A love story that's anything but ordinary
Witnessing one's innermost thoughts and emotions in a film is a truly transformative experience, and that’s exactly how I felt when I first watched “Harold and Maude”. Back in my college days, when I was eager to embrace everything life had to offer, I saw my hopes, fears, and aspirations vividly brought to life on screen by the unlikely pairing of a twenty-year-old man and a seventy-nine-year-old woman. As such, this dark comedy — meditating on life, death, and the art of truly living — became a wellspring of inspiration, urging me to experience life to its fullest. It remains my go-to film whenever I need a motivational boost, as it always delivers a joyous, moving, and profound experience.
I’m not the only one who reveres this offbeat comedy, for “Harold and Maude” routinely appears on All-Time Greatest Movies lists, including # 4 on Entertainment Weekly’s “Top 50 Cult Films of All-Time”, # 20 on Forbes’ 2024 list of the “Greatest Cult Classics of All-Time”, and the American Film Institute (AFI) chose it as the 9th Greatest Romantic Comedy, the 45th Funniest, the 69th Greatest Love Story, and the 89th Most Inspirational Film of All-Time – just to name a few rankings. And this film gets better and deeper every time you watch it.
For those who’ve never seen “Harold and Maude” and would like to be completely surprised by it, you might want to watch it before reading on, for there’s no way to talk about the film without spoiling some of its surprises. That said, as always, I’ll refrain from giving away major plot points except in the TO READ AFTER VIEWING section. If you choose to stop reading, now’s the time. Just resume with the next paragraph after you’ve seen the film.
“Harold and Maude” follows “Harold Parker Chasen”, a young man who lives in an opulent mansion with his haughty, ultra-rich, and very controlling mother, “Mrs. Chasen”. The somewhat withdrawn, rather morbid “Harold” is obsessed with death and has a penchant for attending funerals. At these funerals, he meets the seventy-nine year old life-affirming “Dame Marjorie Chardin”, who also loves funerals, occasionally steals cars, lives in a converted train car, and calls herself “Maude”.
“Harold” and “Maude” form an unexpected bond as “Maude’s" zest for life and genuine empathy for its ups and downs begin to influence “Harold” (and us). Gradually, he sheds his inhibitions and starts embracing life for the first time. As “Maude” wisely advises him, “Try something new each day, after all, we’re given life to find it out”. Over time, their friendship deepens, blossoming into a profound and heartfelt love.
Unaware of “Maude” and her influence, “Mrs. Chasen” decides it's time to rein in the undisciplined “Harold”, telling him, "You have led a very carefree, idle, happy life up to the present. The life of a child. But it is time now to put away childish things and take on adult responsibilities”. Determined to whip him into shape, she sends him to therapy, insists he get married, arranges computer dates for him, and even forces him to engage with his war-mad military uncle, “General Victor Ball".
Amid all this chaos emerges a darkly humorous, unconventional love story that defies societal norms. With its irreverent wit, profound life lessons, engaging direction, avant-garde humor, indelible performances, and stellar soundtrack featuring songs by Cat Stevens, “Harold and Maude” challenges traditional notions of romance, aging, and mortality. Ultimately, the film transforms into a whimsically quirky celebration of life. It's a magnificent and unique piece of cinema.
They say timing is everything, and the free spirited “Harold and Maude” came at the beginning of what is now known as the American New Wave. With the recent end of the Motion Picture Production Code (see my posts on “Red Dust” and “Who’s Afraid of Virginia Woolf?” for more on that) and the nearly dissolved Hollywood Studio System, what began to emerge in American movies at the end of the 1960s and the early 1970s were films that broke boundaries, reinventing the rules of Hollywood movies (which you can read more about in my post on “Bonnie and Clyde” – just click on the title to open the post).
These films felt like intimate declarations from their writers and directors, embracing bold, mature themes that delved into the lives of outsiders and the pervasive sense of societal alienation. Even though they were studio-produced, they carried the spirit of independent cinema. As former Paramount executive Peter Bart remarked in the book “Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N' Roll Generation Saved Hollywood”: “To me, ‘Harold and Maude’ was a symbol of that era. It would have been unthinkable in the 80’s or 90’s. In those days [late ‘60s] people would walk in wacked out, with the most mind-bending, innovative, and brilliant ideas for movies”.
After successful test screenings, Paramount (the studio behind "Harold and Maude") thought they had a hit on their hands. So when their major release of the year, "The Godfather", wasn’t ready in time for its scheduled wide Christmas release, they decided to put the low-budget "Harold and Maude" in its place, albeit with little fanfare or marketing. Posters minimized the romance between a young man and an older woman, and the film received mixed to poor reviews (Variety's review notoriously opened with: “‘Harold and Maude’ has all the fun and gaiety of a burning orphanage”). As a result, "Harold and Maude" pretty much bombed at the box office.
Yet in various cities around the world (like Baltimore, Paris, Montreal, and Boston), “Harold and Maude” was a hit, with record-breaking runs in Detroit and Minneapolis (where it played for three consecutive years). Paramount re-released it in 1979, and again in 1983, and the film finally made a profit. It quickly developed a cult following, becoming one of cinema’s first “cult movies” (non-mainstream films that have a devoted audience who love and watch them over and over). It is now a certified cult classic.
The vision for “Harold and Maude" originated with its writer and producer, Colin Higgins. An Australian-American film student at UCLA in need of cash, Higgins lived with Hollywood producers Edward and Mildred Lewis in exchange for serving as their pool boy and part-time chauffeur. He'd drive their daughter to school, and during these drives would share details about his projects, including his graduate thesis — a twenty-minute short film titled “Harold and Maude”. The daughter passed the film treatment along to her mother, who instantly recognized its potential and believed it deserved to be more than just a student project. She had her husband review it, he loved it and presented it to Paramount Studios, who then optioned it for a feature film.
Paramount initially hired Higgins to write and direct “Harold and Maude”, and the script became his first screenplay. He shot test footage as a director which Paramount didn't like, leading to Higgins being replaced by Hal Ashby as director. Ashby, however, ensured that Higgins remained on set as a producer, using the opportunity to teach Higgins the ins and outs of filmmaking. Once the film opened, Higgins adapted “Harold and Maude” into a novel before going to Paris, where he wrote a stage version (adapted into French by Jean-Claude Carrière) that became a huge hit, eventually being performed in over 70 countries, including a brief run on Broadway with Janet Gaynor as “Maude”. Higgins then briefly wrote for TV before penning his second screenplay, the 1976 hit “Silver Streak”, which earned him enough clout to direct his first feature, 1978’s “Foul Play”, which he also wrote. He went on to write and direct two more films, 1980's “9 to 5” and 1982's “The Best Little Whorehouse in Texas”, and briefly wrote for television until his untimely death. Openly gay, Colin Higgins died in 1988 at the age of 47 due to AIDS-related complications.
Assigning Hal Ashby to direct proved an inspired choice, which Higgins acknowledged as quoted in the documentary "Celebrating Laughter, the Life and Films of Colin Higgins": “Hal was the perfect director for [‘Harold and Maude’]. He found nuances in the script I did not realize were there, and elevated the material considerably”. Ashby introduced creative changes, shifted the setting to the San Francisco area, had “Maude” reside in a converted train car, and gave “Harold” a hearse to drive. His distinctive direction infuses the film with an irresistible quirkiness, evident in its shocking opening scene (which I remember being taken aback at when I first saw it) and in moments like the reveal of a body floating in a swimming pool while “Mrs. Chasen” does the breaststroke.
Ashby excelled at capturing the nuances and complexities of human emotions in genuine, empathetic, and simple ways. After “Maude” introduces “Harold” to music and gives him a banjo, Ashby shows us a gorgeously composed shot of “Harold” playing the banjo in his backyard. It’s a powerful and emotional way to underscore “Maude’s” growing influence. Ashby was also known for getting top performances from his actors, also evident in this film.
The highly innovative Ashby adds countless small details that may go unnoticed but give the film a rich and quirky personality (such as having “Harold” down a soda while getting his car washed, having “Maude” randomly sneeze when we first see her, or always dressing “Harold” identically to his therapist). The film is a masterwork in tone — not an easy thing to accomplish or sustain. Ashby also makes a cameo in the film, as the man with the glasses, long hair and beard in the arcade watching the toy train set.
Part of what made Hal Ashby such a phenomenal director was that he previously worked as an editor for over a decade, where he learned extraordinary ways to cinematically tell stories. After rough beginnings (dropping out of high school, discovering his father’s body after his suicide at the age of twelve, and being married and divorced by the age of eighteen), Utah-born Hal Ashby eventually made his way to Hollywood in the early 1950s. After working a variety of jobs, he began an apprenticeship as assistant editor with editor Robert Swink (who edited many William Wyler films).
Nearly a decade later, Ashby became a full-fledged editor beginning with 1965's "The Loved One", followed by "The Cincinnati Kid", "The Russian Are Coming, the Russians Are Coming" (which earned him a Best Editing Oscar nomination), "In the Heat of the Night" (which won him a Best Editing Oscar), and "The Thomas Crown Affair". Regarded as one of Hollywood’s top editors, he made his directorial debut in 1970 with “The Landlord”, a film about gentrification, which showcased Ashby's gift with dark comedy and incisively tackling social commentary. The film didn’t originally do well but is now considered a classic. “Harold and Maude” came next.
What followed was perhaps unprecedented, for Ashby directed five more masterpieces in a row through 1979, making him one of the preeminent directors of the 1970s. Those films are "The Last Detail", "Shampoo", "Bound for Glory", "Coming Home" (earning Ashby his only Best Director Oscar nomination), and "Being There” (another of my favorite films). His 1970’s films were all visually compelling, profoundly moving, and culturally significant, and earned a total of twenty-four Academy Award nominations, collectively taking home seven Oscars ("Harold and Maude" was the only one not to earn an Oscar nomination). After “Being There”, he became reclusive, and in the 1980s his career took a nosedive. He directed six more films, mediocre-at-best, ending with 1986's "8 Million Ways to Die". Ashby had been among the first to adopt a hippy-type bohemian lifestyle and was an avid pot smoker, and in the 1980s, had reportedly moved on to stronger drugs and become unemployable. To save his career, he cut his hair, shaved his beard, and stopped using drugs, but could only find work on television. He was married and divorced five times. In 1988, Hal Ashby died of cancer at the age of 59. You can read a bit more about the great Ashby in my post on “In the Heat of the Night”. Be sure to check it out.
Ashby had been listening to songs by singer-songwriter Cat Stevens while making “Harold and Maude”, so he sent Stevens the script, asked for permission to use them and if he'd write some new ones. Stevens loved the script and complied, writing and recorded demos of two new songs, "Don't Be Shy" and "If You Want to Sing Out, Sing Out”, intending to record full versions if they were approved. Ashby loved them and because of time restraints, used the demos in the film, much to Stevens’ chagrin. But the purity of them is so personal, they work perfectly.
Stevens’ songs are peppered all throughout “Harold and Maude” (including songs from his albums "Mona Bone Jakon" and "Tea for the Tillerman”), flawlessly woven into the film with the perfect length and emotional impact, adding a spot-on energy. They bring a quality that goes beyond words, whether adding poignancy to a simple car ride, unabashed bliss to dancing and rolling down hills, or loneliness to a dramatic hospital visit. Along with 1967’s “The Graduate”, it’s arguably the best use of pop songs ever in a movie.
London-born Cat Stevens, also known as Yusuf Islam, has recorded around two dozen albums under both names, and won many awards including induction into the Rock and Roll Hall of Fame, a Best Folk Album Grammy nomination, and the Man of Peace Award in 2004 for his humanitarian work. His songs have appeared in hundreds of films and TV shows. As of this writing, Yusuf (or Cat Stevens) is 76 years old. Stevens is said to appear in a cameo in "Harold and Maude" as the man with the beard standing in front of "Maude" at the outdoor funeral, but it's not been confirmed it’s him.
A big reason “Harold and Maude” remains so memorable is Ruth Gordon’s powerhouse performance as “Dame Marjorie ‘Maude’ Chardin”, better known as “Maude”. The seventy-nine year old “Maude" is an eccentric, free-spirited symbol of a fully lived life, and Gordon infuses the role with maximum gusto, including the expressive way she uses her hands and dynamic body language. What begins as a portrait of a quirky, spirited old woman, gradually reveals profound layers of complexity. Whether she’s delivering unexpected philosophical insights on life’s impermanence, coquettishly asking “Harold" about the acceptability of nudity, or offering a deeply touching, multilayered monologue about her umbrella, Gordon’s genuine passion transforms the film into a true celebration of life. Her performance is, without a doubt, one for the ages.
When Paramount sent Gordon the script and offered her the role, she flipped over it. In her memoir "My Side”, she recalled telling her husband: “Nobody could play it but me! It’s a terrific part, she’s fantastic, big acting scenes, deep and moving, then funny, and I sing a song and dance. Talk about vitality, it leaps off the page, and she’s eighty! Who could play it but me?”. However, Ashby wasn’t initially convinced. Much to Gordon’s dismay (since she had the part when Higgins was to direct), Ashby auditioned several other actresses, including Edith Evans, Mildred Natwick, Gladys Cooper, and Peggy Ashcroft.
Irked that she too had to audition, Ashby ultimately cast Gordon. Thank heavens he did, for her unforgettable performance earned her a Best Actress Golden Globe nomination, cemented her as an icon, and made her the preeminent eccentric older women in films of that era. Interestingly, Gordon didn’t know how to drive, so when “Maude” is seen behind the wheel, the car was being towed. A stunt driver took her place in long shots
Massachusetts-born Ruth Gordon wanted to be an actress at an early age, and even though she never fit in, was considered too short and not attractive, she had ample ambition to follow her heart. As she told Tom Cottle in a 1983 TV interview, "I started with nothing. No looks, no money, no position, didn't know anybody, no pull, no nothing”. She moved to New York City at seventeen and studied at the American Academy of Dramatic Arts. The following year, she appeared as an extra in three 1915 silent films and made her Broadway debut in a revival of "Peter Pan" as one of the "Lost Boys". Her next Broadway show was 1918's "Seventeen", where she played opposite actor Gregory Kelly. She and Kelly fell in love, married, worked on Broadway, toured in shows, started their own repertory company, and according to Gordon, Kelly taught her everything about acting. Tired of playing what she called "darling nitwit" roles, the bowlegged Gordon had her legs broken and reset to make her looks more suitable for leading lady roles. She had a breakthrough playing a dramatic role on Broadway in 1927's "Saturday's Children", which showed her versatility and turned her into a respected actress. Kelly died of a heart attack that same year.
Gordon quickly became a major Broadway star, starring in productions that include "Ethan Frome", "The Country Wife", "A Doll's House", and a 1942 revival of Anton Chekhov's "Three Sisters" (which earned her a spot on the cover of Time magazine with her co-stars, Katharine Cornell and Judith Anderson). She wowed audiences as the lead in the original production of the comedy "The Matchmaker", which earned her a Best Actress Tony Award nomination and is considered one of Broadway's legendary performances (“The Matchmaker” later became the musical “Hello Dolly!”). Gordon also wrote and starred in several plays, including the 1944 hit, "Over 21”. In 1929, she starred in "Serena Blandish”, produced by Jed Harris. She and Harris had a child and an eight year relationship, though they never married. Hollywood summoned Gordon at the end of the 1930s, and she appeared in five films between 1940 and 1943, starting with "Abe Lincoln in Illinois” (as "Mary Todd Lincoln”), and including a role in opposite Greta Garbo in "Two-Faced Woman". Gordon didn’t return to the screen until her friend, actress Natalie Wood, urged her to play a part in 1965’s “Inside Daisy Clover”, which earned Gordon a Best Supporting Actress Oscar nomination and a Golden Globe win. That soon led to a role in 1968’s “Rosemary’s Baby”, which won her Best Supporting Actress Academy and Golden Globe Awards. The Grande Guignol "What Ever Happened to Aunt Alice?” followed, along with the cult films "Where's Poppa?” and "Harold and Maude".
Now in her mid-seventies, Gordon suddenly became a movie star. She appeared in twenty-eight subsequent films and TV shows including "My Bodyguard", "Every Which Way But Loose”, and "Any Which Way You Can”, and earned Emmy Award nominations for her TV work in "Rhoda", "The Great Houdini", "The Secret World of the Very Young", and an Emmy win for a 1978 episode of “Taxi". Shortly after arriving in Hollywood, she met writer/director Garson Kanin, and the two married in 1942, remaining so until her death. They collaborated as writers on a handful of screenplays starting with 1947s "A Double Life", which earned them a Best Original Screenplay Oscar nomination, as well as two Katharine Hepburn and Spencer Tracy films, "Adam's Rib" (1951) and "Pat and Mike" (1953), garnering them two more Oscar nominations. She also singlehandedly wrote the screenplay for 1952's "The Actress”. In addition to plays and screenplays, Gordon wrote several books, including the 1983 novel "Shady Lady", and the autobiographies "Myself Among Others" (1971) and "My Side" (1976). Ruth Gordon died of a stroke in 1985 at the age of 88. You can read a bit more about her and Garson Kanin in my post on "It Should Happen to You".
Another pitch-perfect performance in “Harold and Maude” comes from Bud Cort, who brings to life the detached, death-obsessed “Harold Parker Chasen" with evocative subtlety. As “Harold’s” world begins to open up, Cort infuses moments of raw vulnerability that feel strikingly authentic — whether it’s his wide-eyed wonder upon first entering “Maude’s” home, or his quick giggles of delight when experiencing her “odorifics”. We can’t help but feel for this offbeat guy and root for him to find his path. Cort improvised one of my favorite moments in the film, when he breaks the fourth wall with a mischievous grin after his first blind date. His expression is priceless. Even his restrained physicality carries emotional weight, especially in the film’s final shot. It may be an understated performance, but it leaves a lasting impact.
Chemistry can make or break a film, and the surprising symbiosis between Cort and Gordon radiates off the screen. “Harold" is lovingly amused by “Maude” and she fully gets him. He's introspective, she’s expository, and they’re both fascinated by life and death. It’s a dynamic pairing played to perfection by two talented actors, and is what truly makes this movie magical.
A creative touch added by Ashby was having Cort wear pale makeup at the start of the film to give him a cold, corpse-like appearance, and gradually warm him to become more natural as “Harold” meets “Maude” and begins to embrace life. Interestingly, Cort wasn’t the first choice for the role, and as legend has it, upon meeting Ashby and Higgins for the first time, Cort confidently declared, “I’m playing this part”. And after his screen test, it was clear he was right. “Harold” remains Cort’s most famous role, and the one with which he will forever be identified.
Growing up just outside New York City, Bud Cort loved acting, began doing comedy in nightclubs, appeared in community theater, and studied acting with Bill Hickey at HB Studios in New York City (Hickey was also my acting teacher years later). Cort appeared in uncredited roles in the 1967 film "Up the Down Staircase" and 1969's "Sweet Charity", along with a few parts on TV. His big break came when director Robert Altman saw him on stage and cast him in two films in 1970, ”M*A*S*H”, and in the title role of "Brewster McCloud". Next came "Harold and Maude", which earned him Golden Globe and BAFTA nominations. His performance was so convincing that he became typecast as weird, eccentric guys, which prompted him to return to the stage, where he made his Broadway debut in 1972’s "Wise Child”. He resumed his film career with 1975’s “The Hallucinating Trip”, but a near-fatal 1979 car accident led to several reconstructive surgeries and marked a change in his career.
Cort resumed acting in movies, TV, and theater upon recovery, but never hit the heights of his "Harold and Maude" days. To date, he's appeared in just over eighty films and TV shows, including the films "The Life Aquatic with Steve Zissou", "Heat", "Dogma", "Pollock", "Coyote Ugly”, TV shows like "Room 222", "Tales of the Unexpected", "Arrested Development", "Ugly Betty", "Criminal Minds", and has voiced characters on animated shows such as "Batman: The Animated Series", "Superman: The Animated Series", "The Sylvester & Tweety Mysteries", and "Justice League Unlimited". He also wrote, directed, and starred in the 1991 film "Ted & Venus". Cort continued working in theater, including co-founding the LA Classic Theatre Works. He never married, and as of this writing, Bud Cort is 76 years old.
Vivian Pickles is hilarious in "Harold and Maude" as “Mrs. Chasen”, “Harold’s" overbearing mother. As a blue-blooded grande dame, Pickles' deadpan delivery and unflappable reaction to Harold’s antics are simply hysterical. Whether it's her priceless expressions (like at the end of Harold's second date) or her flawless execution of dialogue (as in one of the film’s funniest scenes, when she fills out “Harold’s" computer dating application), Pickles makes the most of every comedic moment.
“Mrs. Chasen” remains Pickles’ most remembered role, and in a 2012 article for The Criterion Collection, she recalled getting the part: ”I have John Schlesinger to thank for my role in ‘Harold and Maude’. I’d been in ‘Sunday Bloody Sunday’ for John. He had given Hal Ashby my name to look up when Hal was interviewing all the famous English dames in a penthouse suite at the top of London’s Dorchester Hotel. The dames were all very much up for ‘Maude’. It’s a wonderful part, and they were all so keen for it. After the interview, Hal decided to play ‘Maude’ as American and ‘Mrs. Chasen’ as English-American”.
London-born Vivian Pickles began acting at the age of fourteen, starring as "Alice" in a 1946 BBC TV production of "Alice in Wonderland", followed by the title role in "Jean's Plan”. She studied dance, acted on stage, and in the 1950s, became an acclaimed actress of the British theater. In the early 1960s, she worked steadily on TV, including as Isadora Duncan in the 1966 Ken Russell film "Isadora Duncan, the Biggest Dancer in the World", which won her various awards. In 1969, she returned to movies with "Play Dirty", and after more films and TV appearances, made her one and only American-based film, "Harold and Maude”. To date, Pickles has appeared in nearly a dozen films (others of which include "Sunday Bloody Sunday", "Nicholas and Alexandra", "O Lucky Man!", "Candleshoe", and "Britannia Hospital"), and over 50 TV shows (such as "Elizabeth R", "Diary of a Nobody", "The Avengers", "The Insurance Man", "Birds of a Feather", and "Uncle Jack and the Loch Noch Monster”). Her final appearance was on a 1999 episode of "Midsomer Murders", after which she retired. She was married once, to actor Gordon Gostelow, until his death. As of the writing of this post, Vivian Pickles is 93 years old.
Just a quick mention of the actor who plays the motorcycle officer, credited as M. Borman. The actor is actually Tom Skerritt, who had just had a career breakthrough in Robert Altman's “M*A*S*H”, and took the role as a favor to Ashby when the original actor playing the cop broke his leg. So as not to have to charge his current acting rate or have his agent get involved, Skerritt disguised himself behind sunglasses and a bushy mustache and used a pseudonym in the credits.
Detroit-born Tom Skerrit made his film debut in 1962's "War Hunt", and has since become a seasoned veteran of movies and TV, appearing in prominent, starring, and costarring roles in nearly 70 films and over 100 TV shows. A smattering of his films include "Alien", "Top Gun", "Up in Smoke", "Steel Magnolias", "Contact", "A River Runs Through It", "Lucky", and "What the Dead Man Heard", and his TV credits include starring in the 1990’s series "Picket Fences" (which earned him an Emmy Award), and appearances on "Brothers & Sisters", "The Good Wife", "Will & Grace", "Cheers", "Get Christie Love!", "Bonanza", "My Favorite Martian”, "The Virginian”, and many more. Skerritt is still working today, and is due to appear in an upcoming 2025 film currently titled "Broke". He was married three times. As of this writing Tom Skerritt is 91 years old.
This week’s dark and quirky classic contains riveting performances, catchy tunes, and superb direction that create a timelessly thought-provoking and humorously captivating look at the big questions of life. Enjoy a movie I love, enjoy “Harold and Maude”!
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TO READ AFTER VIEWING (contains spoilers):
A passionate kiss between "Harold" and "Maude" was filmed, but Paramount cut it from the film. You can see it in one of the two preview trailers made to promote the film. There were plans to film a lovemaking scene between them which was never shot. All that remains in the film regarding them having sex is a shot of them in bed together while "Maude" sleeps and "Harold" blows bubbles.
For those unaware, the brief glimpse of the numbers tattooed on Maude's arm reveal that she is a Holocaust survivor — someone who endured the unimaginable horrors of World War II’s Nazi concentration death camps.
Can't wait to watch this film again with older eyes.
Muy rara, pero muy buena. Gracias a ti he podido aclarar algunas dudas.😀
What a wonderful quirky film! I always wonder how films like this (add Being There too) are pitched to investors. Thankfully there are some risk takers out there.....but less and less as time goes on unfortunately.