PAYDAY (1973)

Title: PAYDAY

Year of Release: 1973

Director: Daryl Duke

Genre: Drama

Synopsis: A libertine country music singer's life of women, drink, drugs and excess comes to a head in a most unexpected manner.

Within a film history context: Movies which showcase a male country music singer were sometimes featured before PAYDAY, mainly with a musical theme, and in other instances a more dramatic background. One of the first was Otto Brower and B. Reeves Eason's Western serial THE PHANTOM EMPIRE (1935). Starring Gene Autry as a singing cowboy, it was in twelve instalments, and combined music, adventure and science fiction. THE PHANTOM EMPIRE was later made into a feature film released in 1940, again with Mr Autry. In a lighter vein was THE OLD HOMESTEAD (1942), directed by Frank McDonald. A family of country music singers was the focus of this musical comedy movie, with the Vaudevillian Weaver troupe the leads. Many of the films in the period were mainly of this persuasion, being light entertainment vehicles with country music stars and tunes featured, such as NATIONAL BARN DANCE (1944), JAMBOREE (1944), and HOLLYWOOD BARN DANCE (1947). Into the 1950s and beyond, more varied depictions of country music singers began to appear on screens.

Hal Kanter's LOVING YOU (1957) starred Elvis Presley as Deke, a delivery man who becomes a country music singer. More intricate than the films of the 1940s in its complicated, well-drawn characters, such as the scheming Glenda, Deke's manager, it was a change from the home-spun films of the 1940s and before with their simpler plots. COUNTRY MUSIC HOLIDAY (1958), directed by Alvin Ganzer, was closer to the 1940s films in its execution, detailing the life of a country music singer with many tunes and some romance thrown in. The biography of country music star Hank Williams was the focus of Gene Nelson's YOUR CHEATIN' HEART (1964). Paying attention to both Mr Williams' career and personal life, it was a great role for George Hamilton in the lead part. Of a different tone was BABY THE RAIN MUST FALL (1965), directed by Robert Mulligan. In a small Texas town, a man returns home after being in jail, and tries to adjust to life, with strained results. It was notable as the main character performed several country music songs through the course of the movie, but the film itself was of a decidedly dramatic, rather than musical, orientation. 

Jay Sheridan's NASHVILLE REBEL (1966) featured country music singer Waylon Jennings in the main role of a young man just ending his stint in the army, and becoming involved in singing. COUNTRY BOY (1966), directed by Joseph Kane, was about a young man who becomes a country singer, but who is taken advantage of by his unscrupulous talent agent. Another take on country music singers was on view in Jean Yarbrough's HILLBILLYS IN A HAUNTED HOUSE (1967). Two country singers are en route to Nashville with their band, but become involved with spies when their car breakdown occurs at a spooky house. PAYDAY deviated somewhat from the previous films in the genre in terms of its content, and was the most in-depth movie of its type, for many reasons.

An unflinching, honest account of a country music singer and his life, PAYDAY was the most incisive character study of its genre. It is a warts and all version of the 1940s films effectively turned upside down, and inside and out. It was akin to a behind the scenes expose of, in its case, the country music industry, concentrating upon its unsavory side. The film lacked the sentimentality of THE OLD HOMESTEAD and similar entries, but compensated for this with its intense focus upon its flawed protagonist. PAYDAY, in effect, was a more hardened version of LOVING YOU, NASHVILLE REBEL and COUNTRY BOY, which also had country music lead characters. In terms of charting its character's behavior, PAYDAY had more in common with BABY THE RAIN MUST FALL, with its psychologically complex central character, but with darker shades of YOUR CHEATIN' HEART's Hank Williams also present. The best film of its time about a male country music singer, and one of the most absorbing character studies ever made, PAYDAY merits recognition in cinematic history.

Overview: Daryl Duke directed five feature films in his career, being more active in television. His second movie, SHADOW OF THE HAWK (1976) was an adventure about a young American Indian man encountering mysticism, co-directed with George McGowan. Mr Duke's third film, THE SILENT PARTNER (1978) was a suspense drama about a bank employee stealing the money before a robbery occurs, with the robber vigorously pursuing him for the booty. Daryl Duke's penultimate movie, HARD FEELINGS (1981) was a romance set in 1963, where a young man meets an African-American girl, and falls in love. His final picture, TAI-PAN (1986) again went back in time, in this instance intrigue in nineteenth century British-ruled Hong Kong. It was a box-office disappointment, and critically derided, despite the presence of Bryan Brown, Joan Chen, and many others. PAYDAY was Daryl Duke's directorial debut, and his finest motion picture.

Mr Duke has crafted a movie that is documentary-like in its portrayal of the life of its lead character, country music singer Maury Dann. It is as if the viewer is witnessing actual events occurring to real-life people, so convincing is Mr Duke's direction of Don Carpenter's screenplay in PAYDAY. In saying this, the picture is never a predictable experience. Daryl Duke explores all the layers of Maury Dann's life and his personality, showing him at both his best, and at his worst. This makes the film all the more authentic as Mr Duke excels in presenting a compelling, three-dimensional protagonist for the spectator. He achieves this in various intriguing ways. 

Over the course of the movie's running time, more and more details about Maury Dann are revealed, which often challenge preconceptions which one might have, and many times exploding these. The viewer becomes more and more enmeshed in Maury's life, and one feels as if they are seeing privileged, private information. The gradual revealing of pieces of Maury's life is naturalistic in its unfolding, witnessing the character in many different situations, with other characters also assisting in building a profile of him. The careful planning evident throughout the entire production is something which propels the film into being utterly trenchant and compelling. While, admittedly, the film has a downbeat tone, it suits the material, in line with Maury's all-out, mixed-up personal and professional lives. One of the best examples of a country music singer from the genre, PAYDAY is a dazzling movie that leaves the viewer both pensive, and enthralled.

Acting: The performances in PAYDAY are one of its best aspects. In the lead role of Maury Dann, Rip Torn is at his height as a country music singer capable of anything. Mr Torn gives his all to the movie as a man who is alternately genial, nasty, greedy, sneaky, vulnerable but always utterly fascinating to watch. His presence dominates PAYDAY, and makes it a must-see movie for his acting. As Mayleen, the first of Maury Dann's groupies, Ahna Capri brings forth a portrait of a needy woman who loves living on the edge, and pays the price for her involvement with Maury Dann. Another of Maury's groupies, Rosamond, is brought to vivid life by Elayne Heilveil. Miss Heilveil stands head to head with Rip Torn, her acting making it one of the best performances by an actress in the 1970s. Rosamond's sheer insecurity at what is taking place with Maury Dann is etched on her face and in her voice, making Rosamond an unforgettable presence. Several other thespians also contribute fine performances in PAYDAY.

Michael C. Gwynne, as Maury's manager Clarence, is another of this film's stable of excellent actors. One can clearly sense Clarence's discomfort at much of what Maury asks him to do in the movie, Mr Gwynne utilizing his facial expressions to say so much without having to utter dialogue. Cliff Emmich,  as Maury Dann's bodyguard and driver Chicago, is also highly effective in PAYDAY, seeming every bit the person who pays a dear price for his loyalty to his employer.  As a counterpoint, Henry O. Arnold adds a youthful touch as the young man who idolizes Maury Dann, seeing him through rose-colored glasses. Mr Arnold makes his wide-eyed character real without ever being silly or juvenile, giving the film an undertone of sadness. The final acting of note is by Clara Dann as Maury's mother. Even though her role is very small, Miss Dunn makes every moment count as the inebriated, money-sucking Mama Dann. She seems to fit in completely in the disheveled house where the character lives, and is convincing in every way.

Soundtrack: PAYDAY has an eclectic soundtrack which is used to maximum effect in the movie. The introduction features diegetic music with Maury performing a song in a country and western bar. It can be contrasted with the ending, the ironic use of the tune 'Keep on the Sunny Side' making perfect sense with what is taking place onscreen. Aside from this instance, there is also the use of non-diegetic country music songs scattered throughout the movie, and incidental music which gives the film a vivid country and western aura. Diegetic music such as tunes playing on the car radio also add a verisimilitude that pervades PAYDAY to its advantage.

Mise-en-scene: Both indoor, and exterior locations are excellently employed in PAYDAY, which draw a powerful sense of mise-en-scene for the viewer. The numerous motel rooms which Maury monopolizes, and carries out his wheeling and dealing, are notable in the film for their blank, colorless appearance. This is in keeping with the character's cold and detached attitude towards his profession, life, and other people. The use of his personal vehicle is similar to the hotel rooms in revealing more about Maury. In these, Maury has sex, speaks on his car phone, and manipulates others, among activities. In addition, the many places which Maury and his entourage visit are also indicative of his footloose, free-form life, which unravels at the film's end.

Notable Acting Performances: Rip Torn, Ahna Capri, Elayne Heilveil, Michael C. Gwynne, Cliff Emmich, Henry O. Arnold, Clara Dunn.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer