Being There (1979)

The irony is this: Chance the Gardener is the least flashy and most interesting character in Peter Sellers' filmography. Unlike his various roles in Strangelove, Pink Panther or The Party for which he is more famous, the performance of Chance in Being There is extraordinary for everything that is held in reserve. The character is played so deeply on the inside and with such particular control that this is surely the actorly role that all of the Williams, Carreys and Ferrells of the comedy world are chasing.

I understand that this role is largely regarded as Peter Sellers' swan song, not necessarily his actual final movie, but the last one of any mention. The film was a passion-project for Sellers, one that he pursued for years, before finally landing the part and for anyone expecting a traditional Sellers' comedy, the final product is surprising. After all, here is a comedy that hinges on very, very dry satire. Laughs are to be found, definitely, but Being There never reaches for the easy joke.

I know that I can't be the first one to notice the many similarities between Being There and Forrest Gump; both movies follow the unlikely ascension of a simple-minded character who succeeds and navigates an unlikely (and often preposterous) course through coincidence and misunderstanding. In the case of Gump, the story is driven by Forrest's eccentricities: his sometimes irrational instinct to "run", his "mama"-isms and his naive loyalties to Lieutenant Dan and Jenny. To be honest, I've always been a little put off by Tom Hanks' performance in Gump which, while sophisticated, also seemed to me to be a fully graduated SNL-type performance. By that, I mean it's a satirical character who turns on a few simple repetitive expressions and mannerisms; something only a few polishes away from The Church Lady or even Sandler's Waterboy. Now that I've seen it, I'm prepared to hold up Seller's Chance as the real deal. There is not an easy trait or trick to be found in this performance.

What sets Being There even further from Forrest Gump, and in my mind creates a more satisfying story, is that Chance is completely oblivious to how he is perceived by other people. He does not understand that he is different, anymore than he understands that people are seeing him for something he is not. In fact, what's remarkable is that he becomes a different character to everyone he meets. Like a mirror, he reflects exactly what is expected of him through simple, rehearsed expressions like "I understand" and "I know just what you mean." In this way, he convincingly becomes a financial expert, a presidential aide and an exciting talk-show guest, all without altering a single beat of his performance. If I can simplify further, Sellers' plays much of the film entirely blank and as a result, blank becomes thoughtful, mysterious, wise, considered and modest. [Playing blank might not sound like much of a stretch for a performer, but there are also moments when Chance sincerely comes to life - a light goes on when he truly understands what is being asked, such as when the topic turns to gardening or television.]

Being There is a strange, strange little film. Hal Ashby's direction is slow and considered, as though walking with the same pace as Chance's deliberate dialogue; however I should caution that it is never the least bit boring. It's a small movie, but one worth visiting to see a master working with unbelievable dexterity and experience through one of the final (and most intricate) performances of his career.