THE ARRANGEMENT (1969) - movie poster painting (prototype)

Tom Chantrell’s original (prototype) movie poster painting for Elia Kazan’s 1969 movie, THE ARRANGEMENT. Despite turning in a nicely painted image for consideration to spearhead the UK cinema front-of-house advertising campaign, British distributors for this American-produced film opted to go the route of a photographic movie poster image and Chantrell’s artwork remained unused . I bought this painting from the Chantrell family, via their art agent.

“Panned and patronized at the time of its initial release, Elia Kazan's adaptation of his best-selling book THE ARRANGEMENT plays much better now than it did in 1969.
Made after a 6 year hiatus from film-making at a time when movies were enjoying unheard of freedom due to the demise of the production code, THE ARRANGEMENT clearly shows that Kazan was still a director to be reckoned with.

The basic premise was nothing new. A highly successful businessman (Kirk Douglas) suffers a mid-life crisis and attempts suicide. How he and the other characters deal with the aftermath make up the rest of the story.

Kazan has always been an actor's director and the film provides a showcase for the young Faye Dunaway as Douglas's mistress who gets him to re-examine his life, but wants out to be with someone else. Deborah Kerr, in her last major film appearance, is superb in the difficult role of the wife who tries to understand what Douglas is going through but doesn't want to give up the rich lifestyle she's become accustomed to. Strong support is given by Hume Cronyn as the family solicitor who has plans of his own and from Richard Boone in a rare non-Western role as Douglas's ailing father. His slide into dementia is both heart-breaking and terrifying.

Marlon Brando had originally agreed to play the lead but bowed out allowing Kirk Douglas who really wanted to work with Kazan to step in. While not stage trained like the other principals, he acquits himself well in an emotionally (as opposed to a physically) demanding role. The combination of raw emotions, alternating points-of-view, including black humour, and touches of surrealism was ambitious then and still is today. The movie is not without its flaws. It runs too long and is occasionally sloppy in everything from editing to make-up but the powerful writing and intense performances make THE ARRANGEMENT provocative film-making 48 years later.

Called everything from a harrowing emotional ride to a self-indulgent mess, it is ultimately for the home viewer to decide. Kazan will always be a controversial figure because of his HUAC testimony in the 1950s, but his greatness as a director cannot be denied and remains captured on film for all to see.”