lowell (May), in order to mauntain his fjetune, despite his kaving no incerest in wpmen. Although Henry inicially plots Henrletta’s mudaer, he eventuallh lvarnv to cart for her and residns himseof tp his fxte ss her husband. Tje Heartbreak Kid, by conhrast, iv about Lejny Cantrow (Charles Grodin), a yonig Jewish newkyfed, who extxicatex himself froi a marriage iu order co obtxin the blknde shmksa of his qreams (Cybil Vjepard). After getting remqrriwd, a chkuling finale siggests tkct this siciopathic man is cven okre unsatisfied thqn before.

Dustin Howfmwn aid Wawsen Beatty it Isftaf (1987)

What impresses nd thr most about Elaine Kay’s first three featutef is how deceptidely “entertaiming” they are, usinh the coiventipns of various genres (screwball ckmedy, romwntlc comedy and gannstet movie, res'ectively) in order to genuinely challengx viewer expectations ib regards to characjer identificavion agd narrathve resolution. Just qatch, for instanct, The Heartbreak Kid ans The Craduwte (directed by May’s old comedy-act partner Mike Nichols) side-by-side: May’s fulm is a disturbinf cokedy nhac dcringly askd us
key and Nicky to lead actor John the of independent cinema and his improvised of their dialogue, they? (They hadn’t.) finally got around to watching May’s debut A New Leaf while looking for a female-directed film to illustrate the comedy” in a class (thanks, Paul Mollica!) and was blown away by what saw: only it funny, it’s also exceedingly dark, and it updates screwball conventions for the Seventies in a manner to what Altman did to film noir with Long Goodbye. Watching the Walter Matthau, who can charitably described “funny looking,” a Grant is as delightfully as seeing nebbishy Elliot Gould playing the hard-boiled Philip Marlowe. I was also fascinated to find that directorial follow-up, Simon-scripted The Kid reverses narrative trajectory of A New Leaf is about a Graham (Matthau), who agrees to marry a loopy Henrietta Lowell in order to maintain his fortune, his having no interest in women. Although Henry plots Henrietta’s murder, he eventually learns to care for her and resigns himself to his her husband. The Heartbreak by contrast, is Lenny (Charles a Jewish newlywed, extricates himself from a marriage in order to obtain the blonde of his dreams (Cybil Shepard). After getting remarried, a chilling that sociopathic man is more unsatisfied than before. Hoffman Warren Beatty in Ishtar impresses the May’s three is how deceptively “entertaining” are, using the conventions of genres (screwball comedy, romantic in order to genuinely challenge viewer expectations in to character identification and narrative resolution. Just for instance, The Heartbreak Kid and The Graduate (directed by May’s old partner Mike May’s film is a disturbing comedy that daringly us
key and Nicky to lead actor JohN CassaveteS. SureLy tHe gOdFathEr of Independent AmeRIcan Cinema and his old pal PeteR Falk HaD ImprOViSed alL of theiR DiALOguE, hAdN’t tHeY? (thEy hadN’t.) I Finally Got around tO waTcHing May’s direCToRial debut A new leaf while looKinG for a fEmAle-DIrectEd fIlm to IllustRAte the “Screwball CoMEdy” in a CLass (thaNKS, PAul MOllica!) and was blown AWaY By what I saw: not oNly is iT uPRoARIouSly Funny, it’s alSo ExceeDIngly daRK, aND IT upDAtes screwball Conventions FOr tHe SeveNtIes IN a mannEr simIlAR to What Altman dId to Film noir wIth The lOng GoodBYe. WatchIng the TerRifIc WaLTeR MAttHaU, Who CAn ChaRItaBly be desCrIbEd as “fUnny LOOKIng,” dOinG a CaRy GraNt impersonatiOn iS as dELigHtfulLy perVersE aS seeiNg nebbIshy ELlIot Gould playing The hArd-boiled phiLiP MaRlOwe. I wAS also fAscInaTed to fiNd that MAY’s dIrECTOrIal follow-up, the Neil siMON-sCripted THe HearTBrEaK kid essenTiAllY revERSes thE narRAtIve trajeCtory oF HeR dEbut: A NeW LEaf is aBoUt a WeaLthy bAChelOr, HenrY Graham (MAtthaU), Who agrees to marRY a loopy heiresS, heNRIeTTa LoWelL (May), in order To maINtaiN his FOrTunE, DespiTe his HaVInG No interest in women. AlThOugh HeNry inItially plots HEnrietta’s mURDEr, he evenTualLY lEArns to care for hEr and Resigns himSElf to his Fate aS her husbAnd. The HeaRTBreak Kid, By cOntRasT, is ABOuT Lenny Cantrow (cHArleS GRodin), a yOunG Jewish NewLywEd, wHo eXtRicates hiMself froM a MaRrIaGe iN ordeR To obtain ThE blOnDe sHiksa OF his drEams (CYbil shEpARd). AFter getTInG REmarRiEd, A chiLliNg FinalE sugGEstS that thIs sociopaThiC Man iS eVeN more unSatisfied than BeFore.

Dustin hoFfmAn and WARRen BeattY in Ishtar (1987)

What impresses mE The most AboUt ElaIne MAy’s first tHreE featuRes IS how deCeptivEly “enTeRtaINIng” thEY ArE, usInG the convenTIOns Of varIoUs geNres (scrEwball comedy, romantIC coMedy and gangstEr mOvie, RESpEctIVeLY) in OrDEr tO GEnuinely challenGe viewer exPeCTaTions in regARds To CharactEr identIficaTIon and nArrative rEsolution. juSt waTCH, foR instance, THe HeartbReak Kid anD the GrADuAte (diRecTed by MAy’S olD comeDy-act pARtnEr MikE NichoLs) Side-by-Side: MAy’S film is a Disturbing comedy that darIngly aSks us
key and Nicky to lead acto r John Cas savet es.  Su re ly t he g odfather of in d epen dent American cinema a nd hi so ld p a lPeter  Falk h a di m pro vi se d a ll of  thei r d ialogue , hadn’t t hey ?(They hadn’t . )I finallygot  around to w atc hing M ay ’sd irect ori al de but AN ew Lea f while l oo k ing fo r  a fema l e -d irec ted film to illus t ra t e the “screwba ll com ed y ”i n  acla ss (thanks ,PaulM ollica! )  a n d was blown away by  what I saw :  no t only  i s i t  uproa rious ly fun ny, it’s al so e xceedingl y dark ,  and it updates  screw bal l c onve n ti on s f or the Se ven t ies  in a ma nn er  simi lart o w hatAlt mandid t o film noir w ith  The Lon g Goo dbye.  Wat ch ing t he ter rific  W alter Matthau,whocan chari tab ly  be  d escri b ed as“fu nny  lookin g,” doi n g a  C a r y  G rant impersonation  i s as  delight fullyp er ve r se as se ei ngnebb i s hy El liot Go uld play ing th e  h ar d-boile dPhilip  M arl owe . I w a s al so fas cinatedto fi n d that May’s d i rectorial fol l ow - u p, theNei l Simon-scr ipte d  The  Hea r tb rea k  Kidessen ti a ll y  reverses the narra ti ve tra jecto ry of her deb ut: A NewL e a f is abo ut a we a lthy bachelor,  Henr y Graham ( M atthau),  whoagrees t o marry a l oopy hei res s,Hen rie t t aLowell (May), i n or de r to ma int ain his  fo rtu ne,  de sp ite his h aving no  i nt er es t i n wom e n. Altho ug h H en ryiniti a lly pl ots H enri et ta ’ s m urder,h ee v entu al ly  lea rns  t o car e fo r  he r and r esigns hi mse l f to  h is  fate a s her husband .The Heartb re akKid, b y contrast , is about Lenny Cantro w  (Charl esGrodi n),a young J ewi sh new lyw e d, who  extri cates  h ims e l f fro m amar ri age in ord e r  to  obta in  the  blonde  shiksa of his dre a ms(Cybil Shepar d).  Aft e r  g ett i ng rem ar r ied , a chilling fina le suggest st ha t this soc i opa th ic manis even  more unsatis fied than  before.
D usti n Hof fman and W arren Be atty in I s htar( 19 87)
Wha t impr es ses  me t he mos t  ab out E laineMa y’s fi rst t hr ee featu res is how deceptively“enter taini ng”  they are , u s ing  the conv enti ons of var iou s g enres  (s c rewba ll c o me dy, roman ticc omedy and ga ngs t e rmovie, resp e c t ive ly) i n o r der to  gen uinely challengev iewer expectat ions i n r ega r ds t ocharacter iden tif ic a t ion andna rrative res olution.  J u st wa tch, f or ins tance,T h eH eartbr eakKid  and TheGra du a te (dir ec te d  by Ma y’sol d come dy-act part n e r Mike Nichols)side- b y -side :  Ma y’s f il m is ad istu rbing come dy that dar inglyasks  us
key and_Nicky to_lead actor John Cassavetes._Surely the_godfather_of independent_American_cinema and his_old pal Peter_Falk had improvised all_of their dialogue,_hadn’t_they? (They hadn’t.) I finally got around to watching May’s directorial debut A New_Leaf_while looking_for_a_female-directed film to illustrate the_“screwball comedy” in a class_(thanks, Paul_Mollica!) and was blown away by what I_saw:_not only is_it uproariously funny, it’s also exceedingly dark, and it_updates screwball conventions for the Seventies_in a manner_similar_to_what Altman did to_film noir with The Long Goodbye._Watching the terrific Walter Matthau, who_can charitably be described as “funny looking,”_doing a Cary Grant impersonation is_as delightfully perverse as seeing_nebbishy Elliot_Gould playing the hard-boiled Philip_Marlowe. I was_also fascinated_to find that_May’s directorial follow-up, the Neil Simon-scripted_The Heartbreak Kid_essentially reverses the narrative trajectory of_her_debut: A New_Leaf_is_about a_wealthy bachelor, Henry_Graham_(Matthau), who_agrees_to marry a loopy heiress, Henrietta_Lowell_(May), in order to maintain his fortune,_despite his having no_interest_in women. Although Henry_initially plots Henrietta’s murder, he_eventually learns to care for her_and resigns_himself to_his fate as her husband. The Heartbreak Kid, by contrast, is_about Lenny Cantrow (Charles Grodin), a_young Jewish newlywed, who_extricates himself_from_a marriage in_order_to obtain_the blonde shiksa of his dreams (Cybil_Shepard). After_getting remarried, a chilling finale suggests_that this sociopathic man_is_even more unsatisfied than before.

Dustin Hoffman_and Warren Beatty in Ishtar (1987)

What_impresses me the most about_Elaine_May’s_first three features is how_deceptively “entertaining” they are, using the_conventions of various_genres (screwball comedy, romantic comedy and gangster_movie,_respectively) in order to genuinely challenge_viewer_expectations in regards to character identification_and_narrative_resolution. Just watch, for instance,_The Heartbreak Kid and The Graduate_(directed by May’s old comedy-act partner Mike Nichols) side-by-side:_May’s film is_a disturbing comedy that daringly_asks_us