Title: JUD (Alternate title JUD THE SAVAGE SOLDIER)
Year of Release: 1971
Director: Gunther Collins
Genre: Drama
Synopsis: A Vietnam veteran returns home to Los Angeles to live in his uncle's apartment complex, and finds immense trouble in getting back to a normal life.
Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years.
Nick Millard's ODDO (1967) was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.
One of the most infamous depictions of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam, and becoming the same. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971) featured bikers similar to others in the genre, but this time around the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver.
One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions spill over. Different in scope and character, John Guillermin's SKYJACKED (1972) had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, JUD had the intricate set of events that made WELCOME HOME SOLDIER BOYS so compelling, and with its sense of realism, but diverted from others in their quest for violent escapades, and sensationalism.
It was a down-to-earth character study that concentrated upon its lead character, analyzing his reactions to situations in an intensive, methodical manner. JUD was character-driven in nature, and, unlike many of the previous examples, did not depend upon action sequences, or visually flashy set pieces to make its points. While there was some violent content in the film, it was never gratuitous, and referred back to the main character, and his actions. The film also had well-developed, three-dimensional supporting characters, something the other films, with some exceptions, did not explore. The film had other attributes which set it apart from other films in the Vietnam veteran genre.
JUD was also refreshing in that the main character was sound of mind, something that deviated from the other films, which coasted upon the lack of mental stability, almost always exclusively leading to violent consequences. This film actually depicted many of the people who came into contact with Jud as themselves being emotionally insecure, with Jud as the most stable person. It seemed as if they sought Jud's solace, as he appeared to be solid in character, when all he wanted was to find a state of belonging in the world after all he had witnessed during war. For these reasons, JUD was one of the most intimate, thoughtful, well-acted films with a Vietnam veteran theme, and merits closer examination, and plaudits, for what it set out to achieve in its quiet, but unsettling manner.
Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years.
Nick Millard's ODDO (1967) was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.
One of the most infamous depictions of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam, and becoming the same. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971) featured bikers similar to others in the genre, but this time around the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver.
One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions spill over. Different in scope and character, John Guillermin's SKYJACKED (1972) had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, JUD had the intricate set of events that made WELCOME HOME SOLDIER BOYS so compelling, and with its sense of realism, but diverted from others in their quest for violent escapades, and sensationalism.
It was a down-to-earth character study that concentrated upon its lead character, analyzing his reactions to situations in an intensive, methodical manner. JUD was character-driven in nature, and, unlike many of the previous examples, did not depend upon action sequences, or visually flashy set pieces to make its points. While there was some violent content in the film, it was never gratuitous, and referred back to the main character, and his actions. The film also had well-developed, three-dimensional supporting characters, something the other films, with some exceptions, did not explore. The film had other attributes which set it apart from other films in the Vietnam veteran genre.
JUD was also refreshing in that the main character was sound of mind, something that deviated from the other films, which coasted upon the lack of mental stability, almost always exclusively leading to violent consequences. This film actually depicted many of the people who came into contact with Jud as themselves being emotionally insecure, with Jud as the most stable person. It seemed as if they sought Jud's solace, as he appeared to be solid in character, when all he wanted was to find a state of belonging in the world after all he had witnessed during war. For these reasons, JUD was one of the most intimate, thoughtful, well-acted films with a Vietnam veteran theme, and merits closer examination, and plaudits, for what it set out to achieve in its quiet, but unsettling manner.
Overview: Gunther Collins has the distinction of directing only one film, being JUD, whilst also serving as its screenwriter. His other credit was as a writer for A SWINGIN' AFFAIR (1963) a comedy which starred Arline Judge. It is unfortunate that he only was director for this sole film, as, judging from his work on this motion picture, it would have been very interesting seeing what else he would have produced. In saying this, one can only judge from his contribution here, and I do this with great pleasure. With reference to JUD, Mr Collins has made a movie that has held up particularly well almost fifty years after its initial release, and is one of the better Vietnam veteran-themed movies.
A solemn film that unfolds its story in a straightforward, sincere manner, and without histrionics, JUD is about a young man who returns from Vietnam to stay at his uncle's apartment complex, struggling to adjusting to life back home. Mr Collins' screenplay casts a sympathetic, realistic light on its main protagonist, the viewer seeing events through his eyes. While it could be argued that concentrating upon one main character restricts the film, making other characters less important, it actually provides a suitable framing device for the film, keeping it on track, and deleting the need for superfluous scenes. This structure also highlights another important element of the film. Having many of the peripheral characters all possess the need, and want, for Jud's attention, would seem overdone in another film, but here it works. It allows for Jud to be at the forefront, and the natural interweaving of characters in and out of the narrative. Aside from this, there are further great aspects of JUD which are worthy of discussion.
The director, intermittently, gives the viewer an insight into Jud's mind that gives access to why he acts the way he does, which only make the character more believable. The flashbacks to Jud's experience in Vietnam at unexpected moments occur during pivotal scenes, giving extra power to what is occurring onscreen at that time. In addition to this, the flickering images of Jud's fiancée are also effective, making perfect sense for the character, and his motivations in the film. The blend of characters in the apartment complex is also convincing, and effective for the film, showing sides of Jud that may not have been depicted otherwise. Selected examples of these stand out in JUD for their notability.
The tawdry woman who tried to push herself on Jud, as well as the gay man living at the complex who tries to become closer to him, are several characters who attempt, in their own way, to connect with him, all to no avail. Likewise, his abbreviated associations with Sunny and, in particular, with Kathy, are all in character for Jud, who is finding unease in assimilating back in society. While it could be asserted that the film, with all of these sub-stories, goes nowhere, this judicious pacing and story insight are why the film works so well. Events are not closed with a bow in JUD which may seem unsatisfying at first glance, but this sense of authenticity imbues the film with a balance that distinguishes it from films with a more happy-ever-after, or tragic tone. Life at times goes nowhere with certain events and people for reasons not immediately obvious, and Gunther Collins has beautifully, and with subtlety, exemplified this in JUD.
A solemn film that unfolds its story in a straightforward, sincere manner, and without histrionics, JUD is about a young man who returns from Vietnam to stay at his uncle's apartment complex, struggling to adjusting to life back home. Mr Collins' screenplay casts a sympathetic, realistic light on its main protagonist, the viewer seeing events through his eyes. While it could be argued that concentrating upon one main character restricts the film, making other characters less important, it actually provides a suitable framing device for the film, keeping it on track, and deleting the need for superfluous scenes. This structure also highlights another important element of the film. Having many of the peripheral characters all possess the need, and want, for Jud's attention, would seem overdone in another film, but here it works. It allows for Jud to be at the forefront, and the natural interweaving of characters in and out of the narrative. Aside from this, there are further great aspects of JUD which are worthy of discussion.
The director, intermittently, gives the viewer an insight into Jud's mind that gives access to why he acts the way he does, which only make the character more believable. The flashbacks to Jud's experience in Vietnam at unexpected moments occur during pivotal scenes, giving extra power to what is occurring onscreen at that time. In addition to this, the flickering images of Jud's fiancée are also effective, making perfect sense for the character, and his motivations in the film. The blend of characters in the apartment complex is also convincing, and effective for the film, showing sides of Jud that may not have been depicted otherwise. Selected examples of these stand out in JUD for their notability.
The tawdry woman who tried to push herself on Jud, as well as the gay man living at the complex who tries to become closer to him, are several characters who attempt, in their own way, to connect with him, all to no avail. Likewise, his abbreviated associations with Sunny and, in particular, with Kathy, are all in character for Jud, who is finding unease in assimilating back in society. While it could be asserted that the film, with all of these sub-stories, goes nowhere, this judicious pacing and story insight are why the film works so well. Events are not closed with a bow in JUD which may seem unsatisfying at first glance, but this sense of authenticity imbues the film with a balance that distinguishes it from films with a more happy-ever-after, or tragic tone. Life at times goes nowhere with certain events and people for reasons not immediately obvious, and Gunther Collins has beautifully, and with subtlety, exemplified this in JUD.
Acting: JUD is a film where the performances propel the movie, adding to its feeling of veracity. In the lead role of Jud, Joseph Kaufmann does a great job. His internalized emoting works exceptionally well here, using his eyes, and gravelly voice to excellent effect. Mr Kaufmann resembles fellow actor Wendell Burton, the difference is that Joseph Kaufmann is the dark-haired version, with more of a harder-edged temperament. This makes him a very good choice for the role, playing someone who is not open emotionally, keeping his composure until the final reels. As with Joseph Kaufmann, Robert Deman excels in his role as Jud's antithesis, the passionate, needy Bill, a gay man who tries to unsuccessfully become part of Jud's life. A darkly handsome, intriguing actor, Mr Deman's acting is on a par with Joseph Kaufmann's, making him sympathetic, especially during the character's most tenuous sequences. In addition to Joseph Kaufmann and Robert Deman, two other actors produce splendid work in JUD.
As Shirley, a woman who throws herself at Jud, Alix Wyeth infuses her small part with vulnerability and heated anger at being spurned by Jud. She gives depth and fire to what could have been just another vulgar trollop, and makes her feelings understandable to the audience. The final performance of note in the film is by Bonnie Bittner as Kathy, another woman who attempts to become acquainted with Jud, albeit, more successfully than the other characters. As played by Miss Bittner, Kathy is sensitive, luminous, lovely and, the most grounded of all the characters in the film. Similar to Alix Wyeth, Bonnie Bittner does not appear to have made films other than JUD after 1971 which is disappointing, considering their great contributions to the film. On a side note, JUD was also the film debut of model Claudia Jennings, in a small part as Sunny, one of the women with whom Jud becomes involved. In this film she does not have a chance to display her skills, but she was better showcased the next year in 1972's THE UNHOLY ROLLERS, a roller skating movie.
As Shirley, a woman who throws herself at Jud, Alix Wyeth infuses her small part with vulnerability and heated anger at being spurned by Jud. She gives depth and fire to what could have been just another vulgar trollop, and makes her feelings understandable to the audience. The final performance of note in the film is by Bonnie Bittner as Kathy, another woman who attempts to become acquainted with Jud, albeit, more successfully than the other characters. As played by Miss Bittner, Kathy is sensitive, luminous, lovely and, the most grounded of all the characters in the film. Similar to Alix Wyeth, Bonnie Bittner does not appear to have made films other than JUD after 1971 which is disappointing, considering their great contributions to the film. On a side note, JUD was also the film debut of model Claudia Jennings, in a small part as Sunny, one of the women with whom Jud becomes involved. In this film she does not have a chance to display her skills, but she was better showcased the next year in 1972's THE UNHOLY ROLLERS, a roller skating movie.
Soundtrack: The movie does not feature much music, preferring to keep the mood solemn with only several minor pieces played. These are employed during important scenes such as Jud's time with Sunny on the beach, and in the car chase sequence. There is though, the inclusion of songs at key intervals, such as in the opening credits, picking up Kathy on the street, and their walk on the beach, which assist to paint a vivid picture of the main character, and explain his feelings to the audience in a thoughtful way. The memorable closing credits, without any musical accompaniment, emphasize the film's final image in a stark, powerful manner.
Mise-en-scene: JUD is naturalistic in its sets and locations, providing a suitable and appropriate background to what is taking place onscreen. The apartment complex where Jud resides is dour, befitting a serviceable but unglamorous pension. The placement and movement of disparate people in the complex, interweaving throughout the building, usually making their way to Jud's room, works to build drama, and provide a context of uneasy living conditions. The flashback scenes in Vietnam are also realistic, making Jud's reminiscences both moving, and highly effective for the viewer. The utilization of other outdoor sequences such as Jud and Sunny on the beach, his exchanges with Kathy at the playground, and at the cemetery, speak volumes of the characters, and what they are feeling at that particular moment in the narrative.
Award-worthy performances in my opinion: Joseph Kaufmann, Robert Deman, Bonnie Bittner, Alix Wyeth.
Award-worthy performances in my opinion: Joseph Kaufmann, Robert Deman, Bonnie Bittner, Alix Wyeth.
Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.
Overall Grade: B
Link: IMDB Page
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