The son of Simon Jaglom, a wealthy Russian-Jewish financier from London who emigrated to New York just before World War II, Henry Jaglom has always possessed the means and confidence to pursue his own, sometimes highly idiosyncratic visions. His first film as a writer/director, 'A Safe Place', had its first incarnation in the mid-Sixties as a short-run Off Broadway play written by Jaglom and starring a then-unknown Tuesday Weld. Offered a film project by Columbia—through the auspices of 'Easy Rider' cohorts Bert Schneider and Dennis Hopper—Jaglom opted to turn his play into a film. Jaglom quite naturally signed Tuesday Weld to reprise the lead role of Susan/Noah, a young woman caught between two lovers and constantly retreating into her imagination (supposedly a "safe place"), which only seems to produce troubling memories of childhood that ultimately result in her ego dissolution and/or suicide. To complement what would turn out to be a magnetic performance by Weld—who drew on her own tumultuous youth for inspiration—Jaglom secured the services of other talented friends: Jack Nicholson (who plays one of Weld's lovers) and the legendary Orson Welles (who plays a street magician and Weld's titular father figure). Though he had his own play script to provide a blueprint for the film, Jaglom insisted on endless experimentation and improvisation. His cinematographer, Dick Kratina (who helped shoot 'Midnight Cowboy'), eventually shot some fifty hours of raw footage that Pieter Bergema edited down to 94 minutes (a shooting ratio of 32 to 1). In the end, though, 'A Safe Place' would achieve notoriety not for its acting, gritty New York City vistas, its strange soundtrack (combining Gershwin, Edith Piaf, Charles Trenet, and mid-century Tin Pan Alley tunes), or even a hilarious soliloquy by Gwen Welles on New York City mashers but for its copious use of jump cuts between past, present, and future events—a risky editing technique deemed brilliant by some critics and derided as nonsensical and confusing by others. Indeed, when 'A Safe Place' premiered at the 9th Annual New York Film Festival (Oct. 15, 1971), audience members broke into a passionate shouting match over its merits that nearly escalated into a donnybrook. Though it bombed in the United States, 'A Safe Place' predictably fared better in France; a theater in Paris is reputed to have shown it continuously over a seven-year period.
Review of A Safe Place
