Loss of Donald Sutherland
Upon the passing of Donald Sutherland this past Thursday, a wave of heartfelt tributes and memories began to flow in, including from President Biden and Canadian Prime Minister Justin Trudeau.
The accomplished Canadian actor had an extensive and diverse portfolio of films covering a wide range of genres, such as “The Dirty Dozen,” “MASH,” “Klute,” “Don’t Look Now,” “Animal House,” “Invasion of the Body Snatchers,” and more recently the 2005 adaptation of “Pride & Prejudice” and the “Hunger Games” series.
Julie Christie, who starred with Sutherland in Nicolas Roeg’s 1973 film “Don’t Look Now,” a poignant portrayal of a couple grappling with the loss of their young daughter, offered her exclusive statement to The Times. She said, “Donald’s distinctive intelligence and playful wit are what set him apart and made him such a captivating actor.”
Arguably, few actors are as intricately connected with Sutherland as Elliott Gould, as the two were cast in Robert Altman’s 1970 anti-war dramedy “MASH,” which catapulted both actors to new heights of stardom.
They later appeared together in 1971’s grim satire “Little Murders,” directed by Alan Arkin from the play by Jules Feiffer and produced by Gould, as well as 1974’s spy comedy “SPYS,” directed by Irvin Kershner.
Reached by phone on Friday, Gould shared his warm reflections on his collaborations with Sutherland.
Gould’s reflections on Sutherland
Despite the regrettable circumstances of our conversation, it is an honor to speak with you.
No, I see it from a different viewpoint. It touches me deeply. I can grieve for us, but we are also celebrating the grandeur of this individual, Donald Sutherland, with whom I had the honor to work closely. I feel it’s not a loss, but a gain.
What is your initial thought when you remember Donald?
The pros from Dover. That was Donald. He transformed us into the pros from Dover in “MASH.” I have never known anyone like Donald. I had seen him in film, but that was quite early on. It was essentially “The Dirty Dozen.” When Bob Altman cast me to play opposite Donald, he requested that I have lunch alone with Donald at the commissary of 20th Century Fox. I met Donald there and my initial thought was, “I don’t think this guy likes me.” And, of course, we developed a close bond and created an amazing chemistry as two completely different individuals. I’ve never collaborated with anyone better. He’s my brother.
Can you describe the source of that chemistry and how you would characterize it?
Our relationship was all about the human condition and what it means to be a human being. We never intellectualized about it. We couldn’t have been more different. As far as I’m concerned, Donald will always be with me as long as I live.
When you started working together on “MASH,” was the dynamic between the two of you immediately evident? In your first scene in the film, you remain silent while he can’t stop talking. It’s incredible.
And let’s not forget about Tom Skerritt and the other remarkable elements from the film. But the way we shot it, I recall the first time that Lew Alcindor [Kareem Abdul-Jabbar] played against Wilt Chamberlain, Altman was screening the film for the entire cast at 20th Century Fox. We may have seen it already because I think they might have had a sneak preview in San Francisco, but I don’t like to speculate. So, I was showing Donald a game that I learned on the streets of Brooklyn, New York, called “against the wall.” It was a baseball game played against a wall. It was just Donald and me. And we didn’t go in.
Donald and I kept a certain distance. Everyone was with Altman. We worked for Altman, there’s no doubt about that, but we were pretty much kept apart other than in the scenes. After the screening, Ring Lardner Jr. approached me and I thought, “Why are you approaching me? I’m just acting here.” And Donald was with me because we were always together. Ring Lardner Jr. asked, “How could you do this to me? There’s not a single line I wrote that’s onscreen.” And Ring Lardner went on to win the Academy Award that year for the best screenplay. Of course, that was due to the brilliant and ingenious Robert Altman. But Robert Altman brought us together and allowed us to create a chemistry I’ll never know again.
“MASH” was really the first time audiences saw what became Altman’s signature style with the chaotic energy, overlapping dialogue and the restless camera. Was it difficult for you, Donald, and the other actors to align with that process?
Absolutely. Donald and I complained once. I had never worked in that manner before. I had been involved in three films before then, which I remember quite clearly, but I had never improvised on film. And as far as the purpose or what dialogue conveys, Donald and I complained about Robert Altman, which, of course, was terrible for Bob. Bob thought we wanted him fired, which is entirely false. We were just uncomfortable with that way of working. But then Bob reshot something, which demonstrated to me that he was willing to work with us and allow us to be the actors that we were. And the rest is history.
The success of “MASH” elevated both you and Donald to a higher level of fame. Was it beneficial for you to have someone there who was experiencing the same journey at that same time? Did you feel the two of you were sharing that moment together?
I don’t want to sound sentimental or pretentious. People perhaps make intellectual justifications out of anything, but Donald and I were together, and I even believe now that he’s left his physical form and is no longer here except for those of us where his spirit lives. When we were about to do “SPYS,” which had another title, and it had been designed for two other actors, the other actors being David Niven and Carroll O’Connor, two washed-up CIA agents. And it was sent to me, and I rejected it.
And this would be one of the few times, if not the only time, that Donald ever called me. And he called me to say, I understand you turned down “Wet Stuff,” which became “SPYS.” I said, “Yes, I didn’t think the script was up to the concept of the story.” And Donald then said to me, “Would you make it with me?” And I said, “You mean you would make this with me?” And he said, “Yeah.” I said, “Well, that’s a different matter.” We create chemistry, our chemistry. I said, “Of course, I’ll do anything together with you.” And then Irvin Kershner was the director, and I grew to love Kershner, and then they found the right people to rewrite it. They never consulted me about the rewrite. And it’s not about me, but I have this instinct. And so they rewrote it.
And now we were in London, and this was the first day of shooting “SPYS,” and it wasn’t even called “SPYS” yet, and Donald and I were being driven in a fancy car to where we were going to shoot the first day’s work. And Donald asked me what I think of this script. And I said, “It’s a piece of crap.” I rolled the window down and I threw the script out the window. I said the only way it can work is if you play the part they think I’m going to play, and I play the part they think you are going to play. We might be able to do something. But the producers, who were extremely successful producers, Bob Chartoff and Irwin Winkler, they couldn’t hear of it. And so we did the film. But in our history in film, I always wanted to make another film with Donald.
Can you talk about his part in “Little Murders”? You produced that film as well and he comes in to deliver this incredible monologue during a wedding scene. What made you want Donald for that part?
He was perfect. We were making the film, I produced it; I had done the first version of it onstage and Jules Feiffer is a friend of mine. And we asked Donald to do it, and he did. I think we paid him $5,000 to do it. Of course, that was a different time and things were cheaper. But Donald was unbelievable in it. And I remember he had a cold — he came to work, he had a cough. And I walked around the corner, because the church that we shot in is there in Manhattan. I got him some fresh squeezed orange juice. And Donald played that character beyond belief. Donald Sutherland in “Little Murders.” Wow. It doesn’t get better.
Do you have any favorite performances of Donald’s besides the work that you did together?
The last shot of his “Invasion of the Body Snatchers” is frightening. Just that last silent scream of his is quite something. And “Pride & Prejudice,” because it moves me. Donald explored profound depths here. His performance in “Pride & Prejudice,” to me, is absolutely magnificent.
In recent years, he found a whole new audience with his appearance in the “Hunger Games” pictures. And it’s similar to what you experienced when you were on “Friends,” a whole new generation discovering you as a performer. It’s amazing that both of you had a similar kind of surge later in your careers.
Or a part of a surge. I played a little basketball with Donald and he didn’t play basketball, but he was a giant and he had big hands. And, of course, he came from a different culture. We couldn’t have been more different, which was amazing for the chemistry that we made. He was so generous, so sensitive, so kind, and such an asset. He showed me “Don’t Look Now” in London and I showed him “The Long Goodbye” in London. We never spent too much time together. I think that Donald possibly, probably, did more work than me, but I don’t know. We deeply, deeply bonded on “MASH” and, agreed, he told me that we were brothers.
I really like the idea of you sharing your films with each other, especially those two, which are truly iconic works for both of you. There’s something truly wonderful about that.
Well, Donald Sutherland was wonderful. And as far as I’m concerned, we were wonderful together. I remember when Donald did “Alex in Wonderland,” which [Paul Mazursky] really wanted me to do. And in the scene where Donald takes Jeanne Moreau on a horse and buggy with the music from “Jules and Jim,” I began to cry. Donald’s sensitivity. The gift of working as closely with Donald Sutherland and for us to get to know one another, utterly opposites who merged in the work in perfect chemistry.
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My name is Alex Carter, a journalist with a deep passion for independent cinema, alternative music, and contemporary art. A University of California, Berkeley journalism graduate, I’ve honed my expertise through film reviews, artist profiles, and features on emerging cultural trends. My goal is to uncover unique stories, shine a light on underrepresented talents, and explore the impact of art on our society. Follow me on SuperBoxOffice.com for insightful analysis and captivating discoveries from the entertainment world.