The King of Marvin Gardens was Bob Rafelson's experiment at doing a film where the leads are switched around- the actors playing them, anyway. You rarely get to see Jack Nicholson in the role of the quiet, observant, and really more intuitive characters in any film, and to see it in his prime in-between doing films like Carnal Knowledge and The Last Detail is a revelation. Every once in a while he pulls out a performance that is attuned to a sensibility that is surprising, even if the film is not. One of those that worked best was About Schmidt. But this time in Rafelson's vision, he plays second fiddle to the more personable, idealistic, talkative, pushy, and far more conflicted brother played by Bruce Dern. For Dern this is also a somewhat different role, as he often could play roles with a good deal of dialog well, though with also a lowered guard. Here he plays a guy with lots of ideas, and those of which he really wants to impress upon his more detached but not too unresponsive brother. It's a mix that works, though it's very understandable why I've only seen it once, and not only do I not really desire to see it again, it's not too much of a wonder why its still one of the real underrated films of the 70s.
Keep in mind it's not just the men to see here, but Ellen Burstyn too, in one of her other great parts of her real prime, as she plays Dern's depressed, loopy, over-the-top girlfriend. She has her counterpart too in Julie Anne Robinson. Her character is maybe a little more like Nicholson's, though not really as withdrawn. These are all characters who are estranged, if not from themselves then from each other, and amid the big plans in the (correctly chosen) sights of dreary Atlantic City they're cast against a glow that just poses a kind of nothingness for them. And in the end, when tragedy strikes, it finally comes when the emotional cork gets pulled completely off. And bookending the film are Nicholson's monologues on the airwaves to his listeners, whomever they may be, and they're some of my favorite scenes I still remember from the film. If it's less than really memorable and affecting like the best of 70s subversive cinema, it's because its content in its low-key ways. It's a smart movie that isn't really at the heights of Five Easy Pieces- Rafelson's masterpiece that's also low-key in its way but reaches higher in psychological hang-ups- but it does come as close as anything the director's done since. Most noteworthy is the challenge of reversing the roles for Nicholson and Dern pays off in that independent-film way. Look for Shining co-star Scatman Crothers in some scenes late in the picture.
Keep in mind it's not just the men to see here, but Ellen Burstyn too, in one of her other great parts of her real prime, as she plays Dern's depressed, loopy, over-the-top girlfriend. She has her counterpart too in Julie Anne Robinson. Her character is maybe a little more like Nicholson's, though not really as withdrawn. These are all characters who are estranged, if not from themselves then from each other, and amid the big plans in the (correctly chosen) sights of dreary Atlantic City they're cast against a glow that just poses a kind of nothingness for them. And in the end, when tragedy strikes, it finally comes when the emotional cork gets pulled completely off. And bookending the film are Nicholson's monologues on the airwaves to his listeners, whomever they may be, and they're some of my favorite scenes I still remember from the film. If it's less than really memorable and affecting like the best of 70s subversive cinema, it's because its content in its low-key ways. It's a smart movie that isn't really at the heights of Five Easy Pieces- Rafelson's masterpiece that's also low-key in its way but reaches higher in psychological hang-ups- but it does come as close as anything the director's done since. Most noteworthy is the challenge of reversing the roles for Nicholson and Dern pays off in that independent-film way. Look for Shining co-star Scatman Crothers in some scenes late in the picture.