Year of Release: 1971
Director: Mark Robson
Genre: Comedy, Black Comedy, Drama
Synopsis: Harold Ryan, believed dead in the jungle for seven years, returns to his family in New York City, and finds difficulty in connecting with his wife, and son.
Within a film history context: Films about the return of a family member to the fold after years have appeared many times in motion picture history. One of the most notable was Harry A. Pollard's comedy THE PRODIGAL (1931), with Lawrence Tibbett as the shady son of Southerners who comes back to his family after five years away. In the 1940s, William Wyler's THE BEST YEARS OF OUR LIVES (1946) was one of the most important, serious films about the return to civilian life of American soldiers from World War II, and the inherent struggles they faced with their families and personal lives. This was a common theme in the mid to late 1940s cinema, also borne out by other films of the era such as Delmer Daves' PRIDE OF THE MARINES (1945) and Edward Dmytryk's TILL THE END OF TIME (1946). Further movies also explored the homecoming theme in different ways.
Irving Pichel's 1946 TOMORROW IS FOREVER, a moving tearjerker, featured Orson Welles as a man feared lost in World War I who returns with a new face from plastic surgery to find his wife, Claudette Colbert, remarried, and him unsure what to do in light of this set of events. In the 1960s, the Doris Day vehicle MOVE OVER, DARLING (1963), directed by Michael Gordon, had a similar predicament, where a woman presumed dead returned to find her husband married to another woman. In contrast to these, Robert Mulligan's BABY THE RAIN MUST FALL (1965), in stark black and white, was the story of a man released from jail who comes back to his family, but is footloose and volatile, and with rock star aspirations. The 1970s introduced the filmic trend of Vietnam veterans coming home to an America vastly different to what they left, with confusion and disillusionment reigning for them.
Some of the best examples of Vietnam veterans coming home, in many cases to startlingly varying circumstances, though, arrived on screen from the early 1970s. While there were some exploitation movies with a Vietnam veteran protagonist such as Nick Millard's ODDO (1967) in the late 1960s, the best films arrived after 1970. In Gunther Collins' JUD (1971), the title character returns home to Los Angeles after Vietnam emotionally spent to stay in his uncle's apartment complex, but finds difficulty in finding himself. WELCOME HOME SOLDIER BOYS (1971), directed by Richard Compton, has one of the four main characters return home to an understanding mother but quizzical father, and finds solace with his three fellow veterans on the road.
HAPPY BIRTHDAY, WANDA JUNE diverts from these other homecoming movies through its tone, which ranges from madcap, comic to thoughtful, to sad. It shares elements from JUD in which the main character sees the world as a jungle far worse than what he has experienced abroad, but differs in the approach the director takes. While JUD had a more solemn tone, exploring its themes in a serious manner, Mr Robson's direction of HAPPY BIRTHDAY, WANDA JUNE highlights its farcical characters who see life in a more spirited, carefree manner. Things are not all smiles and laughs, and the movie is balanced in its more quiet stretches, making the viewer feel for its characters with their pathos. The film is possibly one of the most bold homecoming movies ever made, but its subtly unsettling conclusion is memorable, giving it something in common with the more dramatic entries in the genre.
Within a film history context: Films about the return of a family member to the fold after years have appeared many times in motion picture history. One of the most notable was Harry A. Pollard's comedy THE PRODIGAL (1931), with Lawrence Tibbett as the shady son of Southerners who comes back to his family after five years away. In the 1940s, William Wyler's THE BEST YEARS OF OUR LIVES (1946) was one of the most important, serious films about the return to civilian life of American soldiers from World War II, and the inherent struggles they faced with their families and personal lives. This was a common theme in the mid to late 1940s cinema, also borne out by other films of the era such as Delmer Daves' PRIDE OF THE MARINES (1945) and Edward Dmytryk's TILL THE END OF TIME (1946). Further movies also explored the homecoming theme in different ways.
Irving Pichel's 1946 TOMORROW IS FOREVER, a moving tearjerker, featured Orson Welles as a man feared lost in World War I who returns with a new face from plastic surgery to find his wife, Claudette Colbert, remarried, and him unsure what to do in light of this set of events. In the 1960s, the Doris Day vehicle MOVE OVER, DARLING (1963), directed by Michael Gordon, had a similar predicament, where a woman presumed dead returned to find her husband married to another woman. In contrast to these, Robert Mulligan's BABY THE RAIN MUST FALL (1965), in stark black and white, was the story of a man released from jail who comes back to his family, but is footloose and volatile, and with rock star aspirations. The 1970s introduced the filmic trend of Vietnam veterans coming home to an America vastly different to what they left, with confusion and disillusionment reigning for them.
Some of the best examples of Vietnam veterans coming home, in many cases to startlingly varying circumstances, though, arrived on screen from the early 1970s. While there were some exploitation movies with a Vietnam veteran protagonist such as Nick Millard's ODDO (1967) in the late 1960s, the best films arrived after 1970. In Gunther Collins' JUD (1971), the title character returns home to Los Angeles after Vietnam emotionally spent to stay in his uncle's apartment complex, but finds difficulty in finding himself. WELCOME HOME SOLDIER BOYS (1971), directed by Richard Compton, has one of the four main characters return home to an understanding mother but quizzical father, and finds solace with his three fellow veterans on the road.
HAPPY BIRTHDAY, WANDA JUNE diverts from these other homecoming movies through its tone, which ranges from madcap, comic to thoughtful, to sad. It shares elements from JUD in which the main character sees the world as a jungle far worse than what he has experienced abroad, but differs in the approach the director takes. While JUD had a more solemn tone, exploring its themes in a serious manner, Mr Robson's direction of HAPPY BIRTHDAY, WANDA JUNE highlights its farcical characters who see life in a more spirited, carefree manner. Things are not all smiles and laughs, and the movie is balanced in its more quiet stretches, making the viewer feel for its characters with their pathos. The film is possibly one of the most bold homecoming movies ever made, but its subtly unsettling conclusion is memorable, giving it something in common with the more dramatic entries in the genre.
Overview: Mark Robson was a talented director who, over the course of his thirty-six year career, helmed thirty-three motion pictures. His films were made with a sure hand, and his filmography includes many classics and important movies. Mr Robson's first film, THE SEVENTH VICTIM (1943), was a horror movie about Satanism in New York. He directed films with top stars such as Kirk Douglas in the boxing drama CHAMPION (1949), a romance with Susan Hayward, MY FOOLISH HEART (1949), and the military-themed drama I WANT YOU (1951), starring Dorothy McGuire. Further into the decade he tried comedy with Judy Holliday in PHFFT (1954), and romantic drama in THE BRIDGES AT TOKO-RI (1954).
Mr Robson directed many pictures with tough and uncompromising themes, such as THE HARDER THEY FALL (1956), another movie about boxing, and had a great commercial success with the scintillating PEYTON PLACE (1957). The adaptation of a racy novel about the secrets of a small town, it spawned a sequel, a television series, and a number of other television follow-ups. He again tackled war themes in films such as VON RYAN'S EXPRESS (1965) and LOST COMMAND (1966), but also directed a huge hit, VALLEY OF THE DOLLS (1967), another book adaptation that was critically panned but responded to positively by audiences at the time. Mr Robson helmed another commercial success, EARTHQUAKE (1974), and made his final film in 1979, AVALANCHE EXPRESS, which was released after his death in 1978. HAPPY BIRTHDAY, WANDA JUNE was his thirtieth motion picture, and one of his most unique efforts.
A film version of the Kurt Vonnegut Jr. play of the same name, HAPPY BIRTHDAY, WANDA JUNE is a satirical black comedy of a man who returns home, thought dead for seven years, and tries to pick up where he left off with his wife, and his teenage son, who only knows him from a family scrapbook. Mr Robson has directed a fish out of water story in an entertaining fashion, utilizing an illustrious cast to emphasize his points. He makes valid comments about how things change in society, and sometimes people who have not been exposed to these changes find immense difficulties in becoming accustomed to new thinking, and ways of life. This is where the film derives most of its comic but also, its dramatic gusto.
The director clearly shows both viewpoints of the conflict in the Ryan family, largely being the mother and son, versus the father. There are also other characters involved in this situation, and Mr Robson uses these to show sides of Penelope Ryan, and Harold Ryan, which would not have been as evident without them. Penelope Ryan's two suitors highlight both her serious, and wacky side, being a doctor and a vacuum cleaner salesman respectively. The inclusion of Looseleaf Harper, Harold Ryan's friend and companion, displays a softer, more introspective side of Harold that is in sharp contrast to his shows of masculinity and bravado. The characters feed off of each other, their verbal spats the most entertaining component of the movie. One of HAPPY BIRTHDAY, WANDA JUNE's most distinguishing features, though, is its use of language.
In order to show the difference between the America that Harold Ryan left and the one he came back to, he and several other characters use coarse language in several instances. While these do serve a purpose as shock value, they do slightly upset the ethereal and comic mood which has been established prior. Despite this, the movie has other traits which make up for this shortcoming. The fantasy scenes in Heaven are handled with poise, and fill in the viewer on what is taking place in the movie in an entertaining way. They make the conclusion that life on earth is hell, but Heaven is a dreamland. One of Mark Robson's most unconventional movies, HAPPY BIRTHDAY, WANDA JUNE passes the time in an enjoyable, but thought-provoking manner, in the best style of its director.
Mr Robson directed many pictures with tough and uncompromising themes, such as THE HARDER THEY FALL (1956), another movie about boxing, and had a great commercial success with the scintillating PEYTON PLACE (1957). The adaptation of a racy novel about the secrets of a small town, it spawned a sequel, a television series, and a number of other television follow-ups. He again tackled war themes in films such as VON RYAN'S EXPRESS (1965) and LOST COMMAND (1966), but also directed a huge hit, VALLEY OF THE DOLLS (1967), another book adaptation that was critically panned but responded to positively by audiences at the time. Mr Robson helmed another commercial success, EARTHQUAKE (1974), and made his final film in 1979, AVALANCHE EXPRESS, which was released after his death in 1978. HAPPY BIRTHDAY, WANDA JUNE was his thirtieth motion picture, and one of his most unique efforts.
A film version of the Kurt Vonnegut Jr. play of the same name, HAPPY BIRTHDAY, WANDA JUNE is a satirical black comedy of a man who returns home, thought dead for seven years, and tries to pick up where he left off with his wife, and his teenage son, who only knows him from a family scrapbook. Mr Robson has directed a fish out of water story in an entertaining fashion, utilizing an illustrious cast to emphasize his points. He makes valid comments about how things change in society, and sometimes people who have not been exposed to these changes find immense difficulties in becoming accustomed to new thinking, and ways of life. This is where the film derives most of its comic but also, its dramatic gusto.
The director clearly shows both viewpoints of the conflict in the Ryan family, largely being the mother and son, versus the father. There are also other characters involved in this situation, and Mr Robson uses these to show sides of Penelope Ryan, and Harold Ryan, which would not have been as evident without them. Penelope Ryan's two suitors highlight both her serious, and wacky side, being a doctor and a vacuum cleaner salesman respectively. The inclusion of Looseleaf Harper, Harold Ryan's friend and companion, displays a softer, more introspective side of Harold that is in sharp contrast to his shows of masculinity and bravado. The characters feed off of each other, their verbal spats the most entertaining component of the movie. One of HAPPY BIRTHDAY, WANDA JUNE's most distinguishing features, though, is its use of language.
In order to show the difference between the America that Harold Ryan left and the one he came back to, he and several other characters use coarse language in several instances. While these do serve a purpose as shock value, they do slightly upset the ethereal and comic mood which has been established prior. Despite this, the movie has other traits which make up for this shortcoming. The fantasy scenes in Heaven are handled with poise, and fill in the viewer on what is taking place in the movie in an entertaining way. They make the conclusion that life on earth is hell, but Heaven is a dreamland. One of Mark Robson's most unconventional movies, HAPPY BIRTHDAY, WANDA JUNE passes the time in an enjoyable, but thought-provoking manner, in the best style of its director.
Acting: The acting in HAPPY BIRTHDAY, WANDA JUNE is what makes the film highly watchable. In the lead role of Harold Ryan, Rod Steiger is exceptional, handling what are sometimes wordy, and lengthy dialogue recitations with style. He brings to life what could have been a boorish and unlikeable character, giving him vulnerability and depth. As his wife Penelope, Susannah York delivers a great portrayal, showing the hurt and disillusionment at having her husband return into her life at the most inopportune moment. Miss York's quiet allure and friendly disposition make it easy to see how she could attract such different men into her life. Other performers also give the film impact in supporting roles.
Steven Paul, as Penelope and Harold's son Paul, is one of the most talented, thoughtful child performers to ever appear on screen. He fits in seamlessly with all the adult actors but holds his own despite a large age gap with the other performers. It is also notable to witness his chemistry with Susannah York, but also, Rod Steiger. It feels as if this trio of actors could actually be a real family, seeing their interactions on screen. William Hickey as Harold Ryan's friend Looseleaf is a likeable and thoroughly convincing actor, his sincerity palpable as well as moving. The scenes where Harold tries to make Looseleaf leave steer audience sympathy to Mr Hickey's side. Pamelyn Ferdin, as the ill-fated Wanda June, is another great child performer, who gives her small role life, and the film some of both its most humorous, but also, heart-rending moments. Just the sight of Miss Ferdin in Heaven, close to the carnival rides, and speaking of death in such a positive manner, is very affecting, and haunting.
Steven Paul, as Penelope and Harold's son Paul, is one of the most talented, thoughtful child performers to ever appear on screen. He fits in seamlessly with all the adult actors but holds his own despite a large age gap with the other performers. It is also notable to witness his chemistry with Susannah York, but also, Rod Steiger. It feels as if this trio of actors could actually be a real family, seeing their interactions on screen. William Hickey as Harold Ryan's friend Looseleaf is a likeable and thoroughly convincing actor, his sincerity palpable as well as moving. The scenes where Harold tries to make Looseleaf leave steer audience sympathy to Mr Hickey's side. Pamelyn Ferdin, as the ill-fated Wanda June, is another great child performer, who gives her small role life, and the film some of both its most humorous, but also, heart-rending moments. Just the sight of Miss Ferdin in Heaven, close to the carnival rides, and speaking of death in such a positive manner, is very affecting, and haunting.
Soundtrack: The film does not have much in the way of music apart from the opening song which is again used at the very end of the movie. It adds a twinkly, magical atmosphere to HAPPY BIRTHDAY, WANDA JUNE which is in keeping with the no holds barred treatment of its main themes of life, and death.
Mise-en-scene: The opening credits of HAPPY BIRTHDAY, WANDA JUNE commence with a scene of the nighttime sky and follows with the characters informing the audience who they are in the film via the use of multiple frames within a single screen. It sets a humorous tone for what is to follow in the movie. The setting of the film is largely the Ryan family living room, but this never becomes stagnant as it also features both Penelope and Paul's bedrooms, Harold's storeroom with his paraphernalia, and the kitchen. Outdoor locations are also excellent, with Harold and Paul walking on the street together, as does Shuttle, Looseleaf visiting his wife at home, and, the scenes in Heaven, are all suitable for the material. While all of these are produced in the studio, it gives the film an otherworldly feel in harmony with what is occurring onscreen.
Award-worthy performances in my opinion: Rod Steiger, Susannah York, Steven Paul, William Hickey, Pamelyn Ferdin.
Award-worthy performances in my opinion: Rod Steiger, Susannah York, Steven Paul, William Hickey, Pamelyn Ferdin.
Suitability for young viewers: Parental discretion required. Infrequent coarse language, adult themes.
Overall Grade: B
Link: IMDB Page
Movie Excerpt
No comments:
Post a Comment
Thank you for your comment.