INTERVIEW WITH ACTOR PETER FOX

Today I have the immense pleasure of welcoming a very special guest, actor Peter Fox, to CINEMATIC REVELATIONS for an interview. Peter has acted in motion pictures over the years such as AIRPORT ‘77, MOTHER’S DAY, FRATERNITY ROW [my review of the film can be found here] JAKE SPEED, FM, NIGHT OF THE COMET, and SHADOWS IN THE STORM, to name but a few examples from his filmography. Peter was also the artistic director of the Alliance Repertory Company, and Chairman of the Board for sixteen years. In this interview Peter will be discussing his role in FRATERNITY ROW, acting on television, the theatre, and his career as a visual artist.

Welcome to CINEMATIC REVELATIONS Peter!

Athan: When did you first realize that you wanted to be an actor?

Peter: Well, the first time I sort of felt that I had, there's a movie theater in Santa Monica called the Nuart Theatre, where you can see interesting stuff. And I went to see A MAN FOR ALL SEASONS, and saw Paul Scofield, who won the Oscar for that film. I was just amazed at his performance.

Having said that, I didn't come to California to be an actor. Where I grew up outside of Chicago was very middle class, very, you know, white bread. It was fun, it was a great childhood. But I didn't go to college to be an actor. I didn't come to California to be an actor. It was just my consciousness. But what happened was, there were eight of us, and there wasn't much money.

My mother got us all modelling, and doing TV commercials in the fifties and sixties in Chicago. Sears and Montgomery Ward catalogs were all in Chicago. So anyhow, I had a Screen Actor’s Guild card by the time I was ten and I was out here. I worked at a car wash, and I had a brother out here. I'd never been to California. I had graduated from college and made a film there, so I was kind of interested in that. Acting was not what I came for, but acting jobs started to happen.

Because I wound up at a very upscale restaurant, it was called Mr. Bartender. I had never bartended before. That was an interesting experience. But through that, I met, I ran into a very powerful agent there who I followed up on because I didn't want to be a bartender anymore. He said, well, I could make some money doing TV commercials until I figure out what I want to do.

That actually led to me getting a very high-end agent in Los Angeles. I started getting active working in commercials, national commercials, and one thing led to another. And next thing I know, I'm in FRATERNITY ROW. So I got to star in a movie without ever coming to California to be in a movie. That's what my fate was, that's what happened.

So when did I decide to be an actor? I decided I wanted to make some money with a Screen Actor’s Guild card. And then when I got a lead in a movie FRATERNITY ROW, I was like, well, I better pursue this. I guess I better pursue being an actor. And lo and behold, I started getting more work, and it lasted for quite a while until it stopped.

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Athan: Where did you study acting?

Peter: I didn't really at all. I was just, you know, in front of a camera as a kid, I guess I got that. And just through observing, like watching Paul Scofield say, ‘oh, that's what good acting is, what's he doing there? If you want to act, do that.’ I had no formal training as an actor, which kind of as I started to succeed as an actor, that sort of gnawed at me, saying, well, matter[s] you're having some [success] as you never studied, whatever.

I did take a few classes here and there and just prove to myself, oh, okay, this is what actors do. I studied with some very high-end teachers such as Jose Quintero, a very famous New York Broadway director, and Mira Rostova in New York. I took classes in her six-week class there. 

It was interesting and good, but I never really studied acting. What I wound up doing was joining a theater company in Los Angeles to prove to myself, well, if you're in this existence, let's see if you really have the chops, if you're really an actor, because you're getting paid to be an actor, prove to me that you're an actor. So I joined this theater company and I stayed there sixteen years, and wound up as its artistic director. So that's where my acting chops really blossomed there at Alliance Repertory Company in Los Angeles. Terrific little black box theater.

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Athan: Your performance as Rodger in FRATERNITY ROW was excellent, and one of the two pivotal performances in the movie, being a young man with integrity who is inspired by another young man’s aim to cease the practice of hazing in college fraternities. What is it that drew you to the part of Rodger in FRATERNITY ROW?

Peter: What drew me though was simply my commercial agent saying, ‘Hey, there's this movie being cast. Do you want to go? Do you want to audition for it? And, at the time I was, you know, getting some success working in commercials, and it looked like a good opportunity to take it a step up. So that's what drew me to it was, oh, this looks like an interesting challenge.

See if I can go get it. And lo and behold, after weeks of auditioning, I got the part. And once again, that's my fate. Did I come there to star in the movie? No. Looks like I was going to, so don't mess this up. And I just jumped, just jumped in, you know, jumped into, okay, here's the ride, let's go. So basically, I was just a passenger on the ride of my career.

It's like this career ride was going and either hop on, or hop off. So I hopped on, and here's where we're going, and I tried to make the best of it as we went along, and get better at it. But like I say, I didn't come here to do that, but yeah, it's just remarkable. Really.

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Athan: FRATERNITY ROW had a great cast with yourself and Gregory Harrison as the central focus, but with very capable support from Wendy Phillips, Nancy Morgan, and Scott Newman. What was it like working with these performers?

Peter: Well, we were all youngsters, you know, trying to make our mark. But I think all of us had talent. We all got along, we understood what the story was and, you know, it's a pretty basic story. And it was fun, but I could, working with people your age and you get along with, with talent who aren't there to one up you or, or, you know, make themselves better than you, or whatever.

So yeah, I would say it was a good learning experience for me to be around people who are good. And it's like playing a tennis match. You want to play somebody who's good, not somebody who you know is as bad as you are. So, yeah, it was a learning experience. It was fun and all that. Paramount bought the picture.

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Athan: What did you find most exciting about making FRATERNITY ROW?

Peter: Well, being one of the main characters in the movie, which is a very exciting, can be a very exciting arena to be in. Just going to work every day, was like, man, I'm not going to an office today. I'm going down to be on this set, making a movie. And, there's good actors, these single girls, oh wow, look at all these girls.

Hmm, this is interesting. It was a fun summer for me in more ways than one, you know, doing good work. And we shot it at that fraternity house, and I had the insight to rent a room there, so I didn't have to go back and forth every day to Santa Monica and then back to USC. I slept there, I lived there, and I just got to live the, you know, on campus life with all these other young people.

It was a quite unusual summer, like I've never had before.

Waking up every day to go do a leap, a movie that's good. The people are enjoying being there, and you're not having squabbles with anyone. You're actually getting paid to do this. It's like, wow, how did this happen? But it happened. So, yeah, it was delightful, you know, not too many people start, really start off with a lead, in a movie that Paramount bought.

You know, that's where I started. It's like, that's weird. You know, people usually have to climb the ladder to get to this place. Once again, my fate you know, I don't pay credit for it. I showed up and it was meant for me. And, it lasted for as long as it did. It was great. And it didn't last, and that's my fate too.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming FRATERNITY ROW?

Peter: Well, back to that climax scene where the Zac character dies was intense and, you know, the reaction to it mostly played off of me, my character. So I had to be just distraught that this kid under my wing just choked it down. And just the whole set of emotions that came with that, it was a very, you know, challenging day for an untrained actor.

Well, you know, that was part of what we were talking about earlier was, I know this is coming, you better prepare yourself, however, you're going to do this because the camera's going to be right there on you and you better show up. That was my challenge.

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Athan: Have you kept in contact with any cast members and crew from FRATERNITY ROW?

Peter: Actually, a couple. Yes. A guy who was a camera assistant, a guy named Dow Griffith, he and I are still buds. It's been a while since I've gotten in touch with Tom Tobin, but he's a terrific guy. And Greg Harrison and I, you know, swap an email here and there, Christmas card, but yeah, that's, that's pretty much. Dow, Nancy, Tom Tobin, and Greg occasionally.

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Athan: FRATERNITY ROW was directed by Thomas J. Tobin, in his only film as director. What was it like being directed by Mr Tobin in FRATERNITY ROW?

Peter: Well, it was his first big step up to the plate and mine as well. I would say that being perfectly honest, we're both just regular guys. Ego was not a thing with him, I don't think. It is not a thing with me it, so it was just two guys, regular guys who wanted to do the best they could with his script.

And so we got along terrific. He has a great sense of humor. I have a pretty good sense of humor too. We enjoyed our company between setup, but he knew what he wanted. There was no ambiguity there. Every day he knew what we were there to do and we did it, and he's a terrific guy. He knew how to speak to actors, and I think when you do, that he knew how to tell that story, which is what the director's job is. And I think he did, yes. Yeah.

Yeah. I don’t know why that didn't happen for him. Whether he didn't pursue it like that or, yeah, it's hard to say. Part of it's that, you know, he's not a showman, he's a regular guy. You know, maybe Hollywood wanted somebody with more pizazz? I don’t know.

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Athan: Aside from cinema, you have also acted in scores of television shows over the years, with Family, The Waltons, Delta House, The Facts of Life, Hill Street Blues, 21 Jump Street, and The Young and the Restless among these. What, for you, are the main differences for you between film, and television?

Peter: Well, TV is more of, for instance, most of those shows I was on, like the Waltons or Murder, She Wrote or whatever, were hit shows. So they were well-oiled machines, right? You show up on the set, you know who your character is. It's a machine to get X amount of work done that day. We'd been doing it for eight years already, so how to do this. Whereas with FRATERNITY ROW we were all just a bunch of youngsters, you know, trying to figure out how to do this.

And like I said, Tom knew what he was doing and he hired the right crews, mostly students, almost all students, to help him achieve it. So the difference is, not for my experience, not that much different. There was just more machinery, and feeling of a machine work moving forward in TV shows, than in an independent film like FRATERNITY ROW.

Peter Fox and Michelle Pfeiffer on Delta House

I did another one called A Minor Miracle with the John Huston, and that was an independent film, so that has a little more urgency to it because of that machine behind it. So yeah, for me it was not that much different going from one to the other, just had a lot more money. Everybody was there, shoot six pages today, let's get six pages shot in general. That's what happened. I mean, there are a lot of Hollywood horror stories about egos and fortunately I didn't have that. I mean, I worked a lot for a long time and you would think, oh, there must be some horror story there.

No, people wanted to do the work, and get the job done. I'm glad for that because I know that there were, that there are, horror stories out there. It could have happened, but it didn't for me.

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Athan: You have been a visual artist for almost twenty years, producing innovative sculptures, and other installations. When did you first begin to create these art pieces, and what do you love about doing this?

Peter: I guess I started to do it a little bit in my last days in Hollywood, when my wife and I lived up in Hollywood Hills and, you know, as an actor, and especially if your career is sort of fading, you have a lot of time, a lot of free time. So I just, over the years, I collected these things on location and, and here and there and around the world. So I had this collection of things and I thought I'd look at them, and I started to put them together.

So that one plus one equals four, not two. And I really enjoyed it was a creative thing. Inspirational, creative. And I just took the free time I had and dug into that. When we moved up here to Ojai, California, I just really started making things. I've probably made two, two or three hundred different pieces of art.

Some of it's art, some of it's just clever and funny, and that's cool. I started when we moved here in 2005, probably started slipping my toe in around 2003 or 2004. I really dug into it and have done museum shows here, galleries up here and whatnot. And it's great, it's creative, you know, and if you can't be creative one way, here's another way you can be creative.

And so that's when things are slow or not happening at all, I can make something. And oftentimes, it's kind of cool. At least it is to me, and some people buy them. I don't make a living at it, but people, most people do.

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Athan: The theatre is also something close to your heart, directing plays at various theatrical companies. You were artistic director of the Alliance Repertory Company, and Chairman of the Board for many years. What is the feeling of overseeing a production, and witnessing all the pieces come together when it is performed?

Peter: Well, that's a really good question. I've enjoyed acting, and I've been astonished that I had some success at it. Like I say, that wasn't why I came here. When I made myself join the theater company, I found out that being in plays, and then directing plays, was really what I enjoyed doing. I enjoyed directing, enjoyed writing, and having joined this theater company, I guess that started me on those paths.

And that's what I mostly pursued these last years. I've written a lot. Since I'm a published playwright with a big play publishing company, I directed things in both in LA and here. And a couple of short films. 

My short film is The Sorrowful Mysteries of Boomer Pastor, check it out on YouTube. I wrote and directed that, and it won at film festivals. And so that was an even more intense want to be creative because when you're the director, it all goes through you, you know. There are so many creative decisions that have to be made, and it's thrilling and scary and really rewarding when it works.

So I made a couple of short films. I recently made another one called Good Vibrations, which I think might be on YouTube as well. But directing both on stage, and short films is really rewarding. You're not, as an actor, you're a piece of this whole thing like, you know, whether it works or not. It can be really rewarding, and it can also be really stressful if It's not working and getting along.

I haven't had that experience of yeah, having thirty people standing, looking at you saying, okay, what are we doing now? And you say, okay, let's do this. Everybody do it. You get it done. It's, you know, you’re making something, I think to me is a really human thing to make something. Whether it's you making these blogs of yours, or me making my art pieces or people making movies. It's just to make things very satisfying. And I suspect anybody who actually makes something that they're proud of knows what I'm about. I think it's a real human drive, all the time.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Peter: The art center here in Ojai, California, want me to write up an evening to honor them, so that's what I'm doing right now.

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Thank you so much today for your time Peter, and for the insight you have provided into the art of acting, FRATERNITY ROW, cinema, theatre, and visual art. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Peter Fox links

+Peter Fox IMDb Actor Page

+FRATERNITY ROW movie IMDb page

+Peter’s art website

JENNY (1970)

Title: JENNY

Year of Release: 1970

Director: George Bloomfield

Genre: Drama, Romance

Synopsis: A young woman is left pregnant by a man, and befriends a sullen photographer, who agrees to be the father of her child.

Within a film history context: Movies revolving around an unwed mother have been in existence since the silent era. One of the first documented in this vein was Emile Chautard's MAGDA (1917). When a young woman from a small town goes to the city, she marries and has a child with a man. What she discovers is that the marriage was a hoax, and consequently leaves her to support a child. Her downfall begins here, as she drifts into unsuitable employment, and a number of other issues resurface. With IT (1927), directed by Clarence Badger, matters were of another persuasion. A perky department store salesgirl seeks to assist her roommate in a time of need, but this lie causes issues in her private life she never envisioned. Into the sound period, Frank Capra's FORBIDDEN (1932), was about a young woman who meets a man on a cruise, and subsequently falls pregnant to him, but is unaware that he is already married. In A FAREWELL TO ARMS (1932), directed by Frank Borzage, an ambulance driver and a nurse in World War I Italy fall in love, and she falls pregnant. Despite resolving to be together, a number of misunderstandings ensue, building to a tragic end to their affair. Alexander Hall and George Somnes' TORCH SINGER (1933), diverted from others in terms of its story. A woman who has had a child out of wedlock gives it up for adoption, but becomes a torch singer with a questionable way of life in this drama. 

ANN VICKERS (1933), directed by John Cromwell, had the distinction of its main character, a social worker, falling pregnant twice out of wedlock to two different men, finding a measure of happiness the second time around. John Stahl's ONLY YESTERDAY (1933), begins during World War I, when a young woman has an affair with a man, who is slated to fight in the war. When they meet again many years later, he does not remember her, and has a son in tow. DOCTOR MONICA (1934), directed by William Keighley, centered around a female obstetrician, who finds out the hard way that her husband had an affair with another woman, as she delivers the baby of his mistress. In Mitchell Leisen's TO EACH HIS OWN (1946), a young woman in American during World War I has a baby to a pilot, and gives up the illegitimate child for adoption. She watches his life unfold from a distance, but finds out that second chances in life do exist. On the other hand, SIN OF ESTHER WATERS (1948), directed by Ian Dalrymple and Peter Proud, had a young woman in 1870s London fall pregnant to a faithless man, forced to raise the child on her own. 

Mitchell Leisen's NO MAN OF HER OWN (1950), starred Barbara Stanwyck as a woman who befriends two people on a train, who eventually die, and assumes the identity of the wife. She is welcomed into the family, but her former lover blackmails her over her deceit, with which she was uncomfortable anyway, leading to a surprising ending. UNWED MOTHER (1958), directed by Walter Doniger, the title of which left no doubt as to the status of its main character. When a young woman from a farm goes to Los Angeles, she is loved and left pregnant by a Lothario, and has the baby. Giving up the child for adoption, she rues the day she made this decision in this drama. Richard Quine's THE WORLD OF SUZIE WONG (1960), featured a young Chinese prostitute who had a child out of wedlock, and was involved with an American architect in this drama. In contrast, the unmarried mother in THE SANDPIPER (1965), directed by Vincente Minnelli, was an artist who lived with her young son at Big Sur, and had an affair with a married reverend, the headmaster of her son's school. JENNY arrived onscreen in 1970, and gave the unwed mother theme its own spin.

The earlier examples of an unwed woman falling pregnant often precipitate the moral downfall of the said character, such as in MAGDA, TORCH SINGER, and ANN VICKERS. The woman either starts drifting into unsuitable employment, or from man to man, as in ANN VICKERS. They are not depicted as being promiscuous, more misguided, just that fate has dealt them an unlucky hand. In many instances, the woman raises her child alone, as in MAGDA, FORBIDDEN, ANN VICKERS, ONLY YESTERDAY, SIN OF ESTHER WATERS, THE WORLD OF SUZIE WONG, and THE SANDPIPER. In some of the movies, the woman gives up the baby for adoption, as in TORCH SINGER, TO EACH HIS OWN, and UNWED MOTHER. A FAREWELL TO ARMS stands out as the only entry where the baby dies. DOCTOR MONICA also diverts as the central character has not given birth to an illegitimate baby, but is delivering one for another woman, being her husband's mistress. JENNY belongs to the group of pictures where a man impregnates the woman, and their affair is a mistake, with him leaving her in the lurch. MAGDA, FORBIDDEN, ANN VICKERS, SIN OF ESTHER WATERS, and UNWED MOTHER are prime examples here. 

JENNY is the only picture where a man, not the father of the child, marries the pregnant woman to give her child a parent. Delano in JENNY, though, if of the disloyal male character mold as evidenced by the prior samples such as MAGDA, and SIN OF ESTHER WATERS. Where JENNY again moves away is that the difficulties of compatibility between Jenny, and Delano, make way for real love over time, and this is cemented by the birth of their child. This is unlike the many movies of women who stay single as a mother, or watch their child from afar, as in TO EACH HIS OWN. It adds a positive touch to the trials and travails of the unwed mother, advancing from the sadder portrayals of women whose lives are forever marked by what happened in their lives, to something more life-affirming. In addition, JENNY's leaning towards romance provides it with an ethereal feel that the other narratives, with moral considerations, could not offer. A more modern version of the hardships of an unwed mother, JENNY asks viewers to consider another perspective on this theme. 

Overview: George Bloomfield was a Canadian director who presided over ten motion pictures in a twenty-nine year period. He made dramas, thrillers, family fare, and also ventured into comedy in his output. Mr Bloomfield's second movie, TO KILL A CLOWN (1972), was an unconventional thriller about a couple holidaying on the beach, and how their encounter with a Vietnam veteran changes them forever. CHILD UNDER A LEAF (1974), had a similar, if divergent premise. A woman trapped in an abusive marriage has an extramarital affair, giving birth to her lover's child, but tries to move away from her egotistical husband. NOTHING PERSONAL (1980), was a comedy of an activist professor concerned about the plight of baby seals, and how he is assisted in his mission by a lawyer. Critically roasted in its time, it has sunken into oblivion. Thriller DOUBLE NEGATIVE (1980), showcased a man whose wife was murdered, and how he tries to find her killer, and exactly what happened that fateful night. THE ARGON QUEST (1992), was a family movie with two brothers transported to a magical island, the only way to save it is by finding the giant Argon. JACOB TWO TWO MEETS THE HOODED FANG (1999), was another family picture. A young boy who likes to mention things in twos, goes shopping one day, but is misunderstood by the grocer, subsequently landing in a children's prison. Some friends in the prison assist him, and plan to escape from there in this fantasy movie. JENNY was George Bloomfield's film debut, and a good, if uneven, first movie.

With JENNY, George Bloomfield has crafted a subtle story of a pregnant, unwed young woman who meets a filmmaker whom she eventually marries. The movie ably charts their blossoming relationship through all the obstacles which come their way in light of their decision to wed, and for the photographer to take on the role of husband, and father, to a child which is not his own. It is a film which has an assured pace, and delicately examines its lead characters' feelings about their situation. There is no doubt as to the sincerity of the director in focusing upon the plight of an unwed mother in his picture, and this is one of its best qualities. This is a topic which has been featured in cinema over all time, and here the director adds his own interpretation to this issue. 

Where the movie lacks punch is that sometimes the pace is too slow and languorous, the conflict being too distant in regularity to have an impact. There is a concentration of romantic scenes which suits the material, but the aura of dreaminess does have the tendency to outweigh the more dramatic stretches. If JENNY had extra segments of antagonism between its characters, it would seem even more real as a product. As it is, the film is a little topsy turvy in balancing drama with romance. Nevertheless, in the final analysis, certain things can be said about JENNY as a motion picture. It is a pleasant movie from George Bloomfield that needed some tinkering, but whose overall honesty in what it says about people, and life, is commendable.

Acting: There are two performances which give life to JENNY. In the lead role of Jenny, Marlo Thomas is thoroughly believable as a young woman who has made mistakes in life, and tries in her own way to rectify these. With her warmth, openness, and ability to share her feelings with the audience, Miss Thomas is excellent. As Delano, the photographer who Jenny marries, their relationship not all smooth sailing, Alan Alda is well matched with Marlo Thomas. Although he is usually the good-humored leading man, here Mr Alda takes a dive into darker, more multi-faceted territory, which shows how versatile an actor he is. 

Soundtrack: Michael Small's attractive musical score suits the solemn, leisurely-paced material, always subtle, but never overbearing. It adds a certain flair and grace to scenes, one of the best examples being the scene where Jenny and Delano race merrily around the park.

Mise-en-scene: JENNY has a very good handle on its visuals, thanks to the work of several key personnel. The Deluxe cinematography by David Quaid is lush, and exceedingly easy on the eyes without being garish. It makes everything appear as if it was from a carefully-composed painting which has been turned into a film. Trevor Williams' art direction, and set decoration by Alan Hicks, create an agreeable world of beautiful parks, inviting rooms, and pretty streetscapes. Two key examples stand out in this respect. The home of Jenny's parents is elegant without being overdone, and the apartment which Jenny and Delano share is slightly bohemian, but feels as if real people would indeed inhabit this abode.

Notable Acting Performances: Marlo Thomas, Alan Alda.

Suitability for young viewers: Parental discretion advised. Adult themes.

Overall Grade: C

Link: IMDB Page

THE YOUNG LOVERS (1964)

Title: THE YOUNG LOVERS

Year of Release: 1964

Director: Samuel Goldwyn Jr.

Genre: Drama, Romance

Synopsis: Two university students discover that love is not all that is required to live an authentic existence.

Within a film history context: Movies about college students finding love have been featured from the early sound era. The first main example was Sam Wood's SO THIS IS COLLEGE (1929). Two college friends become rivals over a fellow student, but discover she is nothing but a tease, and again resume their friendship. COLLEGE HUMOR (1933), directed by Wesley Ruggles, had a similar love triangle scenario, but in this instance, a young college student is pursued by not only a fellow college football star, but also, a professor at the establishment. In David Butler's THE GIRL HE LEFT BEHIND (1956), a young college student has a girlfriend also in college, and does not aspire to much. After she leaves him, he fails an exam, and has to join the army, in light of his grades. Once drafted, he learns a thing or two about how to be a responsible person in this romance movie. Comedy TALL STORY (1960), directed by Joshua Logan, followed the life of a young college basketball player, and the fellow college student who uses her wiles to marry him, but their road to happiness is not a smooth one. In contrast to the earlier entries, THE YOUNG LOVERS was the most in-depth representation of college students falling in love.

It was an updated version of the 1930s movies of college students finding love, with similar romantic scenarios, but with 1960s sensibilities in terms of sexuality, and personal responsibility. The dramatic nature of THE YOUNG LOVERS allows for this, whereby the older examples were rooted in a lighter mood and feel in keeping with the censorship of the times. Aside from this, the intense focus on one particular couple also does away with the more simplistic triangles in SO THIS IS COLLEGE, and COLLEGE HUMOR. THE YOUNG LOVERS also differs from both THE GIRL HE LEFT BEHIND, and TALL STORY, with their emphasis on a male protagonist. In THE YOUNG LOVERS, attention floats from Eddie to Pam in the movie, giving each character sufficient airtime. While both Eddie and Pam want love and romance, the journey here is more about finding themselves, and their footing, in life. This is something tackled in THE GIRL HE LEFT BEHIND, with its male character's escapades highlighted, but that film is comic in its intentions rather than serious compared to THE YOUNG LOVERS. A notable take on college students and their lives, THE YOUNG LOVERS is watchable in this respect for the handling of its themes.

Overview: Samuel Goldwyn Jr. was a prolific producer who made only one film, being THE YOUNG LOVERS. His producing credits included THE ADVENTURES OF HUCKLEBERRY FINN, COTTON COMES TO HARLEM and its sequel, COME BACK CHARLESTON BLUE, THE GOLDEN SEAL, MYSTIC PIZZA, STELLA, THE PREACHER'S WIFE, and THE SECRET LIFE OF WALTER MITTY. He was also involved in television, producing two broadcasts of the Academy Awards, a telemovie, and a number of prime-time series. Due to the fact Mr Goldwyn helmed only one picture, this review shall concentrate upon his work on THE YOUNG LOVERS.

With reference to THE YOUNG LOVERS, Samuel Goldwyn Jr. has fashioned a sensitive exploration of two college students, their blossoming love affair, and the events which mark them in their journey. He has produced a motion picture which has a steady pace, and the ability to clearly enunciate its characters' feelings about their lives. There is a certain sincerity about this movie, and its intentions, which is creditable. It attempts to give depth to the lives of college students, and the difficulties which may be faced by them, instead of finding pat solutions to problems. By no means is the film a deep dive into social issues and realism, even though it touches upon these in the narrative. There are views on personal responsibility and family, which are always pertinent ideas for discussion. The movie provides balance by also featuring romantic scenarios and subtle comedy stretches which do relieve some of the lulls in the story. While THE YOUNG LOVERS has qualities to recommend it, there are some flaws which hinder its overall impact.

The love story between Eddie and Pam is the focal point here, but it never feels as if it is live or die for these characters. Even though there is the best attempt by both performers, and the story, to shore up interest in their romance, it does not catch fire as one would expect. The lack of chemistry between Eddie and Pam causes THE YOUNG LOVERS to seesaw in an uneven manner. What occurs is that the second leads, being Tarragoo and Debbie, come off as being much more animated and interesting than Eddie and Pam. The engaging Tarragoo, and his lively girlfriend Debbie, are the stars of the picture, their dominance making Eddie and Pam's plight rather bland in comparison. This is unfortunate, and causes the movie to lose oomph early on, from which it does not recover lost ground. The presence of Pam's mother Mrs Burns also adds drama and punch whenever she is shown, but alas, her appearances are fitful. If a better connection was present between the leads, it would have been a much better product. A satisfactory attempt to review the lives of college students, THE YOUNG LOVERS is only partially successful in its mission of being topical.

Acting: The acting in THE YOUNG LOVERS is very good, but there are two instances of miscasting which derail the movie. In the lead part of university student Eddie Slocum, Peter Fonda does an acceptable job, but the role is too static for him to shine. The same applies to his co-star, Sharon Hugueny, as Pam Burns, Eddie's other half. However much both performers try, they are stuck in limbo with a lack of chemistry not assisting them. On the other hand, Nick Adams, as Eddie's friend Tarragoo, is excellent. With his agreeable manner, gusto, tough guy attitude, and humor, Mr Adams lights up the screen whenever he is present. As Tarragoo's girlfriend Debbie, Deborah Walley is nicely-matched with Nick Adams, their pairing fun to witness. In a more serious vein was Beatrice Straight as Mrs Burns, Pam's mother. With her piercing gaze, perfect diction, and poise, Miss Straight was another great acting interpretation in the picture. The final acting which deserves mention was Malachi Throne as Professor Schwartz, Eddie's lecturer. An actor of authority, with a metalliferous voice, his Professor was on screen for way too short a duration, but, nevertheless, leaves his mark on THE YOUNG LOVERS.

Soundtrack: Sol Kaplan's score is professional, and appropriate to every scene in the movie without being overwhelming. It reinforces the quiet, slightly illicit feel which THE YOUNG LOVERS tries to achieve in its workings.

Mise-en-scene: THE YOUNG LOVERS has a good handle on its mise-en-scene. Cinematography by Joseph Biroc and Ellsworth Fredericks is clean and crisp, never becoming too dark, but is nicely measured. Fernando Carrere's production design, and the set decoration by Frank Wade, are both excellent, with the university classroom, the painter's studio, and, in particular, the Burns home, well done. Costuming by Wesley Jeffries and Rose Rockney ensures each character is different, and that their garments match their personality. Nick Adams' attire befits his role as the likeable, energetic young Tarragoo, with Beatrice Straight elegantly outfitted as the upper class Mrs Burns.

Notable Acting Performances: Nick Adams, Deborah Walley, Beatrice Straight, Malachi Throne.

Suitability for young viewers: Parental discretion advised. Adult themes.

Overall Grade: C

Link: IMDB Page

DAYS OF HEAVEN (1978)

Title: DAYS OF HEAVEN

Year of Release: 1978

Director: Terrence Malick

Genre: Drama, Romance

Synopsis: A man and woman posing as brother and sister work the wheat fields where she marries a wealthy farmer, this causing friction in their relationship.

Within a film history context: Movies about characters working on wheat fields have not been a common occurrence in American cinema. The first notable example is F.W. Murnau's silent CITY GIRL (1930). The difficulties of a Chicago woman in adapting to farm life after marrying a Minnesota farmer, and the many obstacles she faces there, including an insidious father-in-law, constituted the content of this movie. The sound KONGA, THE WILD STALLION (1939), directed by Sam Nelson, charted the heated rivalry between two men, one a rancher, the other a wheat farmer. When a rancher's wild horse makes its way into the wheat fields of the farmer, an old feud rears its ugly head in this western. With Joseph Kane's DAKOTA (1945), a gambler joins forces with wheat farmers against two corrupt businessmen, who seek to drive out both parties for ultimate control of land. Wheat farmers were also featured in ABILENE TOWN (1946), directed by Edwin Marin. The uneasy alliance between farmers, and homesteaders in Kansas after the Civil War, is exacerbated by cowboys in this western. Tay Garnett's WILD HARVEST (1947), followed the intrigues of a wheat harvesting supervisor, his friend, and rival, and the woman who comes between them both for love, and money. DAYS OF HEAVEN came much later than the previous examples from the 1930s and 1940s, arriving onscreen in 1978, with a marked difference in its treatment of characters working on a wheat field.

The majority of the movies here were aligned to an action storytelling style, such as KONGA, THE WILD STALLION, DAKOTA, ABILENE TOWN, and WILD HARVEST. There were rivalries, and clashes between opposing groups over land, particularly male characters fighting it out for supremacy. WILD HARVEST was the only film where a female character caused romantic tension between two men. CITY GIRL was different to all of these, as its scenario was not melodramatic in tone. It was the character study of a woman transplanted from Chicago to Minnesota, and how she handles this transition. The female character in CITY GIRL inadvertently creates animosity between a father and son, but this is not of a romantic orientation. The father-in-law distrusts his new daughter-in-law, and tries to break up his son's marriage. DAYS OF HEAVEN is more closely linked to CITY GIRL in its elegant presentation, and also, in that it charts the hardships of those who work on the wheat fields. This is something that the other films deviated from in order to concentrate on the power plays of certain characters.

Where DAYS OF HEAVEN moves away from CITY GIRL, though, is in its depiction of the female character. Abby is a woman together with her boyfriend, passing as brother and sister, to avoid gossip about their relationship. She turns the head of, and marries, a wealthy farmer who believes that her boyfriend is her brother. The rivalry between her boyfriend, and husband, begins once he discovers the truth. This is a more intricate, measured chain of events in DAYS OF HEAVEN which is far away from the overt squabbles of the men in WILD HARVEST over a woman. The role of the woman in DAYS OF HEAVEN is complex, as she is attracted to both men, and carries on with them simultaneously. It is not about money or power, but an emotional attachment on her part. This differs from the young woman in WILD HARVEST who plays two men against each other for her own satisfaction, and material gain. DAYS OF HEAVEN also had a psychological 1970s sensibility in its rendering, looking deeper at its situation, rather than the more simplistic scenarios from the 1930s and 1940s, by investing real emotion in its story. A thoughtful entry on life on the wheat fields, DAYS OF HEAVEN is a winner in this respect.

Overview: Terrence Malick is an American director of thought-provoking cinema who has made nine films over the space of forty-six years, with a project currently in post-production. His movies are generally period pieces, with several diversions into more contemporary themes. They are noted for their nuanced performances and stories, elegant pace, and lush photography. Mr Malick's first picture, BADLANDS (1973), was based upon the real-life killing spree of a young man and his girlfriend in Nebraska and Wyoming, with events in the movie occurring in a cross-country journey from South Dakota to Canada. Terrence Malick's third movie came twenty-five years after his first effort, being war epic THE THIN RED LINE (1998). The Battle of Guadalcanal in the Pacific Ocean between Allied Forces, and the Japanese during World War II was the focus here, with a cast including George Clooney, Adrien Brody, John Cusack, and Woody Harrelson. Next came THE NEW WORLD (2005). In this movie, the settling of Virginia in the early 1600s was explored, with the life of American Indian woman Pocahontas disseminated. 

This was followed by drama THE TREE OF LIFE (2011). Once again going back in time, in this instance, 1950s Texas, with the story of a young man's relationship with his father, and examining his feelings about life after reaching adulthood. KNIGHT OF CUPS (2015), was an entirely different project from others Mr Malick had thus made. A writer's apathy towards life is somewhat abated by his relationships with various women, assisting him with his issues. SONG TO SONG (2017), was another contemporary project for the director. The lives of several people in the recording business in Texas are forever marked by sex and tragedy in this drama. Terrence Malick's last release to date, A HIDDEN LIFE (2019), was a return to period movies. The biopic of Austrian man Franz Jagerstatter, who defied the Nazis by rejecting to fight in World War II, subsequently paying the ultimate price for his beliefs, was the crux of this well-received film. DAYS OF HEAVEN was Terrence Malick's second movie, and his best picture for a number of reasons.

With DAYS OF HEAVEN, Terrence Malick has crafted a beautiful motion picture which remains in the memory long after viewing it. Following the lives of three characters who move from Chicago to Texas to work on the wheat fields, encountering some happiness, and many obstacles along the way, it is an original, fluent, poetic cinematic triumph. Mr Malick has successfully balanced all the elements in his film, nourishing viewers not only on a visual level but also, making them invest time, and fostering an emotional connection, in his protagonists. DAYS OF HEAVEN has been assembled in such a careful, methodical manner, without gimmicks or superficial effects, which takes it into another category of cinema. The director knew exactly what he wanted, and this is to the advantage, and viewing pleasure, of the spectator. It is not a film for those who expect mayhem every second minute, and exploitation, but for those who can appreciate cinema as an art form, something it should be more often. DAYS OF HEAVEN should be viewed at least once by those seriously interested in cinema as the remarkable, meaningful experience which it is, and a work of which its director should be duly proud.

Acting: DAYS OF HEAVEN has five performances which bolster the movie with their individuality. As hot-headed manual worker Bill, Richard Gere is showcased in one of his best early roles. The presentable Mr Gere does not have to say much to convey his feelings to the audience, as his face does most of the talking. As Bill's ladylove Abby, Brooke Adams is also perfect. Miss Adams has a certain poetic way about her, and it is easy to understand how she attracts two very different men from opposite ends of the spectrum. The second man in Abby's life, a wealthy farmer, is fertile territory for actor Sam Shepard. Being the third party in a love triangle is never an easy thing, but Mr Shepard makes it work with his quiet nature, and intriguing personality. Bill's younger sister, Linda, is played with considerable rakish charm by Linda Manz. Exhibiting knowledge and intelligence beyond her years, but never appearing amateurish, Miss Manz lends a different brand of spice to the movie. Robert Wilke provides the final acting of note as the farm foreman with a strong penchant for the truth. Mr Wilke offers a steely authority that differs from the other two male roles in DAYS OF HEAVEN, and ably rounds out the excellent acting interpretations in the picture.

Soundtrack: Ennio Morricone's score for DAYS OF HEAVEN is a wonderful aural treat to savour. The opening credits prepare the viewer for the one-of-a-kind experience that they are about to witness with its score. The closing credits are similar, but with a more introspective, tragic feel, in keeping with what has occurred in the narrative. Incidental music by Leo Kottke, such as his piece 'Enderlin', adds a freshness that is evocative of the 1910s when the picture was set.

Mise-en-scene: In terms of mise-en-scene, DAYS OF HEAVEN offers spectators an intoxicating, convincing viewing experience. Nestor Almendros' Metrocolor cinematography beautifully captures everything on screen with a breathtaking elegance that is amazing to witness. The movie is predominately shot outdoors, and there are countless examples of imagery which stay with the viewer for their sheer originality, and visual style. Notable cases in point include a parasol being tossed around by the wind, a train steaming forward on a high track, and, the locust burning sequence. Costume design by Patricia Norris is excellent, and makes the actors look as if they really are from the 1910s United States. The outfits worn by Brooke Adams as the farmer's wife are elegant and flattering, as are the suits which Sam Shepard and Richard Gere wear, and appear of the period. The opening credits sequence is also significant, with the images placing DAYS OF HEAVEN, and its events, in an historical perspective for the viewer, thereby adding another layer of authenticity to the film.

Notable Acting Performances: Richard Gere, Brooke Adams, Sam Shepard, Linda Manz, Robert Wilke.

Suitability for young viewers: Parental guidance advised. Adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer

HOOSIERS (1986)

Title: HOOSIERS

Year of Release: 1986

Director: David Anspaugh

Genre: Drama, Sport

Synopsis: A man comes to Indiana to coach the town's basketball team, and finds resistance at first, but support arrives from some highly unlikely quarters.

Within a film history context: Several films with a basketball coach as their main character have been present in cinema since the 1920s. Sam Wood's silent THE FAIR CO-ED (1927), had the male coach of an all-female college basketball team being pursued by two of its players in this early comedy. Into the sound era, BIG TOWN SCANDAL (1948), directed by William Thomas, featured the editor of a publishing company assisting juvenile delinquents in setting up a basketball center for them, with him as coach in this crime movie. The basketball coach in Jack Nicholson's DRIVE, HE SAID (1971), was a testy man fully committed to winning the game, but had to contend with a number of wayward players in this drama. THE LAST PICTURE SHOW (1971), directed by Peter Bogdanovich, had a coarse coach who it was intimated played both sides of the field with one of the members of his basketball team, whilst being emotionally distant from his wife. 

Melville Shavelson's MIXED COMPANY (1974), followed the life of a basketball coach whose wife wants more children, but his inability in this arena puts a stop to this. She suggests adoption, a notion with which he is not comfortable, especially as she wants to adopt a black boy, a Vietnamese girl, and a Native American boy. ONE ON ONE (1977), directed by Lamont Johnson, was about a young basketball player who wins a college scholarship in Los Angeles, but must contend with a disagreeable coach, and associated academic difficulties in this sports film. Jack Smight's FAST BREAK (1979), focused upon a basketball aficionado who is offered a coaching position at a college, and brings together a motley crew of players to make a winning team. THAT CHAMPIONSHIP SEASON (1982), directed by Jason Miller, featured an aging basketball coach reuniting with his players, but the initial happy spirit of the event goes in another direction as their respective personalities clash. HOOSIERS was the best film about a basketball coach in its time.

In HOOSIERS, the male basketball coach was the central character, motivating all the action in the film. This was also present in MIXED COMPANY, FAST BREAK, and, to a lesser degree, THAT CHAMPIONSHIP SEASON. It was from the coach that passions, arguments, debates, and other events emanated. Their belief in the game, though, was more pronounced in the coaches from FAST BREAK and HOOSIERS than the other examples. These films were given over to extensive basketball game footage, and background information about both the coach, and his team members, which gave depth to the movies. HOOSIERS differed from FAST BREAK in that it was set in the 1950s, and was not contemporary of its era, as the latter was from the late 1970s. HOOSIERS was more of an inspirational narrative than FAST BREAK, where the coach assisted his team to reach the heights, and which he himself achieved. In contrast, FAST BREAK had a leaning towards comedy, with some dramatic moments interspersed. 

There are some other notable differences between FAST BREAK and HOOSIERS. The coach in HOOSIERS was instrumental in changing perceptions of the sport in the small town where he was coaching the players. There was a subtle inference to small town belief systems which take a tumble through the coach's methods for success. All-out antagonism was not displayed toward the coach, but a coming to grips for the townspeople of something new to them. While other examples such as THE FAIR CO-ED, DRIVE, HE SAID, and THE LAST PICTURE SHOW, had well-drawn interpretations of coaches, the characters in these movies took a back seat to HOOSIERS in the coverage the coach receives. One gets to know coach Norman Dale in detail in HOOSIERS, and what makes him tick. His interest in the opposite sex is treated in a naturalistic manner, with the union of two people who have a passion for basketball not forced in its execution. The best portrait of a basketball coach, HOOSIERS deserves credit for creating a three-dimensional character in this respect.

Overview: David Anspaugh is an American director with seven motion pictures to his credit. These are mostly dramas, with several sporting-themed movies amongst this group. Mr Anspaugh's second film, FRESH HORSES (1988), was about a university student who falls for a young Kentucky woman he meets one day, despite being already engaged. This young woman has a few surprises of her own in store for the man in this drama romance. RUDY (1993), was a biopic of real-life American football player Daniel Ruttinger, better known as Rudy, and his aspirations to play college football despite many setbacks in his professional life. MOONLIGHT AND VALENTINO (1995), was a romance of a recently widowed woman, and how several close female confidants support her at this critical moment in her life. The woman finds a new lease on life in the form of a housepainter whose attentions prove positive to her. 

Crime was the central element which pervaded WISEGIRLS (2002). When a former medical student starts waitressing at a New York Italian restaurant, she is plunged into a world of narcotics and dirty dealings in this suspense drama. THE GAME OF THEIR LIVES (2005), was another sports film outing for David Anspaugh. A tale of an American soccer team competing against England, and winning in the 1950 FIFA World Cup, it was, unfortunately, a heavy loss maker for its production company. Mr Anspaugh's last film to date, LITTLE RED WAGON (2012), was the inspirational story of a young boy whose work for homeless children resulted in the creation of a charity for support in this area. HOOSIERS marked David Anspaugh's film debut, and is his best movie.

With HOOSIERS, David Anspaugh has crafted an excellent motion picture. Taking as its focus a basketball coach assigned to train an Indiana team for the state championship, and the challenges he faces in his mission to make them winners, it is a beautifully made movie that compels from start to finish. David Anspaugh has achieved this in the following manner. The flow of events is seamless, teamed with a story which only offers emotional nourishment and satisfaction without being either saccharine, or gimmicky. Mr Anspaugh has succeeded in bringing his movie to life by providing it both an air of reality but also, making the viewer invest time and feeling in what is taking place onscreen. It lacks that obvious commercially driven aura which stigmatized many 1980s films, and is all the better for it. It does not have its eyes firmly planted only on the box office, but has the ability to tell an affecting story in a highly sensitive way. As David Anspaugh's greatest movie, and one of the best films of the 1980s, HOOSIERS is a winner. 

Acting: There are a number of performances in HOOSIERS which are exceptional. In the lead role of Norman Dale, coach of the basketball team, Gene Hackman is in one of his most sympathetic parts. While Mr Hackman usually plays protagonists who one would expect to explode emotionally, but keeps a veneer of uneasy calm, here he has that, but also, a slight vulnerability, and comic timing that is unforeseen. The thorn in Norman Dale's side, schoolteacher Myra Fleener, is a great showcase for Barbara Hershey. An actress highly adept at complex, multidimensional characters in her pictures, she carries this off beautifully in HOOSIERS, compelling the viewer with Myra's psychological twists and turns. Myra's mother, Opal, is a nice turn by Fern Persons. With her knowing ways and innate knowledge of her daughter's inner thoughts, Miss Persons' Opal is a subtle, lightly humorous portrayal which delights. The last acting of note was by Dennis Hopper as Shooter, a former basketball coach with psychological issues. As always, Mr Hopper makes his character's thoughts and actions thoroughly understandable to the audience, with his inimitable nerviness, and lack of inhibitions, which also lend his Shooter a fun edge.

Soundtrack: Jerry Goldsmith's score for HOOSIERS is perfect. Rousing during the many basketball sequences, and quieter in the character verbal exchanges, it works beautifully, considerably enhancing the visuals. It is also interesting to note that in the opening credits sequence the score is more romantic and solemn than in the closing credits, which is bolder in tone, matching the positive outcome of the story, and its inspirational focus.

Mise-en-scene: Visually, HOOSIERS has much going in its favour. The CFI colour photography by Fred Murphy has a muted but realistic flavour, which works for a movie that, although set in the 1950s, does not require screaming colour, as nostalgia is not the point of the enterprise, but raw human emotion and determination. Locations are all excellent, with the many outdoor scenes bringing the story of 1951 Indiana, Norman Dale and his basketball team, to vivid life. In turn, Carroll O'Meara's editing is smooth, with the exciting basketball segments assembled with style and nous. Additionally, his work on the character scenes are all satisfying and logical without ever being choppy. 

Notable Acting Performances: Gene Hackman, Barbara Hershey, Fern Persons, Dennis Hopper.

Suitability for young viewers: Yes.

Overall Grade: A

Link: IMDB Page

Trailer

CACTUS IN THE SNOW (1971)

Title: CACTUS IN THE SNOW

Year of Release: 1971

Director: A. Martin Zweiback

Genre: Drama, Romance

Synopsis: A soldier on leave from Vietnam falls in love with an offbeat young woman, but his return to duty may just change their lives forever.

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, 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. He helped 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 in 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. 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 second film with 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, and finding this demanding to deliver. 

In complete contrast, 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. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in assimilating back into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, sported a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. CACTUS IN THE SNOW was quite unlike any of the afore-mentioned movies about Vietnam veterans, for a number of reasons.

The vast majority of films in this category dealt in detail with the emotional scars that Vietnam veterans faced in moving back to their lives after their tour of duty. THE BORN LOSERS, CAPTAIN MILKSHAKE, WELCOME HOME SOLDIER BOYS, and JUD, were some of the best examples of this. They tended to shy away from very explicit violence, and spectacular set pieces of carnage. WELCOME HOME SOLDIER BOYS was the most overt in this arena, but even this did not linger too long on grisly physical details. MOTORPSYCHO!, THE RAVAGER, and ANGELS FROM HELL were opposite in orientation, with THE RAVAGER the most strident in its violence quotient. In comparison to these, CACTUS IN THE SNOW stood out for its slower pace, peek into the psyche of its protagonist, and his blooming relationship with a young woman. Romance in the above examples tended not to be a feature of the narrative, with women flitting in an out of the story in WELCOME HOME SOLDIER BOYS and JUD. 

There was a definite mood of misogyny which infused THE RAVAGER, and emasculation of male characters, for the lead to have unfettered access to vulnerable females. None of this was in evidence in CACTUS IN THE SNOW, but a hopeful, inspirational tone to the picture. Harley in the movie does not appear to have deep psychological scars, but a need for companionship during his leave. The charting of Harley's love for Cissy is touching to witness, as is her mutual affection for him. It is one of the softest of the films about Vietnam veterans, but that is not to say it does not leave an impression on viewers. The final sequence leaves spectators with a sense of pathos at how events have transpired for the two main characters, without being maudlin. A beautiful look at love, and the role of war in this, CACTUS IN THE SNOW is an edifying motion picture, and a change of pace for Vietnam veteran-themed movies.

Overview: A. Martin Zweiback was an American director with only one movie in his filmography, being CACTUS IN THE SNOW. He was more active as a writer on several pictures such as THE MAD ROOM, GORP, GRACE QUIGLEY, and ME, NATALIE, including CACTUS IN THE SNOW, and on television. As CACTUS IN THE SNOW was his sole foray into feature films, the review will concentrate on Mr Sweiback's contribution to the movie.

With CACTUS IN THE SNOW, A. Martin Zweiback has made a touching, memorable movie that depicts a different view of Vietnam from what was generally shown in cinema at the time. Many movies in this era were of Vietnam veterans grappling with their return to society, culminating in violent climaxes. CACTUS IN THE SNOW, however, is at the opposite end of the spectrum in this sphere. It is the story of a soldier, Harley, on leave from Vietnam, and his blossoming relationship with Cissy, a spirited young woman. The director has succeeded in bringing this bittersweet, screwy love story to life, but this is not to say that it is a saccharine enterprise with little depth. 

In the early parts of the picture, it appears that this is just a story concerned with discussions of sex, initially stamping CACTUS IN THE SNOW as being an exploitation movie. Thankfully, this threadbare discussion gives way to the affecting two-character structure which compels for the remainder of the film. The unraveling of the love story between these two likable protagonists is the strength of CACTUS IN THE SNOW, and witnessing the to and fro in their fractured, but appealing tale, makes this a winner. While the movie is not for those who crave fast and furious in their storytelling, the subtlety of CACTUS IN THE SNOW is in its intricate, quiet foundation, and character-driven nature. A movie which deserves much more acclaim than it has received over the years, CACTUS IN THE SNOW is a revealing slice of life, and a testament to its director.

Acting: Three thespians dominate CACTUS IN THE SNOW with their incisive portrayals. As soldier Harley MacIntosh, on leave from Vietnam, Richard Thomas is in one of his best early acting performances. A likeable actor with a soothing charm, he is convincing as a young man caught up in a predicament for which he is unprepared, but warms to this as time passes. The object of his longing, Cissy, is a great role for Mary Layne. Her ease with both comedy, and drama more than evident, Miss Layne brings forth a pathos, and zaniness, which perfectly complements Richard Thomas, and makes their pairing work. The final acting contribution to be discussed is that by Dennis Fimple as Mr Murray, proprietor of the carousel which Harley and Cissy visit. Only onscreen in a handful of scenes, nevertheless, Mr Fimple makes an impact with his appearance, making one wish that his role was lengthened further in the movie.

Soundtrack: Joe Parnello's music nicely functions in the background in CACTUS IN THE SNOW without being overpowering. It adds to the pensive, thoughtful, lightly humorous atmosphere for which the film strives, and succeeds in its objective.

Mise-en-scene: The dreamy nature of CACTUS IN THE SNOW is deftly personified by its visual sense. David Walsh's photography is soft and lovely to witness, giving the movie a unique look and aura. Location filming is another plus, with the streetscapes, beach scenes, and roads all attractive to the eyes. Interiors such as Cissy's family home are also pleasing, the style of decor surprisingly holding up well, and not dated in appearance for a movie made in the 1970s. The inclusion of the carousel ride which Harley and Cissy frequent is a pivotal set piece of the story, and is indicative of the romantic, delicate orientation of CACTUS IN THE SNOW.

Notable Acting Performances: Richard Thomas, Mary Layne, Dennis Fimple.

Suitability for young viewers: Parental guidance advised. Adult themes.

Overall Grade: B

Link: IMDB Page

ALICE'S RESTAURANT (1969)

Title: ALICE'S RESTAURANT

Year of Release: 1969

Director: Arthur Penn

Genre: Comedy, Drama

Synopsis: The story of musician Arlo Guthrie, who among his activities tries to avoid the draft for Vietnam, sings, roams the countryside, and falls in with the crowd of Alice's restaurant in Massachusetts. 

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was the confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies it had a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating. It led to a sequel in 1970 being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. Also raucous was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. 

SKIDOO (1968), directed by Otto Preminger, was a comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, but not a financial success in its original release. Bob Rafelson's HEAD (1968), was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a young deaf woman looking for her brother in San Francisco, and how through this odyssey she encounters wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. ALICE'S RESTAURANT had that quirky sensibility which infused many of the above films, but added its own touches to the counterculture movies.

As with most of the films in this category, ALICE'S RESTAURANT had a central male protagonist, expressing his views on life, and tubthumping authority whenever possible. THE TRIP, GREETINGS, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS are prime examples of this. These are story worlds where anything can happen, with sometimes outrageous incidents highlighted. This was marked more in the latter three movies, which are all comedic in intention. Where ALICE'S RESTAURANT diverted was that Arlo was a folk singer, whereas in the other movies, their occupations were different. The closest film to ALICE'S RESTAURANT in terms of this was WILD IN THE STREETS, with its rock star becoming president, but that film was geared towards satire, and overt comedy. ALICE'S RESTAURANT, by no means a drama, had comic interludes, but did not send up its characters mercilessly, as exemplified by WILD IN THE STREETS. 

There was a quietness, and a subtlety in ALICE'S RESTAURANT, with the lead going through the mill of draft dodging, and hot and heavy relationships with various women. This was contrasted with the single-mindedness of Max in WILD IN THE STREETS, and how he did anything to progress, even if other people were hurt. A free love mentality, though, was present in both WILD IN THE STREETS and ALICE'S RESTAURANT. It was all about the journey for the free-floating Arlo, rather than the rampant sexuality of the egomaniacal Max Frost. This gave ALICE'S RESTAURANT a thoughtful background which was in keeping with the time of its release. Another interpretation of a counterculture character, ALICE'S RESTAURANT is a beguiling account in this respect.

Overview: Arthur Penn was an American film director from 1958 until 1995, helming thirteen motion pictures. His works were predominately dramas, with action, biopics, crime, and thrillers among his output. Mr Penn's first movie, THE LEFT HANDED GUN (1958), followed Billy the Kid as he avenged the killing of his friend by murdering those involved in this crime, but his actions will affect the lives of his close associates. Next came one of Arthur Penn's most notable movies, THE MIRACLE WORKER (1961). The relationship of blind and deaf Helen Keller with her companion, Anne Sullivan, was brought to the screen in a full-blooded biopic, winning Oscars for both Patty Duke as the young Helen, and Anne Bancroft as Anne. Crime drama MICKEY ONE (1965), was about a stand-up comic who finds himself at odds with the Mob, appropriating the identity of another man, and continuing his comic act. In the compelling melodrama THE CHASE (1966), a young man returns to his Texas hometown after escaping from jail, and the effect of his presence is keenly felt on the townspeople. One of Arthur Penn's most celebrated movies came in the form of BONNIE AND CLYDE (1967). Charting the criminal escapades of Bonnie Parker and Clyde Barrow in the 1930s, with its all-out presentation of violence, and courage of its convictions, this biopic made a definite statement at the box office, where it was one of the year's most successful films. The 1970s brought Arthur Penn further interesting pictures.

LITTLE BIG MAN (1970), told the tale of a supercentenarian man who reminisces about his life from childhood, when he was taken in and raised by American Indians, dealings with General Custer, and other events in this western. Crime again made its mark in NIGHT MOVES (1975). When a private investigator is assigned by an actress to find her missing daughter, he uncovers a lot more than first expected in this modern noir drama. One of Arthur Penn's least successful outings was THE MISSOURI BREAKS (1976). A horse thief comes up against a determined rancher, who, with the assistance of another man, seeks to halt the stealing of horses in a very permanent way. Critically derided, with a low box office take in its era, time, though, has been somewhat kinder to this western. Into the 1980s, the underrated FOUR FRIENDS (1981), surveyed the lives of several characters from the tumultuous 1960s until the early 1980s. Despite good notices from critics, it lost money for its studio. TARGET (1985), mined thriller territory, this time, a woman holidaying in Europe parts with her tour group, this arousing the suspicion of her husband and son, who seek to find her. DEAD OF WINTER (1987), was a venture into horror for Mr Penn. An actress tries to help the financial situation of herself and husband by taking on an acting role, but this is just the start of her problems. Athur Penn's last movie was PENN & TENNER GET KILLED (1989). The exploits of a comic duo made up the content of this black comedy, but it was not a fitting final tribute to the director. ALICE'S RESTAURANT was Arthur Penn's seventh film, but not one of his best efforts.

In the case of ALICE'S RESTAURANT, Arthur Penn has made a passable movie with some edifying passages. Taking as its focus a folk singer who tries to avoid being drafted for Vietnam, and his eventual move to friends in Massachusetts, who live in a deconsecrated church, it is an interesting, if flawed picture. Admittedly, there is a certain charm to the proceedings, and the way in which events occur in a random order, but the storytelling, and style of presentation, has not stood the test of time. It may have been relevant at the time of its release for its notions of the counterculture, and beliefs about the Vietnam War, but in retrospect, has not dated well. The to and fro of the narrative does become grating when watching the movie, as one wants something more concrete in terms of an emotional experience, but it rarely happens. Aside from this, the majority of the action actually takes place away from Alice's restaurant, thus skewing the effectiveness of the title. While the title was utilized to capitalize upon the song of the same name, that is the extent of its function. This is not the be all and end all of matters, but does misinform viewers as to the setting of the film. A picture which tries to be irreverent and current but is now mainly of historical interest, ALICE'S RESTAURANT is a chaotic movie from Arthur Penn.

Acting: There are four acting performances which are striking in ALICE'S RESTAURANT. In the lead role, musician Arlo Guthrie has a natural, relaxed presence which works well with the unconventional feel of the movie. As the eponymous Alice, Patricia Quinn adds realism, spunk, and fire to the picture, making her a flesh and blood figure to whom the audience can relate. In contrast, Alice's intriguing husband, Ray, is a dashing turn by James Broderick. With his appealing swagger but also, quiet moments, Mr Broderick is a distinctive personality who adds depth to the proceedings. The last acting of note was by Michael McClanathan as Shelly, Arlo's sensitive friend. In many instances, Mr McClanathan does not have to say a single word for the viewer to comprehend his feelings, and this makes him another unique persona among the others in ALICE'S RESTAURANT.

Soundtrack: ALICE'S RESTAURANT has a pleasing soundtrack, mainly consisting of songs performed diegetically by Arlo Guthrie, but also, with non-diegetic music sprinkled throughout the movie. It is interesting how the opening credits eschew music, instead offering a sound byte of the draft sequence. The closing credits are entirely converse, with an introspective tune played which continues nicely from the end scene of Alice staring into the yonder. This leaves the movie on a solemn but bittersweet note, and is one of the best moments of ALICE'S RESTAURANT.

Mise-en-scene: ALICE'S RESTAURANT has much going for it in terms of offering viewers a convincing visual experience. Michael Nebbia's cinematography is subtle, not emphasizing colour to a great degree, but with an unforced flair which is symptomatic of the picture as a whole. There are quite a few outdoor sequences in the movie, and these all add to the sense of realism which ALICE'S RESTAURANT stives for in its presentation. Production design by Warren Clymer, and John Mortensen's set decoration, create a fantastical world which the characters inhabit, with Alice's restaurant itself being warm and inviting, and the deconsecrated church two key examples of their expertise. 

Notable Acting Performances: Arlo Guthrie, Patricia Quinn, James Broderick, Michael McClanathan.

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

Overall Grade: C

Link: IMDB Page

Trailer