Elliott Gould details his ‘perfect chemistry’ with ‘MASH’ co-star Donald Sutherland

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I’ve had the immense pleasure and privilege of working with some truly exceptional artists throughout my long and winding career in Hollywood. But among them all, there’s one man who holds a very special place in my heart: Donald Sutherland.

Upon Donald Sutherland’s passing on a Thursday, heartfelt tributes and memories started flooding in from various sources, among them being President Biden and Canadian Prime Minister Justin Trudeau.

The versatile Canadian actor has an extensive filmography spanning different genres. Some of his notable works are “The Dirty Dozen,” “MASH,” “Klute,” “Don’t Look Now,” “Animal House,” and “Invasion of the Body Snatchers.” More recently, he appeared in the 2005 adaptation of “Pride and Prejudice” and the “Hunger Games” series.

In “Don’t Look Now,” a heart-wrenching movie directed by Nicolas Roeg and released in 1973, Julie Christie acted alongside Sutherland, portraying a grieving couple attempting to cope with the loss of their young child.

In an interview with The Times, Christie expressed, “Donald’s distinctive intellect and playful wit made him stand out and captivating on screen.”

In my perspective, I can’t think of many artists who share such a deep connection with Sutherland as Elliott Gould does. This bond was forged through our collaborative role in Robert Altman’s groundbreaking 1970 production, “MASH,” which brought both of us significant recognition.

In 1971, they teamed up for “Little Murders,” a dark satire directed by Alan Arkin from Jules Feiffer’s play and produced by Gould. They also collaborated in the 1974 espionage comedy “SPYS,” which was helmed by Irvin Kershner.

Reached by phone on Friday, Gould reflected warmly on his work with Sutherland.

Elliott Gould and Donald Sutherland in a scene from the 1974 comedy “SPYS.”
(Stanley Bielecki Movie Collection / Getty Images)

It’s a pleasure for me to engage with you, yet I’m deeply disappointed about the reasons for our conversation.

I’ve had the opportunity to collaborate with many talented individuals throughout my career, but few have left as lasting an impression as Donald Sutherland. While it is undeniably sad that he has moved on from this world, I choose to focus on the beauty and magnificence of his life and the incredible impact he had on mine.

When you think of Donald, what first comes to mind for you?

In “MASH,” Donald from Dover was portrayed by him. I’d only known him from movies before, but it was mostly like “The Dirty Dozen.” When Bob Altman invited me for lunch, he later cast me to act alongside Donald at the 20th Century Fox commissary. Initially, I felt uneasy sitting next to him, thinking he might not care for my company. However, we ended up forming a strong bond and displayed fantastic chemistry as two contrasting individuals. I’ve never collaborated with someone more effectively. He is like a brother to me.

Where do you think that chemistry came from? How would you describe it?

In my perspective, our bond was deeply rooted in the beauty of nature and the complexities of human nature. We didn’t need to analyze or intellectualize it; it just was. Despite our differences, we complemented each other perfectly. And even though we come from diverse backgrounds, Donald remains an integral part of my life. As long as I’m alive, I will carry the memories and lessons learned from our time together.

From the outset of collaborating on “MASH,” there was a noticeable chemistry between the two of you. In your initial film scene, you were relatively quiet while he spoke incessantly, an intriguing dynamic indeed.

Additionally, it’s essential not to overlook Tom Skerritt and other remarkable aspects of the film. However, I remember the first time Lew Alcindor (Kareem Abdul-Jabbar) faced off against Wilt Chamberlain during a screening of the movie at 20th Century Fox for the cast. Although we might have attended a sneak preview in San Francisco, I prefer not to guess. Instead, I showed Donald a game I picked up on the streets of Brooklyn, New York, called “against the wall.” This was just me and Donald playing baseball by hitting the ball against a wall. We didn’t enter the field.

During the shoot, we kept our distance from each other. Everyone was under Altman’s direction. It’s clear that we were part of his team, but we barely interacted outside of filming. After a screening, Ring Lardner Jr. approached me, and I was taken aback, thinking I was just an actor. Donald, my constant companion, was with me. Lardner expressed his disappointment, stating that none of his lines made it into the final cut. That year, he won the Academy Award for Best Screenplay. However, Altman’s genius brought us together and created a unique chemistry on set that I have yet to experience again.

“In ‘MASH,’ Altman initially showcased his distinctive approach with its disorganized vitality, interwoven conversations, and mobile cinematography. Did you and Donald, along with the other performers, find it challenging to adapt to this unconventional technique?”

Sure thing. Donald and I voiced our concerns once. Before that, I had only worked on three films, all of which I recall vividly. However, improvising on set was a new experience for me. Donald and I expressed our discomfort to Robert Altman, which understandably upset him. He assumed we wanted him removed from the project, but that wasn’t the case at all. We simply weren’t accustomed to his directing style. But after he reshot certain scenes, demonstrating his openness to our input as actors, we formed a productive working relationship. And the outcome was quite successful.

Elliott Gould, from left, Tom Skerritt and Donald Sutherland in “MASH.”
(20th Century Fox)

As a huge fan of “MASH,” I can’t help but marvel at how the show catapulted both you and Donald into even greater stardom. For me, it was an incredible experience to witness you both rising to fame side by side during that pivotal moment in time. Personally, I believe that sharing this extraordinary journey with someone as talented and driven as you made the whole experience even more meaningful for me. It felt like we were navigating the ups and downs of success together, creating an unforgettable bond between us and “MASH.”

I prefer not to get overly emotional or pretentious. People may come up with intellectual reasons for things, but Donald and I had a connection, and I feel that his spirit still exists among us. Initially, “SPYS” was intended for David Niven and Carroll O’Connor as two retired CIA agents. The project came to me, but I declined it.

This was an unusual occurrence, as Donald seldom contacted me. He phoned me to inform me that “Wet Stuff” had been changed into “SPYS,” and I’d declined the script due to its subpar quality. Donald then asked if I would join him in making the film. Surprised, I confirmed that we were talking about the same project. Though they never consulted me regarding the script rewrites, my instinct told me they went on to improve it significantly. Despite being a minor player in the process, my involvement with Donald and Irvin Kershner as the director led to a fruitful collaboration.

In London now, our first day filming “SPYS” began, with no title yet. Donald and I rode in a luxurious car, en route to our shooting location. He asked for my thoughts on the script, and I bluntly replied, “It’s crap.” Impulsively, I tossed it out the window. I suggested swapping parts for potential success, but the accomplished producers, Bob Chartoff and Irwin Winkler, disagreed. Despite this, we completed the filming. However, my desire to collaborate with Donald again remained unfulfilled.

I’d be happy to share my perspective on why Donald was cast for the role in “Little Murders” during the wedding scene, which I had the pleasure of producing. His delivery of that powerful monologue left an indelible impression on me and the audience. What captivated me about Donald for this part was his unique ability to convey both humor and pathos with authenticity and depth. He brought a level of nuance and complexity to the character that elevated the scene and added layers to the overall narrative. It was an inspired choice that enhanced the film’s impact, making it a truly memorable experience.

In our production of “Little Murders,” I took charge and created the image you see; I had initially brought it to life on stage, with Jules Feiffer as a dear friend by my side. We invited Donald Sutherland to join us, and he exceeded all expectations, earning a fee of $5,000 for his exceptional performance. This was many years ago when expenses were less burdensome. Despite being unwell, with a persistent cough, Donald showed up to work. I recall fetching him some freshly squeezed orange juice from a nearby Manhattan church to help alleviate his discomfort. Trumpeting his talent, Donald brought the character to life in an extraordinary way. Impressive indeed, the brilliance of Donald Sutherland in “Little Murders.”

Do you have any favorite performances of Donald’s besides the work that you did together?

As a movie buff, I can’t help but be utterly terrified by the final shot of “Invasion of the Body Snatchers.” The stillness and silence of that dream sequence leaves me with an unsettling feeling that sticks with me long after the credits roll. And when it comes to “Pride & Prejudice,” this role really struck a chord with me. Donald’s performance was nothing short of exceptional, and I found myself completely captivated by his portrayal of the complex characters in this classic tale.

In more recent times, he gained a large number of new fans due to his role in “The Hunger Games” films. This is reminiscent of the experience you had when starring in “Friends,” as a fresh batch of viewers discovered your acting abilities.

One possible paraphrase for “Or a part of an explosion. I played a bit of basketball with Donald, yet he didn’t play, but he was toweringly large and had huge hands. And, needless to say, he hailed from a distinct cultural background. Our differences were stark, which added an intriguing dynamic to our rapport. He was incredibly giving, perceptive, and compassionate, making him a valuable companion. In London, we exchanged the films “Don’t Look Now” and “The Long Goodbye.” We didn’t spend much time together. I suspect Donald may have been more productive than me, though I can’t be sure. We forged an unbreakable bond on “MASH,” and he acknowledged our connection by declaring we were brothers.”

It brings me great joy to think of you exchanging your films, and in particular, those two iconic pieces that hold special significance for both of you. The sense of camaraderie and appreciation around shared artistic accomplishments is truly heartwarming.

Donald Sutherland was truly exceptional in his role. Our collaboration was also noteworthy in my opinion. I recall the time when Donald acted in “Alex in Wonderland,” a project Paul Mazursky strongly encouraged me to be a part of. In that scene where Donald and Jeanne Moreau rode in a horse-drawn buggy while the music from “Jules and Jim” played, I couldn’t help but shed tears. The depth of Donald’s sensitivity left an indelible impression on me. Working alongside Donald Sutherland was a gift, allowing us to discover new facets of each other despite our contrasting personalities. We harmoniously came together through our shared artistry.

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2024-07-18 18:42