The Loved One

The Loved One is an American satirical black comedy film released in 1965. Based on Evelyn Waugh's 1948 short satirical novel, Tony Richardson serves as director, with the screenplay adapted by Terry Southern and Christopher Isherwood. The film's star-studded cast includes Robert Morse, Jonathan Winters, and Anjanette Comer in lead roles, supported by Rod Steiger and Liberace, along with other notable actors.

Robert Morse portrays the character of Dennis Barlow, a young British poet who comes to Los Angeles to visit his uncle, Sir Francis Hinsley (John Gielgud). Hinsley is a fashionable and successful British expat working in the film industry. As the plot unfolds, Dennis gets embroiled in the eccentric, superficial, and sometimes appalling world of Southern California, mainly navigating the bizarre funerary practices of the local culture. The narrative thread anchors on the world of Hollywood but then shifts to an elaborate Southern California cemetery.

Following a series of events, Dennis finds himself in the Whispering Glades Memorial Park, under the command of Reverend Wilbur Glenworthy (Jonathan Winters), whose cynical vision of the afterlife provides much of the film's dark humor. Whispering Glades is a full-service American cemetery that offers deluxe services ranging from colorful burials to grandeur memorial services.

Anjanette Comer breathes life into the character of Aimee Thanatogenos, a cosmetician at Whispering Glades. Aimee's chaste and naive demeanor forms an interesting contrast to the cynical ploys of Reverend Glenworthy. A major subplot in the film involves Dennis and Aimee's confusing romance, and their interactions offer an imaginative and chaotic canvas that enhances the satire of the film.

One of the significant elements in The Loved One is its critique of the funerary industry, particularly in Hollywood's context. It offers a surreal and at times absurd investigation of America's approach to death, embodying a satire on consumerism, the pursuit of beauty, and the superficiality of Hollywood glamour. With enormous and ostentatious sets reminding of celestial grandeur to prophets of profit lurking around the Whispering Glades, The Loved One weaves a visual and thematic extravaganza.

Jonathan Winters delivers a standout dual role portraying not only the Reverend Glenworthy but also his twin brother Henry, a business-minded man looking to transform the cemetery into a lucrative retirement community. His performances are nuanced and provide some of the sharpest comedic moments in the film.

Robert Morse is skillfully natural as Dennis, the seemingly naive young man navigating the peculiarity and eccentricity of Los Angeles. The British actor adapts an empathetic character with an aura of innocence, whose reactions to the bizarre practices around him are the vessel through which the audience interprets the satire.

Anjanette Comer’s Aimee is both charming and tragic, epitomizing the film’s atmosphere of superficial façades and sincere emotions under the surface. Her performance adds depth and efficiency to the thin line of comedy and tragedy in the film, providing a punchline to the overall societal critique in the narrative.

The Loved One is perhaps one of the most unusual films you would come across, especially from the 60s era. Advertised as "The motion picture with something to offend everyone,” it manifests a polished production aesthetic synonymous with filmmaker Tony Richardson's characteristic touch. The film ably combines macabre humor, farcical scenarios, and satirical commentary, resulting in a unique cinematic experience.

In conclusion, The Loved One stands as a quintessential Hollywood satire, an ingenious critique on the industry and societal elements, executed with a distinctive blend of dark humor, imaginative storytelling and memorable performances.