Elliott Gould in Little Murders (1971)
Vitals
Elliott Gould as Alfred Chamberlain, aloof photographer
New York City, Spring 1970
Film: Little Murders
Release Date: February 9, 1971
Director: Alan Arkin
Costume Designer: Albert Wolsky
WARNING! Spoilers ahead!
Background
As we wave goodbye to summer and celebrate the 86th birthday of Elliott Gould, born August 29, 1938, let’s review the actor’s style in the final act of Alan Arkin’s 1971 directorial debut Little Murders, a stark, satirical portrait of a chaotic New York City plagued by unsolved homicides, power blackouts, and rampant street crime.
Based on the Broadway stage play by Jules Feiffer also starring Gould, Little Murders‘ besieged Gotham provides a backdrop that leads to an absurd narrative intertwining love and violence. Critics like Roger Ebert and Gene Siskel lauded what the latter called “a mean little comedy” for its unique ability to isolate its audience, mirroring the alienating effects of the city it depicts. The film’s portrayal of urban decay and the breakdown of authority—from family to police—was inspired by the social turbulence of the 1960s, reflecting Feiffer’s reaction to political assassinations and the Vietnam War.
Gould stars as Alfred Chamberlain, an emotionally detached photographer who captures the city’s grit—and its literal excrement—with a disturbingly passive demeanor, highlighted by his romance with the spirited Patsy Newquist (Marcia Rodd). Patsy grows intrigued with the stoically numb Alfred after he fails to thank her after being mugged, as her affection inspires him to become a man more in touch with his emotions and willing to “fight back” to defend her—only for Patsy to be abruptly killed by a sniper.
This traumatic event sends Alfred spiraling into catatonia, navigating his grief with the Newquists and discovering a new artistic direction away from his morbid subjects during a stroll outside to the easy sound of the Modern Jazz Quartet’s “Skating in Central Park”. However, the family’s method of coping with their grief involves a dark turn to vigilantism, using Alfred’s newly purchased rifle to shoot at strangers from their home, a macabre activity that bizarrely reinvigorates them. This grim pastime concludes with a cheerfully macabre family dinner, painting a disturbing portrait of desensitization to violence.
What’d He Wear?
Alfred maintains a wardrobe of neutral shades of brown, aligned with his unassuming attitude and—perhaps more crudely—his fecal photography subjects. Aside from the wedding where he wears a brown twill lounge suit, most of Alfred’s outfits were anchored by a distinctive dark-brown herringbone tweed peak-lapel half-Norfolk sports coat, so it’s a contrast to see him dressed for the final act in a new (to the audience) beige suede casual jacket.
The four flapped pockets and belted waist recall the safari-influenced style which informed a lot of men’s casual fashions through the 1970s, though the look also suggests adventurous photographers like war correspondents who relied on so many pockets for equipment, lenses, and extra film while on the move. The lighter color and job-driven wardrobe proposes that we’re seeing Alfred’s renewed optimism and purpose—though, in Little Murders—this means a darker turn for the character.
The hip-length suede jacket has six dark-brown woven leather buttons up the front to the large shirt-style collar. The two patch-style chest pockets and two larger bellows pockets on the hips are all covered with gently pointed flaps that each close through a single smaller dark-brown woven leather button. The set-in sleeves are finished with pointed single-button cuffs. The full suede self-belt pulls through three loops across the back and sides with a double D-ring buckle to close in the front. The back is ventless with a horizontal yoke across the shoulders, from which side pleats extend Alfred’s comfortable range of arm movement—a helpful element for aiming both his Nikon and a bolt-action rifle.
Styled with a crew-neck and long raglan sleeves, Alfred’s pullover sweater is made from a brick-red mid-weight wool or a wool-and-acrylic blend.
Alfred wears the same brown corduroy trousers that he had sported with his half-Norfolk jacket. These flat-front trousers have side pockets no but back pockets, plain-hemmed bottoms, and belt loops, through which he wears a tan cloth belt that closes through a darkened brass box-style buckle.
Alfred wears the same tan leather apron-toe three-eyelet derby shoes that he also wears with his usual brown herringbone tweed half-Norfolk sports coat.
The Gun
Alfred returns to the Newquist apartment after his afternoon in the park, carrying flowers in one hand and a scoped and sporterized bolt-action rifle in the other. He breaks his trauma-induced silence to instruct Patsy’s weird brother Kenny (Jon Korkes) to “use it,” though neither Alfred nor Kenny know how to even load it—Alfred had only purchased it because it was on sale—and they hand it off to the Newquist patriarch, Carol (Vincent Gardenia), who swiftly loads it with five rounds which they then use to randomly shoot passersby from the window.
I don’t have the expertise to definitively identify the rifle, though elements of it resemble contemporary rifles manufactured by the Finnish manufacturer Sako, such as the L57 and L579 Forester rifles. First produced in the late 1950s, these “medium action” bolt-action rifles are chambered in .243 Winchester, 6mm Remington, or .308 Winchester, though some L579 Foresters are also chambered for the shorter-action .22-250 Remington high-velocity round.
How to Get the Look
Elliott Gould in Little Murders (1971)
Elliott Gould’s costume in the climactic scenes of Little Murders masterfully layers fall-friendly textures with a beige belted suede jacket, brick-red sweater, and brown corduroy trousers to create a smart ensemble ideal for the cooler season.
- Beige suede safari-influenced jacket with large shirt-style collar, six dark-brown woven leather buttons, two chest pockets (with single-button pointed flaps), two bellows hip pockets (with single-button flaps), full self-belt (with double D-ring buckle), pointed single-button cuffs, and ventless back with side pleats
- Brick-red mid-weight wool or wool-blend crew-neck raglan-sleeve sweater
- Brown corduroy flat-front trousers with belt loops, side pockets, and plain-hemmed bottoms
- Tan cloth belt with darkened brass box-style buckle
- Light-brown leather apron-toe 3-eyelet derby shoes
- Off-white ribbed socks
Do Yourself a Favor and…
Check out the movie.
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