First released in 1971, Carnal Knowledge is the story of two friends, Jonathan (Jack Nicholson) and Sandy (Art Garfunkel).

Jonathan and Sandy meet in the late 40s, when they’re both assigned to be roommates at Amherst College.  They’re both smart, handsome, and obviously from well-off families.  They both believe that they have a wonderful future ahead of them and why shouldn’t they?  World War II is over.  America is the leader of the world and Jonathan and Sandy both appear to be future leaders of America.  Sandy is shy and sensitive.  When he meets Susan (Candice Bergen), he struggles to talk to her and when they date, he doesn’t know how far he should go with her.  (When he tells Jonathan about getting a hand job from her, it’s obvious that Sandy didn’t previously realize such a thing was possible.)  Jonathan, on the other hand, is confident and aggressive.  He can be a braggart and he can be insensitive but there’s something undeniably attractive about someone who knows what he wants and is determined to get it.  Soon, Susan finds herself torn between the two roommates, though Sandy is clueless that Jonathan is even interested in her.

Carnal Knowledge is divided into three separate parts, each taking place in a different decade and each shot in its own individual style.  (The film was written by playwright Jules Feiffer and the script does very much feel like a three-act play.)  As a character, Susan disappears after the first act but her relationship with Jonathan and Sandy haunts every bit of the second and third acts.  By the end of the film, Sandy is no longer sensitive and Jonathan is no longer virile and one can’t help but feel that Susan, wherever she may be, is definitely better off without either one of them.

The second act is dominated by Jonathan’s relationship with Bobbie, played by Ann-Margaret.  Bobbie is beautiful and heart-breakingly insecure.  Her relationship with Jonathan starts with a dash of romance and then quickly becomes a trap for both of them.  Jonathan is not ready (or mature enough) to settle down.  Bobbie is desperate for him to marry her and willing to go to extremes to make that happen.  The scenes where Jonathan and Bobbie fight are some of the most powerful in the film, with both Nicholson and Ann-Margaret giving the viewer raw and honest portrayals of two insecure people who are totally wrong for each other but also incapable of getting away from each other.

By the time the third act comes around, Jonathan has been reduced to paranoid ruminations about “ball-breakers” and can only get it up when he’s feeling like he’s the one in power.  (Rita Moreno has a cameo as a very patient prostitute.)  Meanwhile, middle-aged Sandy is dating an 18 year-old (Carol Kane) and clearly trying to live the free-spirited youth that he never had.  Who is more pathetic?  Jonathan, who bitterly realizes he’s never going to be young again, or Sandy, who is trying to deny the fact that he’s getting older?

Carnal Knowledge is a dark film and indeed, it sometimes feels like it’s a bit too dark for its own good.  Even the worst people occasionally have a laugh.  The script is full of sharp lines and the characters are interesting, even if they are for the most part unlikable.  Still, there’s a staginess to the film’s narrative and director Mike Nichols never quite breaks free from it.  That said, I still highly recommend this film.  Not only is it a portrait of a culture-in-transition but it also features some wonderful performances, especially from Ann-Margaret and Jack Nicholson.  (In most ways, Jonathan is definitely worse than Sandy but we still have more sympathy for Jonathan because Jack Nicholson is a considerably better actor than Art Garfunkel.)  Ann-Margaret honestly portrays the heart-breaking insecurity that comes from being repeatedly told that you have nothing but your looks to offer.  Meanwhile, Nicholson throws himself into playing the charismatic but immature Jonathan.  We may not like Jonathan but we do, in the end, understand why he’s become the person that he has.  It takes a certain amount of courage to play a character like Jonathan and, in this film, Nicholson shows every bit of that courage.