Title: THE LOVE MACHINE
Year of Release: 1971
Director: Jack Haley Jr.
Genre: Drama
Synopsis: An ambitious, womanizing television anchorman rises through the ranks and becomes head of the network, but suffers a humiliating fall from grace.
Within a film history context: Several of author Jacqueline Susann's novels were adapted into motion pictures in the late 1960s to the mid-1970s. The first of these, VALLEY OF THE DOLLS (1967) caused a sensation in both its print and film adaptation, although looked down upon by film critics. ONCE IS NOT ENOUGH (1975) was the last of Miss Susann's novels to receive a film treatment, and was also successful at the box office. THE LOVE MACHINE (1971), falling in between both of the previous films, was not a box-office hit, failing to generate the popular momentum of the other two movies. Like the other two films, THE LOVE MACHINE was another Jacqueline Susann vehicle that followed a central character corrupted by life and themselves being corrupted before eventually seeing the light. Unlike VALLEY OF THE DOLLS and ONCE IS NOT ENOUGH, THE LOVE MACHINE lacked the lush romantic angle which characterized the former films, the latter geared more toward salaciousness, satire and comedy.
Within a film history context: Several of author Jacqueline Susann's novels were adapted into motion pictures in the late 1960s to the mid-1970s. The first of these, VALLEY OF THE DOLLS (1967) caused a sensation in both its print and film adaptation, although looked down upon by film critics. ONCE IS NOT ENOUGH (1975) was the last of Miss Susann's novels to receive a film treatment, and was also successful at the box office. THE LOVE MACHINE (1971), falling in between both of the previous films, was not a box-office hit, failing to generate the popular momentum of the other two movies. Like the other two films, THE LOVE MACHINE was another Jacqueline Susann vehicle that followed a central character corrupted by life and themselves being corrupted before eventually seeing the light. Unlike VALLEY OF THE DOLLS and ONCE IS NOT ENOUGH, THE LOVE MACHINE lacked the lush romantic angle which characterized the former films, the latter geared more toward salaciousness, satire and comedy.
Overview: Jack Haley Jr. directed only two feature films in his career, the first being NORWOOD (1970) with THE LOVE MACHINE his second film. The remainder of his time was spent in television directing specials, episodes of television shows, and telemovies. THE LOVE MACHINE is probably the most well-known of his two films. Whereas NORWOOD was a comic movie with musical asides, THE LOVE MACHINE was similar in the manner in which it handled its comic content, but in a coarser, raunchier manner. While it is a movie that is not unlikable, the combination of many disparate elements renders it uneven overall. It ranges from being a straight drama to a comedy, with tragic moments in between, some satirical, to a battle of the sexes.
The narrative of a man willing to do anything to rise in the television industry is handled well by the director if at times events occur too quickly, and the impact of these, how, and why they happen, are not felt by the audience. I found the depiction of the behind-the-scenes shenanigans at a television network, with its flawed personalities and outrageous events interesting, if somewhat nonsensical at times. It is a complete contrast to the heated goings-on at a television station in NETWORK (1976), which was more in-depth than THE LOVE MACHINE in this arena. The interpersonal relationships between the characters are engaging in THE LOVE MACHINE, but many needed further development.
The main protagonist, Robin Stone, seems to hop in and out of bed with various women at lightning pace, but these transient relationships are mainly handled in a cool, indifferent manner. The only two relationships that have a major impact plot wise and drive events forward are Robin Stone's pairings with Amanda, and Judith. As a side note, Mr Law's Robin Stone did seem to be well-matched with whichever female character he was paired, no mean feat on his part. To the film's detriment, though, characters such as Tina St. Claire pop in and out of the film, with the effect that these actors are wasted in the film, and their talents not fully utilized.
Despite its reputation which clouds the film's virtues, THE LOVE MACHINE does feature some effective stories. Amanda's suicide, Robin Stone's tussle with a prostitute, the crumbling marriage of Greg and Judith Austin, Robin's friendship with photographer Jerry, and the fall-out from this all carry weight, but the film does not gel into a cohesive whole. A watchable if inconsistent film, THE LOVE MACHINE does deserve credit for at least attempting to tackle a combination of genres, but with the end result not being as successful as one would wish.
The narrative of a man willing to do anything to rise in the television industry is handled well by the director if at times events occur too quickly, and the impact of these, how, and why they happen, are not felt by the audience. I found the depiction of the behind-the-scenes shenanigans at a television network, with its flawed personalities and outrageous events interesting, if somewhat nonsensical at times. It is a complete contrast to the heated goings-on at a television station in NETWORK (1976), which was more in-depth than THE LOVE MACHINE in this arena. The interpersonal relationships between the characters are engaging in THE LOVE MACHINE, but many needed further development.
The main protagonist, Robin Stone, seems to hop in and out of bed with various women at lightning pace, but these transient relationships are mainly handled in a cool, indifferent manner. The only two relationships that have a major impact plot wise and drive events forward are Robin Stone's pairings with Amanda, and Judith. As a side note, Mr Law's Robin Stone did seem to be well-matched with whichever female character he was paired, no mean feat on his part. To the film's detriment, though, characters such as Tina St. Claire pop in and out of the film, with the effect that these actors are wasted in the film, and their talents not fully utilized.
Despite its reputation which clouds the film's virtues, THE LOVE MACHINE does feature some effective stories. Amanda's suicide, Robin Stone's tussle with a prostitute, the crumbling marriage of Greg and Judith Austin, Robin's friendship with photographer Jerry, and the fall-out from this all carry weight, but the film does not gel into a cohesive whole. A watchable if inconsistent film, THE LOVE MACHINE does deserve credit for at least attempting to tackle a combination of genres, but with the end result not being as successful as one would wish.
Acting: The performances in this film are sound overall, with some standing out more than others. John Phillip Law as Robin Stone is good in the film, and despite seeming cold and unfeeling, offers an interesting interpretation of the lead character. With his good looks, deep voice, and steely confidence, Mr Law did display the character's vulnerability in scenes such as his reaction to model Amanda's death, greeting comedian Christie Lane in the office scene, and in his scenes with Judith Austin. [When I first saw the film I was struck by John Phillip Law's resemblance to fellow actor Jeff Tracta from television serial The Bold and the Beautiful - just something I picked up on]. Jodi Wexler made a valiant attempt to make her ill-fated character Amanda striking, but the writing of Amanda as a one-note, insecure young woman did not fully assist her in making the character more rounded. Alexandra Hay, in a tiny role as Robin Stone's amour, was pert and comical, giving her cameo character some spice, and precipitating Amanda's downfall. Other actors also did a comfortable job in their roles in THE LOVE MACHINE which deserve mention.
Robert Ryan was solid in the film, from being in charge at the network to his strained marriage to Judith, he added just the right amount and humour and authority to give his role credence. David Hemmings contributed much to the film as the gay photographer with designs on Mr Law, going head to head with Dyan Cannon in one of the film's most outré scenes. Jackie Cooper was entertaining as Mr Law's rival at the network, his enthusiasm palpable. Maureen Arthur, unfortunately, was wasted in the role of Ethel Evans. If one has seen Miss Arthur's other performances such as in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1967), her energy and sass were second to none, and one of the reasons why that film worked so well. In this film the writing of the role took away that individuality, not allowing her to shine. I did find her pairing with Shecky Greene, though, to be quite entertaining, but the film did not capitalize on their combined personalities which was disappointing. Ethel Evans' flirtation with Robin Stone was another brief shining moment that added dimension to the film as, notably, she was one of the women with whom Robin Stone did not have an affair. I found two contributions, though, to be extremely proficient in the movie.
Dyan Cannon always gives a great performance, with her vitality and sensitivity well on display in THE LOVE MACHINE. Miss Cannon also has great dramatic impact especially during the rambunctious fight scene close to the end of the film, her interactions with Robert Ryan, and burning a bed when she discovers something unsavoury about Robin Stone, and exacts revenge. Apart from Dyan Cannon, I also found Shecky Greene's acting to be very pleasing. Playing a comedian in the film, Mr Greene brought a change of atmosphere to the proceedings with his booming voice and easy manner, setting him apart from the movie's other male characters. The scenes where he proposes to Amanda reveal an appealing softness and vulnerability behind the ever-present comic façade. The subsequent events where Amanda rejects him, and he reacts with sheer annoyance to her presence thereafter, had believable poignancy and depth.
Robert Ryan was solid in the film, from being in charge at the network to his strained marriage to Judith, he added just the right amount and humour and authority to give his role credence. David Hemmings contributed much to the film as the gay photographer with designs on Mr Law, going head to head with Dyan Cannon in one of the film's most outré scenes. Jackie Cooper was entertaining as Mr Law's rival at the network, his enthusiasm palpable. Maureen Arthur, unfortunately, was wasted in the role of Ethel Evans. If one has seen Miss Arthur's other performances such as in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1967), her energy and sass were second to none, and one of the reasons why that film worked so well. In this film the writing of the role took away that individuality, not allowing her to shine. I did find her pairing with Shecky Greene, though, to be quite entertaining, but the film did not capitalize on their combined personalities which was disappointing. Ethel Evans' flirtation with Robin Stone was another brief shining moment that added dimension to the film as, notably, she was one of the women with whom Robin Stone did not have an affair. I found two contributions, though, to be extremely proficient in the movie.
Dyan Cannon always gives a great performance, with her vitality and sensitivity well on display in THE LOVE MACHINE. Miss Cannon also has great dramatic impact especially during the rambunctious fight scene close to the end of the film, her interactions with Robert Ryan, and burning a bed when she discovers something unsavoury about Robin Stone, and exacts revenge. Apart from Dyan Cannon, I also found Shecky Greene's acting to be very pleasing. Playing a comedian in the film, Mr Greene brought a change of atmosphere to the proceedings with his booming voice and easy manner, setting him apart from the movie's other male characters. The scenes where he proposes to Amanda reveal an appealing softness and vulnerability behind the ever-present comic façade. The subsequent events where Amanda rejects him, and he reacts with sheer annoyance to her presence thereafter, had believable poignancy and depth.
Soundtrack: The use of 'He's Moving On' sung by Dionne Warwick is catchy and one of the main reasons the film remains in the memory. It not only comments about the film's protagonist but also provides a breezy, melodic counterpoint to the movie. THE LOVE MACHINE also utilizes 'Amanda's Theme' as a theme for its ill-fated female character. Unlike 'He's Moving On', "Amanda's Theme' is a quieter, more pensive musical arrangement that perfectly reflects the qualities that the character embodied in the movie.
Mise-en-scene: The film's sets were all well done, ranging from Robin Stone's luxury apartment, with its spare but elegant furnishings, the gracious mansion of Greg and Judith Austin, with its fine furniture and ambience oozing distinctiveness and class. The offices of the television network were slightly crass and garish in nature, but this could be seen to reflect the rough and tumble nature of the television network in the film. The costuming for the female characters in many instances in beautiful, with actresses featured in lush furs and fine fabrics. The costuming for Amanda's photo-shoot, at times, seems to be left of centre at times, but this is no ordinary film, these creations fitting in with the film's offbeat nature. Costume designer Moss Mabry was possibly making an analogy between the ephemeral, fickle natures of fashion and television through the use of his designs in the film.
Award-worthy performances in my opinion: Dyan Cannon, Shecky Greene, Robert Ryan.
Award-worthy performances in my opinion: Dyan Cannon, Shecky Greene, Robert Ryan.
Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.
Overall Grade: C
Link: IMDB Page
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So enjoyed reading this. THe Love Machine This is one of my favorite guilty-pleasure movies, so it was nice to see you covering it. I so agree wit you about how good Dyan Cannon is and how underutilizing Maureen Arthur robbed the film of potentially energetic scenes. But, with even less onscreen time, Alexandra Hay managed to make a strong impression. Thanks for an excellent write up!
ReplyDeleteAlso, you're so right about how much Jeff Trachta resembles John Philip Law!
Thank you so much, I'm glad you enjoyed the review, it was a fun film to dissect. I apologize for my lateness in responding but I just saw your comment. While THE LOVE MACHINE was not entirely successful in its execution, it's a movie that deserved to be analysed as there were some good elements in it as you mentioned - a guilty-pleasure movie for sure. After watching it many years ago I was struck by the resemblance between Mr Trachta and Mr Law, still think the same seeing it again last year, a definite similarity in looks!
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