Otto and Sophie Bentwood (Kenneth Mars and Shirley Maclaine) live in a gigantic, messy brownstone in 1970 Brooklyn Heights, but for all intents and purposes they might as well be living in Paris in 1848. Barricaded in from the street and the changing social and political world outside by means of their barred entryway, locks, and intercom system (which are given plenty of attention in this film), the Bentwoods are left to tear each other apart with their mutual dissastisfactions. Then the outdoors slowly comes creeping into their home: first with the bite of a (possibly rabid) cat that Sophie tries to befriend, then with the midnight drunken visit of Otto's former partner in his law firm, then by a young man wanting to use their phone. The Bentwoods begin to discover that there is no safety behind closed doors.
Paula Fox's beautifully claustrophobic and depressing 1970 novel seemed a natural to be filmed because of its compressed time frame over one long unhappy weekend; it might still make an absolutely first-rate film some day, but this Frank D. Gilroy film made a year after the novel was published doesn't quite pull it off. Gilroy was experimenting quite a bit in this film with shots of very dark city streets and with intentionally disorienting jump cuts to shots above the characters after intense conversations that make them look trapped and hopeless; he also deliberately made the Bentwoods' clothes, hairdos, and homes look as awful as possible (even by the standards of one of the least stylish periods in American cultural history). To say the result isn't very cheerful is putting it mildly; but it's also very off-putting in narrative terms. It's hard to much care for the Bentwoods' social world which seems so sterile as to deserve to be doomed, and though it's fascinating to see Kenneth Mars in a serious role, he's exceptionally unpleasant as Otto.
The main reason to see this film is Shirley Maclaine, who delivers perhaps her best dramatic performance here. Her best scenes often are her wordless scenes, when she turns up her beautiful rosy-pink face towards the other actors and stares at them as her mind races. This is such a far cry from the mannered ding-a-ling roles from both her earlier and later years that here she seems quite another actress altogether. With Sada Thompson, who invests her very unlikely speeches with her characteristic dignity and grace, and Carol Kane in a tiny part as a young hippie.