Carnal Knowledge

1971 sex drama

Rating: 17/20

Plot: A pair of friends fail to grow as sexual beings.

Whenever Jack Nicholson had to be naked in this movie--and there are frequent chances for his character to shower for whatever reason--he told the crew, "Here comes Big Steve!"

Neither of these characters wind up developing enough to make a marriage work, but this movie is a perfect marriage of great writing and great acting. The dialogue is so clever here, and it's clever in a way where the characters aren't even aware how clever it is. In fact, most of the time, these characters aren't even in on the joke as there are great moments of dramatic irony.

Every actor in this gets a chance to shine, even Carol Kane who doesn't get a single line. Nicholson's at his most ornery and fiery, playing this chauvinist who is probably easier to despise than feel sorry for. This character fits him so well that you might think he's playing some version of himself. He gets to scream the word "cunt" and talk about "tits" a lot, but there are so many layers with this character who on the surface is nothing but surface that it makes his journey, or really a lack of journey, such a rewarding experience.

Big goofy Art Garfunkel is great at pretending his character has dimensions, but it's all a deception. You think you've seen everything you need to see with Garfunkel, and then all of a sudden, the dude's got a mustache and you're blown away. A mustachioed Garfunkel becomes your solitary ice-skating beauty twirling on the ice. He's so sneakily unlikable, both a foil for Nicholson's character and a despicable male at the same time. And just watch him down that drink.

Candice Bergen is an approachable beauty. She's involved in a lovely opening shot, an extended shot where she emerges from the darkness and apparently a Volkswagon and then becomes the victim of Garfunkel's awkwardness. Her best moment is this perfect look she gives nobody in particular when Garfunkel stupidly asks, "What do I do with my other hand?" She's great at playing this character who is between rock-hard Nicholson and Garfunkel and a hard place, and I kind of like how she just disappears from the movie, a character who knows this really isn't her story.

Ann-Magret has the most arousing tan lines I've seen in a while. Her character is a wounded and beautiful animal, and you have to appreciate her as an actress here because she's able to keep up with whatever Nicholson is doing. She and Jack get a sex scene, and it's something else, not because of what you see (which is nothing) but because of their sounds as the camera tracks through the apartment on a hunt for the couple. Post-coital, Nicholson showers, and Ann-Magret shows off her tan lines, and it's like a randy Edward Hopper painting.

I don't know if Mike Nichols is thought of as a visual filmmaker, but this is shot really well. A lot of the time, the characters are half-submerged in these shadows, and there are times, like in that opening extended shot, where the camera moves exquisitely. I also loved this transition with a white screen and then that shot of the ice skater. So perfect, like a dream these two characters can't shake themselves awake from no matter how destructive it is.

This isn't the happiest of movies, but there's definitely some comedic moments. They come as naturally as the performances. You have to love Nicholson's narrated "ball busters" slide show, and his Porky impression that ends it.

Which song is used more in films, by the way--"Beyond the Sea" or "Moonlight Serenade"? You'd know the latter if you heard it.

Great tagline for this one: The United States Supreme Court Has Ruled That "Carnal Knowledge" Is Not Obscene. See It Now! All the best movies from 1971 are nearly obscene, it seems.