(2 of 2)
George Segal's Blume is a dexterous performance driven by demons, Kristofferson's Elmo relaxed and appealing. Besides a great deal of what seems like effortless ability, Kristofferson has vast charm and the sort of presence that makes you look forward to his every appearance. He is, naturally and winningly, what so many others strain so hard to be: a star. Susan Anspach, as Nina, is musky and alluring and, even more important, a splendid actress. Hers is the most carefully detailed, most complex and moving re-creation of a woman that has been seen in an American film since Jane Fonda in Klute — a remarkable performance which Anspach equals in every way.
To be noted with pleasure and satisfaction is Mazursky's maturity since the rather glib days of Bob and Carol, and his increasingly sophisticated sense of cinematic style (abetted by the faultless photography of Bruce Surtees).
Tellingly funny, poignant and smart, Blume in Love confirms Mazursky as an American film maker from whom one can consistently expect work of substance and resonance.