7.2/10
2,951
84 user 42 critic

The Loved One (1965)

Approved | | Comedy | 11 October 1965 (USA)
Satire on the funeral business, in which a young British poet goes to work at a Hollywood cemetery.

Director:

Tony Richardson

Writers:

Evelyn Waugh (novel), Terry Southern (screenplay) | 1 more credit »
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ON DISC
1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Robert Morse ... Dennis Barlow
Jonathan Winters ... Wilbur Glenworthy / Harry Glenworthy
Anjanette Comer ... Aimee Thanatogenous
Rod Steiger ... Mr. Joyboy
Dana Andrews ... General Brinkman
Milton Berle ... Mr. Kenton
James Coburn ... Immigration Officer
John Gielgud ... Sir Francis Hinsley
Tab Hunter ... Guide
Margaret Leighton ... Mrs. Kenton
Liberace ... Mr. Starker
Roddy McDowall ... D.J. Jr.
Robert Morley ... Sir Ambrose Ambercrombie
Barbara Nichols ... Sadie Blodgett
Lionel Stander ... The Guru Brahmin
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Storyline

Newly arrived in Hollywood from England, Dennis Barlow finds he has to arrange his uncle's interment at the highly-organised and very profitable Whispering Glades funeral parlour. His fancy is caught by one of their cosmeticians, Aimee Thanatogenos. But he has three problems - the strict rules of owner Blessed Reverand Glenworthy, the rivalry of embalmer Mr Joyboy, and the shame of now working himself at The Happy Hunting Ground pets' memorial home. Written by Jeremy Perkins <jwp@aber.ac.uk>

Plot Summary | Add Synopsis

Taglines:

From The Man Who Made "Tom Jones"! See more »

Genres:

Comedy

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

11 October 1965 (USA) See more »

Also Known As:

Los seres queridos See more »

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Box Office

Budget:

$4,000,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Filmways Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)| Mono (Ryder Sound System)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Screenwriter Terry Southern gave the name "Maxwell Kenton" to Milton Berle's character in the movie, who does not appear in the Evelyn Waugh novel. "Maxwell Kenton" was a pseudonym Southern had used in real-life when his controversial and outrageous satirical novel "Candy" (co-written with Mason Hoffenberg) was published in Paris in the 1950s. The book, which was long banned elsewhere, was, at that time, published by the Olympia Press, a publishing house specializing in pornography. See more »

Goofs

There is a rose resting on several books adjacent to the poetry book Dennis takes from the shelf. When he returns from the refrigerator and puts the milk carton on the books, the rose is gone and the books have been rearranged. See more »

Quotes

Sir Francis Hinsley: [Pointing out an actor to Dennis] He usually plays prime ministers or butlers.
See more »

Connections

References Come Back, Little Sheba (1952) See more »

Soundtracks

Isoldes Liebestod
Composed by Richard Wagner
See more »

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User Reviews

 
The View from 1965
1 July 2003 | by B24See all my reviews

Several of you youngsters have added comments here to the effect you wanted to know how this film was received in 1965. Here is the lowdown.

It was skewered by the few uptight critics who got it, and passed off as sheer nonsense by the ones who didn't. It had a big, big promotional sendoff on television and in the newspapers, featuring its over-the-top ending that is commented on elsewhere in these archives. That, in fact, is the single characteristic placing this film in the history books as one of the first real anti-war, anti-establishment, anti-bourgeois relics of popular culture just at the cusp of an entirely new epoch.

I am still dumbfounded that it went generally over the heads of most people in 1965. (Well, at least I am bemused by it.) "Dr. Strangelove" received much the same treatment. It was as if the country was still on overdrive after the assassination of President Kennedy, numb and oblivious as to what was about to happen. Only the very young, influenced as they were by the Beatles and other revolutionary pop music icons, seemed to have a clue. But they were powerless within the political vacuum that led up to the war in Vietnam, and by the time all the turmoil of 1968 came along, this movie had been long forgotten.

This is one fan, however, who still regards this wonderful satire as one of the top ten of the 20th century, right up there with the best of Chaplin, the Marx Brothers, and Saturday Night Live (in its better days, of course).


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