Year of Release: 1970
Director: Richard Rush
Genre: Drama, Comedy
Synopsis: Masters student Harry Bailey becomes involved in the anti-establishment student protests at his university, all the while maintaining a messy personal life on the side.
Within a film history context: In the late 1960s and early 1970s, several movies were released by major Hollywood studios which explored university life, and the place of youth in contemporary society. In their attempts to reflect life in this era, these films were variously successful in their execution. One of the first to deal with university life and the personal life of students was Samuel Goldwyn Jr.'s THE YOUNG LOVERS (1964). Arriving well before the late 1960s, it dealt with its themes, such as pregnancy and parental disapproval, in a more romantic manner than later films. Coming in 1970 were three movies which dealt with university, and youth alienation in a more explicit way than could be attempted earlier, the concurrent censorship breakdown allowing this. Michelangelo Antonioni's ZABRISKIE POINT explored not only university relations but also capitalism, alienation, and disenchantment in a vivid fashion. Stuart Hagmann's THE STRAWBERRY STATEMENT mined similar material, but also focused upon university politics in an intensive fashion. R.P.M, directed by Stanley Kramer, featured Anthony Quinn as a university professor who is involved with student activism.
GETTING STRAIGHT, as with the other movies, arriving on screen in 1970, is generally regarded as the best of the cycle of university-themed films, and was also the most financially successful. Unlike the other films, GETTING STRAIGHT projected its points with healthy doses of humour, which made the whole experience of viewing it more balanced than the more dramatic films. The humour is borne out of the characters, never becoming slapstick or forced. GETTING STRAIGHT, though, was not all fun and games, and contained many serious moments.
The trials and tribulations of the main character have serious implications for him in the film, such as his friendship with the unstable Nick, and the effect on his university career. Harry's own idiosyncrasies come to the fore, especially at the movie's conclusion, which also have a massive impact on his life as he has lived it until now. While the film mainly revolves around Harry Bailey, it could also be classified as a multi-character narrative, the audience able to see events through the eyes of other people. Unlike ZABRISKIE POINT, with its small cast, where the viewer interprets events as they occur to the two protagonists, GETTING STRAIGHT offered a more expansive, inclusive, and realistic view of the world than its counterparts.
Within a film history context: In the late 1960s and early 1970s, several movies were released by major Hollywood studios which explored university life, and the place of youth in contemporary society. In their attempts to reflect life in this era, these films were variously successful in their execution. One of the first to deal with university life and the personal life of students was Samuel Goldwyn Jr.'s THE YOUNG LOVERS (1964). Arriving well before the late 1960s, it dealt with its themes, such as pregnancy and parental disapproval, in a more romantic manner than later films. Coming in 1970 were three movies which dealt with university, and youth alienation in a more explicit way than could be attempted earlier, the concurrent censorship breakdown allowing this. Michelangelo Antonioni's ZABRISKIE POINT explored not only university relations but also capitalism, alienation, and disenchantment in a vivid fashion. Stuart Hagmann's THE STRAWBERRY STATEMENT mined similar material, but also focused upon university politics in an intensive fashion. R.P.M, directed by Stanley Kramer, featured Anthony Quinn as a university professor who is involved with student activism.
GETTING STRAIGHT, as with the other movies, arriving on screen in 1970, is generally regarded as the best of the cycle of university-themed films, and was also the most financially successful. Unlike the other films, GETTING STRAIGHT projected its points with healthy doses of humour, which made the whole experience of viewing it more balanced than the more dramatic films. The humour is borne out of the characters, never becoming slapstick or forced. GETTING STRAIGHT, though, was not all fun and games, and contained many serious moments.
The trials and tribulations of the main character have serious implications for him in the film, such as his friendship with the unstable Nick, and the effect on his university career. Harry's own idiosyncrasies come to the fore, especially at the movie's conclusion, which also have a massive impact on his life as he has lived it until now. While the film mainly revolves around Harry Bailey, it could also be classified as a multi-character narrative, the audience able to see events through the eyes of other people. Unlike ZABRISKIE POINT, with its small cast, where the viewer interprets events as they occur to the two protagonists, GETTING STRAIGHT offered a more expansive, inclusive, and realistic view of the world than its counterparts.
Overview: Richard Rush directed twelve movies in his career, beginning in 1960, and ending in 1994. Mr Rush made his debut in 1960 with TOO SOON TO LOVE, a drama about unwed teens dealing with an unexpected pregnancy. He followed this with a romance starring Merle Oberon, OF LOVE AND DESIRE (1963), and subsequently helmed action movies such as HELLS ANGELS ON WHEELS (1967), and THUNDER ALLEY (1967). In his thirty-four year career Mr Rush also directed varied movies such as PSYCH-OUT (1968), THE STUNT MAN (1980). His final feature, the controversial COLOR OF NIGHT (1994), with its nudity and violence attracted criticism. GETTING STRAIGHT was his ninth movie, and one of his best efforts.
Mr Rush shrewdly combines comedy and drama in GETTING STRAIGHT, never becoming overtly comic but also, never going overboard in the drama department. The events in the life of university professor Harry Bailey, and the assortment of characters with whom he comes into contact, are handled with style and sympathy by Mr Rush. While there are many raucous moments in the film, they are always related to the characters in a natural manner, never making them seem like caricatures. Mr Rush traverses tricky territory, such as the central themes of narrow-mindedness and hypocrisy in university circles, with humour and grace, never becoming heavy-handed. Despite the film's strengths, there are some deficiencies during the film's running time.
While the first half of the movie is entertaining, it takes somewhat too much time to establish the characters, which takes a little away from its impact. The second half of the film, though, is where the action picks up considerably, and it begins to come together in a cohesive manner. Once the motives of certain characters are evident to the audience, the drama starts to explode. One of the elements that could have been excised is Harry Bailey's amorous pursuits of women apart from Jan. These do nothing for the film, and the character, but just seem to be an excuse to showcase bare female flesh. They may be present as an example of Harry's libidinous ways, and that he wastes no time in finding a substitute for Jan, but, seem extraneous in retrospect. Overall, though, GETTING STRAIGHT has more positives than negatives, and these are what the film is remembered for more than half a century after its release.
The riot scenes at the university are well-handled, compelling, and feel as if they could realistically have taken place, without being exploitative in terms of blood and violence. Confrontations between characters, particularly between teaching staff at the university, are excellent. The scene with Elliott Gould at the meeting with the professors is sublime, the directing of the actors, and the delivery of the dialogue priceless. In terms of the treatment of its themes, GETTING STRAIGHT is the main of the films of its era to have held up exceedingly well today, and, is still highly watchable, and thought-provoking.
Mr Rush shrewdly combines comedy and drama in GETTING STRAIGHT, never becoming overtly comic but also, never going overboard in the drama department. The events in the life of university professor Harry Bailey, and the assortment of characters with whom he comes into contact, are handled with style and sympathy by Mr Rush. While there are many raucous moments in the film, they are always related to the characters in a natural manner, never making them seem like caricatures. Mr Rush traverses tricky territory, such as the central themes of narrow-mindedness and hypocrisy in university circles, with humour and grace, never becoming heavy-handed. Despite the film's strengths, there are some deficiencies during the film's running time.
While the first half of the movie is entertaining, it takes somewhat too much time to establish the characters, which takes a little away from its impact. The second half of the film, though, is where the action picks up considerably, and it begins to come together in a cohesive manner. Once the motives of certain characters are evident to the audience, the drama starts to explode. One of the elements that could have been excised is Harry Bailey's amorous pursuits of women apart from Jan. These do nothing for the film, and the character, but just seem to be an excuse to showcase bare female flesh. They may be present as an example of Harry's libidinous ways, and that he wastes no time in finding a substitute for Jan, but, seem extraneous in retrospect. Overall, though, GETTING STRAIGHT has more positives than negatives, and these are what the film is remembered for more than half a century after its release.
The riot scenes at the university are well-handled, compelling, and feel as if they could realistically have taken place, without being exploitative in terms of blood and violence. Confrontations between characters, particularly between teaching staff at the university, are excellent. The scene with Elliott Gould at the meeting with the professors is sublime, the directing of the actors, and the delivery of the dialogue priceless. In terms of the treatment of its themes, GETTING STRAIGHT is the main of the films of its era to have held up exceedingly well today, and, is still highly watchable, and thought-provoking.
Acting: The acting in GETTING STRAIGHT is of a very high standard, something that greatly assists in conveying its message to the audience. Elliott Gould, in the lead role of university professor Harry Bailey, delivers a marvellous performance, his presence ensuring its success. He is depicted as being a multi-faceted character, the film showing him from all sides. Harry Bailey the masters student, the confidant, the lover, the friend, the comic, the open-minded man...Mr Gould does it all in GETTING STRAIGHT. As his girlfriend Jan, Candice Bergen projects a frankness and vulnerability that make her a suitable match for Mr Gould, and their chemistry works in a natural way. Apart from Elliott Gould and Candice Bergen, the film's supporting roles have been filled by actors who make the very best of their roles.
John Rubinstein, as student activist Herbert, projects sincerity, and aspirational qualities in his part. An actor of pleasing demeanour, Mr Rubinstein always brings a refreshing genuineness to his roles, such as in ZACHARIAH. It is as if through his eyes there can be a better world, and he is adept at conveying this quality to the audience through his acting. Max Julien is charismatic and forceful as the passionate Ellis, a man for whom the word no does not exist. His final scenes in the film with Elliott Gould's Harry are touching and realistic, indicating a new phase in what was a tenuous relationship throughout the movie.
Veteran actor Cecil Kellaway, in a small part, underplays his role as Harry's advisor and friend in the movie, adding a solemn and dignified note to the proceedings. The final performance of note in GETTING STRAIGHT was that of Robert F. Lyons as Nick, Harry Bailey's drugged-out friend. When first seeing Mr Lyons, I was struck by how he resembled actor Jack Nicholson in looks, but his Nick is one of the most complicated, intricate characters in the movie. Both friend and foe, comic but dead real in his scenes with other characters, Mr Lyons offered a great interpretation of the psychologically complex, ingratiating Nick.
John Rubinstein, as student activist Herbert, projects sincerity, and aspirational qualities in his part. An actor of pleasing demeanour, Mr Rubinstein always brings a refreshing genuineness to his roles, such as in ZACHARIAH. It is as if through his eyes there can be a better world, and he is adept at conveying this quality to the audience through his acting. Max Julien is charismatic and forceful as the passionate Ellis, a man for whom the word no does not exist. His final scenes in the film with Elliott Gould's Harry are touching and realistic, indicating a new phase in what was a tenuous relationship throughout the movie.
Veteran actor Cecil Kellaway, in a small part, underplays his role as Harry's advisor and friend in the movie, adding a solemn and dignified note to the proceedings. The final performance of note in GETTING STRAIGHT was that of Robert F. Lyons as Nick, Harry Bailey's drugged-out friend. When first seeing Mr Lyons, I was struck by how he resembled actor Jack Nicholson in looks, but his Nick is one of the most complicated, intricate characters in the movie. Both friend and foe, comic but dead real in his scenes with other characters, Mr Lyons offered a great interpretation of the psychologically complex, ingratiating Nick.
Soundtrack: The movie employs music of the era throughout the film to back up what is occurring onscreen. The opening credits feature an introspective ballad which aptly sets the thoughtful, intimate tone for the film. The use of guitar rhythms, which marked much music of the late 1960s and early 1970s, is prevalent in the music of GETTING STRAIGHT, lending it a contemporary feel for its time. The movie does not overdo the use of music, deploying it sparingly, preferring for scenes to largely stand alone for their emotional impact.
Mise-en-scene: The homes of the various characters are also suitable to their personalities and reflective of their state of mind in the film. A good example is Harry's home in the film. Harry Bailey's apartment is rather messy, but a quintessential 1970s space in terms of décor; reminiscent of his turbulent love and working life. The university setting is utilized in a thorough manner in the film, with lecture rooms, the library, and offices being realistic in nature. The riot scenes make excellent use of university grounds and architecture, such as courtyards, beams, columns, and lecture room blocks.
The opening credits are interesting, featuring the symbol of the world in the sky, and this metamorphoses into an apple which the university's students variously handle. There is the inference that the world is the student's apple, with the film testing this particular theory through its running time, something for the audience to ponder and discuss. This motif is also employed at the film's conclusion, showing how the film, and its characters have come full circle, in a matter of speaking.
Award-worthy performances in my opinion: Elliott Gould, Candice Bergen, John Rubinstein, Max Julien, Robert F. Lyons, Cecil Kellaway.
The opening credits are interesting, featuring the symbol of the world in the sky, and this metamorphoses into an apple which the university's students variously handle. There is the inference that the world is the student's apple, with the film testing this particular theory through its running time, something for the audience to ponder and discuss. This motif is also employed at the film's conclusion, showing how the film, and its characters have come full circle, in a matter of speaking.
Award-worthy performances in my opinion: Elliott Gould, Candice Bergen, John Rubinstein, Max Julien, Robert F. Lyons, Cecil Kellaway.
Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, medium-level violence.
Overall Grade: B
Link: IMDB Page
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