Peter Sellers’ final screen performance in “Being There,” released in 1980, the year of his untimely death at 54, is widely considered to be his magnum opus. This film, which I recently revisited for the third time and find increasingly captivating, operates in a realm of dreamlike beauty, imbued with a dark, moody atmosphere that is utterly mesmerizing. While certain plot developments might stretch the boundaries of realism, approaching “Being There” with a rational lens would miss its nuanced brilliance. At its heart is the unforgettable character of Mr. Chance, brought to life by Peter Sellers.
The narrative of “Being There” is deceptively simple. Mr. Chance, or Chauncey Gardener as he is sometimes known, is a middle-aged man with the mind of a child. His entire life has been confined to the Washington D.C. townhouse of a wealthy benefactor, where he tends the garden and lives in blissful isolation from the outside world. His world is upended when his employer passes away, leaving Chance homeless and thrust into an unfamiliar urban landscape. His primary interests are simple: gardening and television, a pastime he often summarizes with the iconic phrase, “I like to watch.”
A chance encounter, quite literally, when a limousine accidentally bumps into him, leads Chance to the opulent mansion of wealthy tycoon Benjamin Turnbull (Melvyn Douglas) and his wife Eve Rand (Shirley MacLaine), who have close ties to the President. Taken in by their kindness, Mr. Chance, with his polite demeanor, immaculate attire, and deliberate way of speaking, is mistaken for a sophisticated intellectual. This misunderstanding escalates in a particularly humorous scene when Chance meets the President. Asked for his expert opinion on the ailing economy, Chance, naturally clueless about macroeconomics, responds with reflections on his only area of expertise: gardening. His observations about “spring and summer, fall and winter, it’s all a cycle, and everything starts to grow again” are interpreted as profound metaphors for economic cycles, solidifying his image as an insightful, if enigmatic, figure.
Even a seemingly innocuous statement like “I only watch TV” when asked about his newspaper reading habits, is twisted into a virtue. In the eyes of the public, this admission transforms Mr. Chance into a paragon of honesty, a refreshing contrast to the perceived deceitfulness often associated with Washington politics. This accidental rise to prominence highlights the film’s sharp satirical edge, commenting on societal superficiality and the hunger for simple answers in a complex world.
“Being There” has steadily grown in critical acclaim and reputation over the years, a testament to its enduring quality. Director Hal Ashby masterfully translates Jerzy Kosinski’s novel into a darkly comedic and visually striking film. Ashby’s direction is deliberate and paced, maintaining a consistent tone that balances humor and melancholy. The film is further elevated by exceptional supporting performances from Melvyn Douglas and Shirley MacLaine. MacLaine’s portrayal of Eve, particularly her introspective scene, adds another layer of complexity to the narrative. However, it is undeniably Peter Sellers as Mr. Chance who delivers a performance for the ages.
“Being There” was a passion project for Peter Sellers for nearly a decade. He meticulously prepared for the role of Chance, paying particular attention to his voice, endlessly refining its nuances through tape recordings. Comparisons to Tom Hanks’ portrayal in “Forrest Gump” are inevitable, but ultimately fall short. While both films feature protagonists who are somewhat detached observers of American society, Sellers imbues Mr. Chance with a far greater complexity and ambiguity. “Being There” is arguably the superior film, and while Tom Hanks secured an Oscar for “Forrest Gump,” many argue that Peter Sellers’ nuanced and masterful performance in “Being There” deserved the accolade (he was indeed nominated for Best Actor).
Even after multiple viewings, “Being There” continues to reveal new layers and insights, a hallmark of a truly great film. Its themes of identity, perception, and the power of simplicity resonate deeply. Adding to the film’s allure, a significant portion of “Being There” was filmed at the Biltmore Estate in Asheville, North Carolina, the Vanderbilt family’s opulent mansion. For those interested in film locations and architectural beauty, a visit to Biltmore adds another dimension to appreciating this cinematic masterpiece. “Being There” is more than just a movie; it is an experience, a film to be savored and contemplated.
