I had forgotten how often this film made me laugh. The expressions Bud Cort (as Harold) makes to the camera sent me into paroxysms. The anti-war jokes, the auto theft, the priest's marital advice. . . riotous.
This time around, I noticed a peculiar visual balance, and not just when Harold imitated his psychiatrist. The scenes, when not asymmetrical head-shots and close-ups, were often balanced symmetrically between either opposing symbols (order and chaos, death and life, horror and humor, etc), or contained a symmetrical object that symbolized some kind of bridge between two oppositions. This fits brilliantly with the films odd-couple themes and extreme images.