‘Mad World’ Cannot Be Properly Revisited

Letter writer Jonathan Aurthur has commented about Stanley Kramer’s “It’s a Mad, Mad, Mad, Mad World,” (“Not Mad About ‘World,”’ Sept. 8) and with his comments come sad truths about the fragility of motion picture film elements and their effect upon the rewriting of film history.

Before Sir David Lean’s “Lawrence of Arabia” was reconstructed, restored and then released by a savvy Columbia Pictures in 1989, it had fallen into a pit of disrepair, both physically and by reputation. The problem was that it had not been seen in its original version since January 1963 or in a short 70-millimeter version since 1971. Memories fade along with film--and along with them, the truth.

While it is most kind that Aurthur allows that Karen Kramer may hold her own opinions of her late husband’s work, he preaches his own dogmatic opinions as fact, inviting “anyone who thinks I’m wrong to view ‘It’s a Mad, Mad, Mad, Mad World’ for themselves.”

But herein lies the problem. As of this month, no one that we know can view Kramer’s film as he made it. What was released to the world in UltraPanavision 70 on huge curved screens and six-track discreet stereo can now only be viewed on television. And only in a version missing more than 40 minutes of material: character, story, nuance, comedy.

So as much as the invitation might be open to view the film, it cannot be done. And the current 154-minute version will not serve as the basis of discussion.

Aurthur refers to “Mad World,” admittedly not a perfect film, as “an overblown bore that was seen as such when it first came out and has not improved with age.” We have no idea if Aurthur ever saw Kramer’s original version of the film. If he did, it would have had to have been before January 1964.

It is unfortunate that we cannot dispute the second part of his comment. The film has not only not improved with age, it does not exist. His first comments, however, might best be answered with a few thoughts from publications at the time of release.

The New York Times: “It’s a wonderfully crazy and colorful collection of ‘chase’ comedy, so crowded that it almost splits the seams of its huge Cinerama packing and its 3-hour-and-12-minute length. They [director Kramer and screenwriters William and Tania Rose] have put together a story that has eruptive energy and speed; and have a bunch of actors to perform it with the fervor of demented geniuses. It is wild and hilarious all the way.”

Variety: “It’s a mad, mad, mad, mad picture, and it’s going to make a lot of money.

“[‘Mad World’] is a spectacular achievement in cinematic architecture, a significant addition to Hollywood film comedy.”

Comedy is a subjective thing, and to be fair to Kramer’s work, it demands to be seen in its original, uncut version. It is not only the version, but also the venue and the means of playback that are of import here. While some of Kramer’s films, such as “Inherit the Wind,” play perfectly well on a smaller screen, viewing “It’s a Mad, Mad, Mad, Mad World” on either video or a small screen is rather like viewing a black-and-white thumbnail Xerox of a brilliant illuminated Renaissance manuscript and then making a judgment.

Aurthur is, of course, entitled to his opinions of Kramer’s work, but until such time he has a chance to properly revisit the film, his opinions are moot.

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New York City-based Robert A. Harris and Los Angeles-based James C. Katz have been responsible for the reconstruction and restoration of such films as “Lawrence of Arabia,” “Spartacus,” “My Fair Lady,” “Rear Window” and “Vertigo.”