THE BUTTERCUP CHAIN (1970)

Title: THE BUTTERCUP CHAIN

Year of Release: 1970

Director: Robert Ellis Miller

Genre: Drama, Romance

Synopsis: Two cousins, born of identical twin sisters, long for each other, and bring others into their cocoon as substitutes, creating an emotional love quadrangle.

Within a film history context: Unlike love triangles, love quadrangles have not been prominent in cinema, but films about these have appeared from time to time. One of the first dealing with the subject was Marshall Neilan's THREE MEN AND A GIRL (1919). In this lost film, silent screen actress Marguerite Clark starred as a young woman who causes romantic waves for three men, with complications aplenty occurring as a result of her coquettish behavior. In another silent movie, WOMEN MEN FORGET (1920), directed by John M. Stahl, an intricate series of events with a married couple and two outside parties ensues, but where a happy end takes place for the couple. An early sound comedy with a love quadrangle scenario was Victor Schertinger's FASHIONS IN LOVE (1929). A married concert pianist embarks on an affair with another woman, but the husband of the other woman becomes involved with the pianist's wife in this early sound film. THREE LOVES HAS NANCY (1938), directed by Richard Thorpe, was entirely different in approach. A young woman proceeds to New York in search of her fiancé, and becomes involved with two men, in this vehicle for the sprightly Janet Gaynor, with Franchot Tone and Robert Montgomery as the men in question. In a similar vein, George B. Seitz's LOVE FINDS ANDY HARDY (1938) had the charming Andy Hardy squiring three young women in this entry in the series, including Judy Garland, Lana Turner, and Ann Rutherford.

WHEN LADIES MEET (1941), directed by Robert Z. Leonard, followed a lady novelist who loves her  womanizing married publisher, but is in turn loved by another man, who tries to dissuade her from this infatuation by introducing her to the publisher's wife. Forward into the 1950s, with Douglas Sirk's INTERLUDE (1957) a young American woman in Munich falls for a married man, but is also pursued by a doctor, thus making up the four characters in this love quadrangle with an international flavour. Matters were definitely of a lighter manner in THE GRASS IS GREENER (1960), directed by Stanley Donen. An Earl and his Lady encounter a young woman and an oil tycoon during the guided tour of their estate to visitors, this causing romantic derring-do for these aristocrats and their would-be new flames. In comparison to these movies, THE BUTTERCUP CHAIN varied vastly from these films with its original approach to the love quadrangle subject.

Many of the above examples featured married couples with love troubles, such as WOMEN MEN FORGET, INTERLUDE, or THE GRASS IS GREENER, or a single person being pursued by three other parties, with THREE LOVES HAS NANCY, and LOVE FINDS ANDY HARDY the prime examples. Matters were dissimilar in THE BUTTERCUP CHAIN as the central protagonists, Margaret and France, were cousins, a man and a woman born to sisters, but raised as siblings. This incest angle added a forbidden aspect to the film, and the movie touches upon this delicate subject in a careful way. Unlike the people in the other pictures who were unrelated, in THE BUTTERCUP CHAIN, having a pair of cousins long for each other accents a tragic depth in the proceedings that was lacking from previous samples. It brings out other considerations, such as Fred and Manny, who enter the lives of Margaret and France. 

Fred and Manny's function in the movie is to substitute sexually with Margaret and France respectively, as the cousins cannot be with one another because they are related. This adds a complex undertone to the events which is at odds with the more conventional, straight-laced narratives of the other films. While THE BUTTERCUP CHAIN could have been at risk of becoming lurid with this subject matter, the handling takes into account the feelings of the characters, which packs an emotional wallop after a pivotal scene takes place. This is another area where the movie diverts from others in the genre. The breakdown in censorship at the time allowed for a more in-depth, and honest view of these relationships that could not have occurred previously. An original entry into the love quadrangle genre, THE BUTTERCUP CHAIN is of note for its sensitive, tense handling of a controversial topic.

Overview: Robert Ellis Miller was an American director with eleven feature films on his resume, and one movie on which he partly participated. His inaugural film, ANY WEDNESDAY (1966) was a comedy romance about a young woman caught between both a married and a single man, starring Jane Fonda and Jason Robards in the main parts. Next came SWEET NOVEMBER (1968), with Sandy Dennis as a woman who ingratiates herself into the lives of several men for a special reason. One of Mr Miller's most famous films, THE HEART IS A LONELY HUNTER (1968) was his third effort. Charting the blossoming relationship between a man and a young woman, it had a tragic undertone that was expertly delivered by a cast headed by Alan Arkin, and Sondra Locke in the lead roles. Mr Miller followed this with another comedy, THE GIRL FROM PETROVKA (1974), which was about the romance between a Russian ballerina and an American journalist. From herein, Robert Ellis Miller's output was not as varied, or memorable as his earlier films. 

BIG TRUCK AND SISTER CLARE (1974) focused on two Israeli truck drivers picking up a nun from her convent and other assorted incidents. BALTIMORE BULLET (1980) starred James Coburn and Omar Sharif in the escapades of two pool hustlers. REUBEN, REUBEN (1983) was a return to the whimsical romance style of his first few films, about the love a poet has for a young woman. In total contrast HAWKS (1988), was a comedy drama about two terminal hospital patients seeking a good time in their remaining time on earth. BRENDA STARR (1989) was a costly, loss-making film about a comic book artist who becomes part of his book, and involved with his female character. Robert Ellis Miller's final movie, BED & BREAKFAST (1991), was about three women running a bed and breakfast whose life changes with the entrance of a man, played by Roger Moore, into their lives. THE BUTTERCUP CHAIN, his fourth movie, was one of Robert Ellis Miller's most interesting, subtle works.

Based upon the novel of the same name by Janice Elliott, Mr Miller has done an admirable job directing THE BUTTERCUP CHAIN. Robert Ellis Miller has crafted a film that flows very well, and moves from one character, and situation to the next, with ease and grace. The transitions are smooth in this regard, and never abrupt. It has a romantic, ethereal quality shared by Mr Miller's first few movies such as ANY WEDNESDAY, SWEET NOVEMBER, and THE HEART IS A LONELY HUNTER. In terms of a comedy-drama balance, THE BUTTERCUP CHAIN had comic moments within its narrative structure, but these were subdued in tone, and never comedy for the sake of comedy. These were natural to the characters, and have a place in the movie without ever being forced. They are about expressing characters' feelings for each other, stolen moments, and are in a sentimental vein. There are other sound qualities of the film which warrant mention.

At first glance, THE BUTTERCUP CHAIN seems to have a series of events that appear casual upon initial examination, but the second half of the movie puts everything that has occurred into perspective for the viewer. All the intimate, unhurried moments between the characters, and privileged conversations add up to an unexpected, highly charged scene in the nightclub sequence. The film explores the psychological excesses of its characters' lives of freedom, and infidelity, in this shattering segment, and with it comes a tone of reflection, and repent, for mistakes made. This is the best part of the film, and what gives it power. There are, though, some aspects which may be misunderstood for their presence, and seem frivolous.

The flashes of both male, and female nudity, and the sexual merry-go-round played among the four main characters is something that seems unnecessary on the surface, and somewhat exploitative. Looking closer at the story, though, these features are utilized to emphasize the uninhibited, candid nature of the relationships in the movie, and how free love does not always have positive consequences for all. This is what lifts the movie from being something sudsy and empty, to having meaning. A highly satisfactory picture with its heart in the right place, THE BUTTERCUP CHAIN is a pensive film which shows off its director, and cast, in a flattering light.

Acting: The film has five main performances which are all distinctive, and support the movie's message exceedingly well. As France, Hywel Bennett adds another interesting portrayal to his list of performances. With his biting line delivery and smoky voice, he is both adept at showing bitterness, but also, sensitivity with finesse. As Margaret, France's cousin, Jane Asher has a relaxed manner and attractiveness that nicely offsets France's offhandedness, and the two actors work together convincingly as the tragic cousins. Leigh Taylor-Young always has an allure that appears well on film, and here is no exception. As the object of desire of not only one, but three men in the movie, Miss Taylor-Young makes this romantic escapade understandable for the audience with her interpretation of the wistful Manny. Two other actors make an impact in the film with their acting.

Adding jauntiness to the proceedings is blonde, handsome Sven-Bertil Taube as Fred, who becomes involved with both Margaret, and Manny. An actor who adds joy and life to the film, Mr Taube is fine in the comic sequences, but performs equally well in the dramatic segments, particularly the nightclub sequence. Despite been showcased in a state of undress for much of the film, Mr Taube rises above this with his intelligence, and nous. The final acting of note in THE BUTTERCUP CHAIN was by Clive Revill as George, a man interested in both Margaret and Manny. A performer whose face is like a canvas, expressing happiness and sadness, allowing the audience in on his intimate thoughts, this eloquent actor happily rounds out the great acting in the movie.

Soundtrack: The movie has a sweeping musical theme that is employed at both the film's start, and at its conclusion. It has a softness and sensitivity in keeping with THE BUTTERCUP CHAIN's thoughtful presentation.

Mise-en-scene: THE BUTTERCUP CHAIN is beautifully photographed by Douglas Slocombe, with many exquisite scenes captured, the highlight being Margaret sitting in a field of buttercups. The outdoor locations are all well-chosen and naturalistic, ranging from the United Kingdom, Spain to Sweden, giving the film an international flair. Costuming is appropriate to the characters, with France's idiosyncratic fashion sense complementing his volatile personality, and Margaret's garments elegant, but never overpowering, emphasizing her aspirational nature.

Notable Acting Performances: Hywel Bennett, Jane Asher, Sven-Bertil Taube, Leigh Taylor-Young, Clive Revill.

Suitability for young viewers: No. Male nudity, female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Trailer