RANCHO DELUXE (1975)

Title: RANCHO DELUXE

Year of Release: 1975

Director: Frank Perry

Genre: Comedy, Contemporary Western

Synopsis: The exploits of two cattle rustlers, and associated characters, in Montana.

Within a film history context: Contemporary, or neo-westerns, have often been featured in cinema history before RANCHO DELUXE. One of the first with a contemporary setting was Lew Landers' ADVENTURES OF GALLANT BESS (1948). The story of a man whose love for a wild horse gives him both great joy, and heartache, it also contained a romance component along with the drama. THE WALKING HILLS (1949), directed by John Sturges, was about a group of men searching for treasure in California, starring iconic western actor Randolph Scott in the lead role. One of the most famous of contemporary westerns was John Sturges' BAD DAY AT BLACK ROCK (1955). The tale of a man who comes to a small town in search of another man, loaded with secrets, gave lead actor Spencer Tracy a splendid role, with support from Robert Ryan, Anne Francis, Dean Jagger, and others. More modern in its execution was THE MISFITS (1961), directed by John Huston. The story of an over-aged cowboy, and his relationship with a divorcee, and his cowboy friend, was a triumph for Mr Huston, and cast Clark Gable, Marilyn Monroe, and Montgomery Clift. Despite being a box-office failure at the time of its release, it is now seen in a much better light for its direction, and performances. 

David Miller's LONELY ARE THE BRAVE (1962) was a character study of a cowboy, and Korean War veteran, who tries to aid the escape of his old friend by being arrested, and himself landing in jail. The surprise is that his friend is not willing to leave jail, which leads to a number of consequences for the cowboy. An excellent example of a contemporary western was HUD (1963), directed by Martin Ritt. In this movie, a reckless cowboy rubs everyone the wrong way in his pursuit of control over the family farm in Texas. A wonderful showcase for a cast including Paul Newman in the lead role, Melvyn Douglas as his harried father, Patricia Neal as their domestic assistant, and Brandon de Wilde as Mr Douglas' grandson, it is a well-regarded cinematic jewel. Several other movies were of note in the contemporary western genre.

Serge Bourguignon's THE REWARD (1965) was about a man who discovers that his friend is a wanted man, and wants his share of the money for his capture, but things become complicated as money people being involved in this situation, all seeking a share of the reward money. Interesting cowboy character portraits were provided by THE ROUNDERS (1965), directed by Burt Kennedy. Charting the rollicking adventures of two cowboys in Arizona, it gave leads Glenn Ford and Henry Fonda plenty of fun moments on screen. Peter Tewksbury's STAY AWAY, JOE (1968) was entirely different in outlook. Starring Elvis Presley as an American Indian rodeo rider, and his hijinks at the reservation, it included music and comedy elements, giving the film spice and fun. In a similar, but more irreverent vein, ZACHARIAH (1971), directed by George Englund, again combined music and comedy, but with a rock music background. The journey of two young men through the American west was handled with grace and good humor by the director, with philosophical interludes that gelled perfectly. 

Stuart Rosenberg's POCKET MONEY (1972) was similar to THE ROUNDERS in content, but, in its case, focused upon a cowboy becoming involved with an unscrupulous rancher, and cattle herding. JUNIOR BONNER (1972), directed by Sam Peckinpah, was among the more soft-pedalled of the contemporary westerns. This exploration of a rodeo cowboy, and his family and romantic conflicts, was a departure for its director from his heavier works. The fluid escapades of the main character, and supporting cast, were captured by Mr Peckinpah with grace and good humor. RANCHO DELUXE had more in common with ZACHARIAH in terms of its original approach to the contemporary western genre, but did not share that film's delivery of a solid storyline.

RANCHO DELUXE was eclectic with its story, having many characters and concepts, but, unfortunately, did not follow through with their execution in a decisive manner. Where examples such as HUD, JUNIOR BONNER,  and ZACHARIAH concentrated upon a central protagonist, the action flowing from them and their actions, in RANCHO DELUXE there were a number of characters, but, with its multi-character narrative, things became muddled in the lack of a clear point of view. Events occur, but impact is lost as the movie jumps from one incident to another in quick succession. This has the effect of making the film jarring, and convoluted in retrospect, lacking the necessary elements to make transitions smoother.

One never really gets to know characters such as Jack, despite the one scene which explains a little as to why he does what he does. The best scene that explored a relationship was the one where Henry Beige stops daughter Laura from singing at the dinner table, but such insightful views into characters are few and far between in RANCHO DELUXE. It feels as if the movie does not wish to spare the time to let viewers become more intimate with its characters, and feel for their journey. This is something that ZACHARIAH achieved with its philosophical leanings over the course of that movie, likewise with JUNIOR BONNER's exploration of his family woes. RANCHO DELUXE tries to be novel and offbeat, but barely succeeds with this ambition. If it reined in its excesses, such as the antics and forced humor, making the characters more understandable, and relatable, it would be a much better experience. Regrettably, the film is one of Frank Perry's lesser motion pictures, and a letdown when held up against his excellent early films.

Overview: Frank Perry directed fourteen feature films between 1962 and his final one being released in 1987. He generally made films which were character-driven in nature, peering deep into the psychology of his protagonists, making audiences understand situations on a more profound emotional level. His first motion picture, DAVID AND LISA (1962) was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963) which was centered around the effect of a possible nuclear attack on the students and personnel of a school. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964) and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). 

One of Frank Perry's most beautiful, thoughtful films was THE SWIMMER (1968). With Burt Lancaster in the lead role, it was a powerful, touching story of a man whose life had faltered, the viewer sharing his many past triumphs but also, his failures. Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969) made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on a lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before they divorced in 1971, but they made one more together which was notable in film history.

DIARY OF A MAD HOUSEWIFE (1970) told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, Mr Perry took on another story of emotional torment, PLAY IT AS IT LAYS (1972). In the intense style of DAVID AND LISA and LAST SUMMER, this movie showcased Tuesday Weld as an actress who has a nervous breakdown, and surveyed for the audience what led to her stay in a mental health facility. The remainder of Mr Perry's output was varied, ranging from the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford, to Mr Perry's final film, HELLO AGAIN (1987), a comedy-fantasy of a woman who dies, but is reincarnated by her sister. RANCHO DELUXE was not one of Frank Perry's best films, for a number of reasons.

It lacked that compelling emotional appeal that made his films such as THE SWIMMER, LAST SUMMER, and LADYBUG LADYBUG, to name a few examples, so memorable. The movie was intended to be more of an irreverent western with comic asides, but this consequently brought forth a number of issues. The lack of palpable human emotion, with the exception of several scenes, made the film hollow, and largely an exercise in tedium. There is a leaning towards comedy antics and while this can work in many cases, in RANCHO DELUXE it has the opposite effect. Events occur which should be amusing or funny to the spectator just fall flat. Certain plot points, such as Jack's sex romp with Betty, do not spin out as would be expected, or provide any further understanding of the characters. These mainly serve as cheap thrills for the moment without any regard for their impact on characters, and story. 

On the surface, RANCHO DELUXE seems to be hip and all over the place, busy and filling the screen with noise and activity, but, going nowhere special. This is due to having too many characters, and not properly spotlighting these in a measured manner. While other multi-character narratives, such as BAD DAY AT BLACK ROCK work, by offering audiences opportunities to get under the skin of their many characters, here matters are of a more slapdash, casual nature. If the film pruned back a number of characters, and consequently eliminated unnecessary scenes, thereby tightening the movie, RANCHO DELUXE would have been a much better viewing experience. It felt as if someone else had directed the movie instead of Frank Perry, making it unrecognizable as one of his films. Unfortunately one of Frank Perry's most disappointing movies, and a motion picture with little to recommend it, RANCHO DELUXE could have been better with a much firmer hand.

Acting: RANCHO DELUXE offers some of its performers excellent opportunities to shine, despite the film's lackadaisical presentation. Jeff Bridges, as Jack McKee, delivers a good performance in the film, but the role is a disservice to his considerable talents. He tries his very best to make the part better than what it is, but cannot overcome the inadequate writing of his character. Patti D'Arbanville, as Betty Fargo, also tries hard in the movie, but it seems more interested in showcasing her naked than getting to the heart of who she is, and why Betty is with Jack in the first place. Likewise, Sam Waterston is an interesting performer, but he also suffers from a lack of development in his character's actions. He could have been given meatier material to display his talent, but this never occurs. There are three actors, though, whose roles are more fleshed out in the movie, thereby assisting their performances.

Harry Dean Stanton, as Curt, gives another wonderful performance. As the lust-struck Curt, Mr Stanton puts his emotions on view for the audience to witness, as with his other movies, with excellent results. As Cora, wife of cattle man John Brown, Elizabeth Ashley commands the screen with her characteristic flair and timing. Whenever she is on it is akin to a breath of fresh air, and Miss Ashley adds intrigue and sass to the film that without her presence would have been even more turgid. The last performance of note was by Charlene Dallas in RANCHO DELUXE. As the seemingly prim Laura Beige, with a delicious name that speaks volumes of her character, Miss Dallas projects passion and conviction in her small role, this rounding out the prominent acting contributions in the film.

Soundtrack: The majority of tunes in RANCHO DELUXE are performed by Jimmy Buffett, most notably the theme 'Rancho Deluxe' at both the film's beginning, and end. 'Livingston Saturday Night' is featured in the bar dance scene, with Jimmy Buffett himself performing in this diegetic sequence. The remainder of the songs are played in a non-diegetic basis in the film which gives the film a western aura, with some unrelated incidental music scattered throughout the movie's run time.

Mise-en-scene: William A. Fraker's cinematography is beautiful, especially highlighting the vast landscapes featured in many scenes of RANCHO DELUXE. The color stock is natural, neither being washed out, nor too bright. One of the film's other authentic aspects is its mise-en-scene. Locations such as the interiors, and exteriors, of John and Cora Brown's farm, the western bar, and the town diner, for example, all work to give the viewer a clear visual canvas, and appropriate settings for the action.

Notable Acting Performances: Elizabeth Ashley, Charlene Dallas, Harry Dean Stanton.

Suitability for young viewers: No. Frequent coarse language, female nudity, adult themes.

Overall Grade: D

Link: IMDB Page

Movie Excerpt