Little Murders


1h 50m 1971
Little Murders

Brief Synopsis

A feisty New York woman tries to turn her apathetic fiancé into a fighter.

Film Details

Also Known As
Jules Feiffer's Little Murders
MPAA Rating
Genre
Comedy
Adaptation
Release Date
Feb 1971
Premiere Information
New York opening: 9 Feb 1971; Los Angeles opening: 12 Feb 1971
Production Company
Brodsky-Gould Productions; Twentieth Century-Fox Film Corp.
Distribution Company
Twentieth Century-Fox Film Corp.
Country
United States
Location
Kiamesha Lake, New York, United States; New York City, New York, United States; New York City--Brooklyn, New York, United States
Screenplay Information
Based on the play Little Murders by Jules Feiffer, as produced on Broadway by Alexander Cohen (New York, 25 Apr 1967).

Technical Specs

Duration
1h 50m
Sound
Mono (Westrex Recording System)
Color
Color (DeLuxe)

Synopsis

In her New York City apartment, interior designer Patsy Newquist faces another dismal day of obscene phone calls, rusty water pipes, electrical blackouts and pervasive urban violence. When she sees a man being beaten in the street below, Patsy, a forceful and optimistic single woman, attempts to call the police, but after she is put on hold, then disconnected, she enters the fray herself, hitting the muggers with her purse. As she struggles with the men, their target, photographer Alfred Chamberlain, walks away. Patsy breaks free and runs after Alfred, upbraiding him for not defending her as she did him. Alfred chides her in return, telling her that the men were getting tired and would have stopped soon. Baffled by Alfred's insistence that there was no point in fighting back, Patsy questions him while he takes her to his apartment, where she looks at his photographs. Believing that Alfred is depressed, Patsy determines to make him have fun and introduces him to various sports and hobbies. Although Alfred tells Patsy that he thinks she is a "terrific girl," he declines to sleep with her, declaring her that he will let her know when he feels like it. One day as they are horseback riding, Patsy tells him that she wakes up with a smile every day, and when she is confronted by problems, thinks of the good things in her life. When Patsy states that she is falling in love with him, Alfred replies that he does not know what love is and rides off. Later, while they are swimming, Alfred admits that he "nearly" trusts her, and as they return to her apartment, expresses interest in making love. Upon entering, however, they discover that Patsy's apartment has been burglarized. After they make love, Patsy cheerfully lists new furnishings to buy and how Alfred can use her apartment as a studio after they are married in two weeks. Alfred accedes to her plans, and while he nervously prepares to meet her family, Patsy's parents, Carol and Marge Newquist, argue about what sort of boyfriend Patsy has acquired, as she frequently dates unsuitable men whom she wishes to change. Carol and Marge, along with Patsy's younger brother Kenny, raucously welcome Patsy, then inspect Alfred, who is staunching a nosebleed from yet another beating. The Newquists question the tall, athletic-looking Alfred about his beatings, and he explains that "there are a lot of little people who like to start fights with big people." Alfred further states that the encounters do not hurt if he daydreams about his work, and that as a self-professed "apathist," he has no interest in fighting back. Baffled by Alfred's passivity, the Newquists inquire about his work and Alfred explains that he once was a successful commercial photographer. When he "began losing his people," however, he started photographing objects instead of people, and regained his prestige with a show of pictures of computers. Infuriated by what he perceived as the low standards of critics and the advertising world, Alfred decided that he would receive awards even if all he photographed was excrement. When the family expresses outrage, Alfred derisively replies that he has received half a dozen awards for his collages over the past year. After an awkward dinner, Patsy and Alfred leave, and Patsy expresses frustration with her lack of progress in changing Alfred. He insists that she should rest on her laurels rather than pressing her luck with a nihilist, but Patsy, again buoyed by the challenge, telephones her parents to tell them that she and Alfred are definitely marrying. Alfred insists that no mention of God be made in the ceremony, and after a disastrous visit to a pontificating judge, they hold the wedding at the First Existential Church, presided over by Rev. Henry Dupas. Although Carol attempts to bribe Henry, a hippie-like minister who embraces all manner of behaviors as "all right," to mention God during the ceremony, he does not. Henry's unorthodox views unnerve even Patsy, and after the wedding, when Henry casually pronounces that Kenny's homosexuality is "all right," a brawl ensues. Patsy and Alfred quarrel, with her declaring that because he will not fight back, he does not feel, and if he does not feel, he cannot love. Believing that their marriage is already over, Alfred packs to leave, but Patsy insists that he stay. Determined to understand Alfred, Patsy orders him to go to Chicago to visit his parents, even though he has not seen them since he was seventeen, and record their answers to a questionnaire she has prepared about his childhood. When Alfred refuses, Patsy breaks down, stating that Alfred is correct that the "only true feeling is no feeling," and that only through passivity can one survive. Distressed, Alfred acquiesces and goes to Chicago, where the intellectual, emotionally distant Chamberlains reply to his questions with quotes from child psychologists until finally, they confess they do not remember his childhood. Disappointed and fearful of losing Patsy, upon his return, Alfred reveals to her that when he was in college, he was under surveillance by the FBI due to his political activism, and that his mail was being monitored. Alfred began a letter-writing campaign to the anonymous agent reading his mail by writing letters to the agent, challenging him to meet face-to-face to discuss their common bonds of brotherhood. Alfred continued writing to the man, instilling fear in him by questioning why he got stuck with such a low-level job and wondering whether someone was watching him, too. One day, an overwrought man appeared and protested to Alfred that he was merely doing his job. When Alfred persisted, claiming to have proof of a conspiracy against the man, he drove the agent to a nervous breakdown. Realizing how hollow his victory was, Alfred vowed never to fight for anything again. Telling Patsy how formidable she is, and how she has influenced him, Alfred promises to become optimistic and admits that his first feeling is one of worship for her. As they embrace, however, a sniper in a neighboring building shoots Patsy dead. In shock and covered with blood, Alfred goes to the Newquists' apartment. There, the family is horrified to learn that they have lost another child to random violence, as Patsy's older brother had been killed by a sniper six months earlier, and the perpetrator was never caught. Alfred sits in a stupor as time passes and the Newquists install steel shutters over their windows, elaborate locks and an alarm system. Carol cares for Alfred while Kenny hides in the closet until one afternoon, they are visited by police lieutenant Practice, who is heading the investigation of the sniper murders. Practice, mentally unbalanced by his efforts to solve the 345 motiveless homicides that have occurred in the past six months, rants at the Newquists that there is an elaborate conspiracy gripping the city. After Practice departs, Carol has a breakdown himself, calling for extreme measures to protect law-abiding citizens. When Carol collapses at his feet, Alfred finally rouses himself and goes outside to the park, where, for the first time in years, he is moved to take pictures of people and celebrate life and movement. When he returns with a bouquet and a high-powered rifle, the revitalized Alfred kisses Marge's cheek and enlists Kenny and Carol to load the weapon. Opening the shutters, Alfred encourages the other men to begin shooting at random, and Carol, who takes the first turn, easily "gets `im." Kenny is the next to kill a passerby, and when Alfred shoots, Carol triumphantly declares that he has shot Practice. Screaming with joy, the men declare that they are going to fight back and no longer be victims. Marge calls them to dinner and, watching the men's hijinks, declares how good it is to hear her family laughing again.

Film Details

Also Known As
Jules Feiffer's Little Murders
MPAA Rating
Genre
Comedy
Adaptation
Release Date
Feb 1971
Premiere Information
New York opening: 9 Feb 1971; Los Angeles opening: 12 Feb 1971
Production Company
Brodsky-Gould Productions; Twentieth Century-Fox Film Corp.
Distribution Company
Twentieth Century-Fox Film Corp.
Country
United States
Location
Kiamesha Lake, New York, United States; New York City, New York, United States; New York City--Brooklyn, New York, United States
Screenplay Information
Based on the play Little Murders by Jules Feiffer, as produced on Broadway by Alexander Cohen (New York, 25 Apr 1967).

Technical Specs

Duration
1h 50m
Sound
Mono (Westrex Recording System)
Color
Color (DeLuxe)

Articles

Little Murders


A feisty New York woman tries to turn her apathetic fiance into a fighter.
Little Murders

Little Murders

A feisty New York woman tries to turn her apathetic fiance into a fighter.

Quotes

Trivia

Notes

The film's title reads "Jules Feiffer's Little Murders." The opening and ending cast credits vary slightly in order, with the opening credits listing Donald Sutherland as "The Minister," Lou Jacobi as "The Judge" and Alan Arkin as "The Detective."
       Feiffer's play, as produced by Alexander Cohen and directed by George L. Sherman, opened on Broadway on April 25, 1967 and ran for only one week, not including previews. The show starred Gould as "Alfred Chamberlain" and Barbara Cook as "Patsy Newquist." According to studio publicity, three weeks later, the play was a hit in London, where it became "the first American play selected for the repertory of the Royal Shakespeare Company" and was voted Best Foreign Play of the Year by the London critics. On January 5, 1969, Alan Arkin directed a successful, off-Broadway revival of the play, with Fred Willard starring as Alfred and Linda Lavin as Patsy. Vincent Gardenia, Elizabeth Wilson and Jon Korkes, who played the Newquist family in the 1969 revival, reprised their roles for the film version.
       In his audio commentary for the film's 2004 DVD release, Feiffer noted that he wrote several scenes specifically for the film that were not in the play, such as the opening meeting between Alfred and Patsy and the encounter between Alfred and his parents. The role of The Judge, originally played by John Randolph in the previews leading up to the 1967 production, was cut before the play reached Broadway, but was reinstated for Arkin's revival and the film, according to studio press releases. Randolph was cast as "Mr. Chamberlain" in the motion picture.
       According to 1969 trade paper news items and Filmfacts, after Gould and his partner, former publicist Jack Brodsky, formed Brodsky-Gould Productions, they obtained the screen rights to Feiffer's play and interested famed French director Jean-Luc Godard in the property. If Godard had directed the film, it would have marked his first American production. According to Gould's DVD audio commentary, Godard refused to commit the project, however, and severed their relationship. Filmfacts adds that while Godard was still interested in the property, United Artists had agreed to finance it and hired screenwriters Robert Benton and David Newman to adapt the play. It is unlikely that any of Benton and Newman's work was included in the final screenplay, however, as Feiffer noted in his audio commentary for the DVD that he completely rewrote the script after a first draft by other writers proved unsatisfactory. According to Filmfacts, after Godard dropped out of the project, so did United Artists, and Twentieth Century-Fox, to which Gould was under contract, stepped in to finance the picture.
       According to Gould's audio commentary, he first approached Jane Fonda to play Patsy, but then hired noted stage actress Marcia Rodd, the star of the off-Broadway revival, to reprise her role and make her motion picture debut in Little Murders. Gould also reported that he wanted to hire New York Knicks basketball player Dick Barnett to play the partner of "Lt. Practice" but decided against it, as he felt that Barnett was too big of a star for the small part. Both Gould and Feiffer reported that Carol Kane appeared as an extra in an extended sequence of the brawl after the wedding, but that the scene was shortened before the film's release and her appearance cut out. Sutherland, who had appeared with Gould in the 1970 box-office hit Twentieth Century-Fox comedy M*A*S*H (see below), appeared in Little Murders as a favor to his friend, according to Gould's commentary, and received $5,000 for one day's work. In his commentary, Gould also relayed that he considers his work in Little Murders to be his best. Modern sources add Martin Kove to the cast, but he was not discernable in the print viewed.
       As noted by the onscreen credits, the resort sequence, in which Alfred and Patsy vacation and play sports, was filmed on location at The Concord Hotel in Kiamesha Lake, New York. Contemporary sources reported that the rest of the film was shot entirely on location in New York City, with the courtroom sequence being filmed in Brooklyn's Boro Hall Court. According to a June 1970 Variety article, many of the interiors were shot at CBS Studios on W. 26th St.
       Little Murders marked Feiffer's first motion picture screenplay, although the 1971 picture Carnal Knowledge was his first original script written directly for the screen. Little Murders also marked the feature film directorial debut of Arkin, who had directed two short films in the late 1960s. Although the picture received mixed reviews and did not do well financially, Arkin's direction elicited much praise. Little Murders was the only film from Brodsky-Gould Productions, and marked the debuts as film producers of both Brodsky and Gould. Gould did not produce another picture until the 2001 Prospect Pictures release The Experience Box, although Brodsky went on to produce numerous other films. Little Murders also marked the first onscreen credit of future producer Barbara De Fina, whose surname is spelled DeFina onscreen. Several reviewers commented that the film's subject matter of urban violence had become even more timely than it was when Feiffer's play first opened, with the Chicago Sun-Times critic, Roger Ebert, calling it "a definitive reflection of America's darker moods."

Miscellaneous Notes

Released in United States Winter February 1971

Released in United States on Video November 1988

Released in United States on Video November 10, 1988

Released in United States July 18, 1996

Released in United States Winter February 1971

Released in United States on Video November 1988

Released in United States on Video November 10, 1988

Released in United States July 18, 1996 (Shown in New York City (Lighthouse Cinema) July 18, 1996.)