STAY HUNGRY (1976)

Title: STAY HUNGRY 

Year of Release: 1976

Director: Bob Rafelson

Genre: Comedy, Drama, Sport

Synopsis: A young heir to an Alabama family fortune purchases a gymnasium business, but has to contend with dirty business dealings alongside this.

Within a film history context: Movies about bodybuilding have not been a common sight in cinema before STAY HUNGRY. One of the very first movies showing a bodybuilder is William Dickson's ultra short, non-narrative film SANDOW (1896). Featuring British bodybuilder Eugen Sandow in a variety of poses, it was the earliest documented film about this subject. There were quite a few short international movies in this documentary vein over the intervening years, with real-life weightlifters showing their moves on camera. On the other hand, GENTLEMEN PREFER BLONDES (1953), directed by Howard Hawks, was about two showgirls traveling to Paris. There was a musical scene with Jane Russell and some bodybuilders, but that was the extent of their appearances in the picture.  Richard Thorpe's ATHENA (1954), was also a comedy musical about a staid lawyer entering a family of health and wellness enthusiasts, with scenes of bodybuilders being trained by the grandfather of a young woman for the Mr. Universe contest. What emerged after this period in cinema, though, were the sword and sandal pictures, generally with a muscleman lead character, set in biblical times. 

While these had been in existence from the earliest days of cinema, their presence was more pronounced from the 1950s onwards. Many of these were shot in Italy, with titles such as the HERCULES and GOLIATH series of films from the late 1950s until the mid-1960s. These generally starred American bodybuilder actors, with Steve Reeves, Mark Forest, Gordon Scott, and Dan Vadis, to name a few performers. In contrast, with MUSCLE BEACH PARTY (1964), directed by William Asher, a group of beach goers find that their beach has been taken over by bodybuilders and their manager, and seek to correct this. Again, there is plenty of muscle flexing to go around in this comedy. John Erman's MAKING IT (1971), was very different in this respect. It presented a bodybuilding gym teacher who had more than a thing or two to teach the main character, a promiscuous high schooler. ALL ABOUT ALICE (1972), directed by Ray Harrison, was an exploitation take-off on ALL ABOUT EVE. Here, the bodybuilder character carries on affairs with two women, who are played by men, and spends the majority of his screentime bereft of any clothing. STAY HUNGRY was the one film where bodybuilders were given greater screentime, especially in the case of one character.

The majority of examples released prior to STAY HUNGRY utilized bodybuilders in a more decorative sense, without being standalone characters. GENTLEMEN PREFER BLONDES, ATHENA, and MUSCLE BEACH PARTY are prime samples of this. The Hercules, Goliath, and associated movies spotlighted a muscleman protagonist, but these were along the lines of biblical epics with little insight into the particular character. MAKING IT, on the other hand, featured a meaty scene where the bodybuilding gym teacher exacts revenge upon the student who had an affair with his wife. ALL ABOUT ALICE had a bodybuilder in a state of near-total undress, but without a real personal life, in this transvestite-themed picture. STAY HUNGRY was different from the others, as its bodybuilder character, Joe Santo, was able to express his thoughts on life, which provided the necessary depth, and background, to him. While Joe flexed and posed his way in the movie, his function was more than that, giving a human touch to someone who could have been a two-dimensional he-man. He had relationships with others in the film which gave him a place in the movie. In the last stretches, the other bodybuilder characters did have a purpose aside from the decorative, but, overall, Joe Santo was in complete contrast to this. An interesting take on bodybuilding, STAY HUNGRY brought forward a more thorough view of this sport than previous entries on the topic.

Overview: Bob Rafelson was an American director of ten motion pictures, also contributing a short segment to an eleventh. His movies ranged from comedy, drama, to suspense, covering a wide spectrum of genres. Mr Rafelson's film debut was HEAD (1968), the movie spin-off of the comedy television series The Monkees, featuring the eponymous singing group caught in zany situations. Although the picture was not successful financially, it led to greater things for Mr Rafelson. Bob Rafelson's next film, FIVE EASY PIECES (1970), charted the life of a footloose construction worker who, in fact, was a talented pianist. With Jack Nicholson in the lead role, it was an enlightening viewing experience which was warmly received not only critically, but also, at the box office, and won many awards. THE KING OF MARVIN GARDENS (1972), was Bob Rafelson's third picture. An introspective study of two brothers, polar opposites in nature, and their dealings with women and life, it was largely unappreciated in its time, but now stands as one of the director's most haunting works. With Jack Nicholson, and Bruce Dern as the brothers, it was a strong film. Into the 1980s came THE POSTMAN ALWAYS RINGS TWICE (1981). A remake of Tay Garnett's 1946 version of the same name, it contained sexual content which the original version did not include due to the Hays' Code. Starring Jack Nicholson, it was a solid success at the box office. Suspense indelibly marked BLACK WIDOW (1987). A spider woman who marries men only to dispatch them for their money, and the female investigator seeking to bring her to justice, was a showcase for Theresa Russell as the femme fatale, and Debra Winger as the woman hot on her trail. 

Next came one of Bob Rafelson's most prestigious movies, MOUNTAINS OF THE MOON (1990). The story of British explorers Richard Francis Burton and John Hanning Speke's expedition in Africa, in all its difficulty, was brought to the screen with immediacy and precision, but, unfortunately, without commercial success. Comedy was next on the agenda for Mr Rafelson with MAN TROUBLE (1992). Reuniting the director with Jack Nicholson, it was about a guard dog company head who becomes involved with a woman under threat by mysterious criminals. Alas, this also did not make money for its studio. Mr Rafelson also contributed a segment entitled 'Wet', to the 1996 TALES OF EROTICA, which was about an affair between a hot tub salesman, and a seductive woman. BLOOD AND WINE (1996), was another foray into suspense territory for Bob Rafelson, again with Jack Nicholson in the lead. A scheming wine seller short on cash, and high in debt, plots to steal a necklace to allay his financial issues, but things spin out of control for him. The director's final theatrical film was NO GOOD DEED (2002). When a police detective falls into a robbery, he is taken hostage, but his connection to a woman who is part of this syndicate complicates matters to no end. STAY HUNGRY was Bob Rafelson's fourth movie, and one of his most solid works.

With STAY HUNGRY, Bob Rafelson has crafted an entertaining, spirited picture. Taking as its focus a young man who purchases a gymnasium, but gets in over his head with associated matters related to this deal, it is a fun movie experience. In directing this film, Mr Rafelson has succeeded in fashioning a picture which deftly combines drama, and, in particular, comic elements with ease, but the fusion of these is never jarring. Transitions from scene to scene are seamless, ensuring a rollicking ride for the spectator. There is pathos in the movie which can be discerned, but it is never morose or overbearing. It emanates from the characters, especially Craig, and STAY HUNGRY nicely captures his journey, and what he, and the audience, have learned in the interim. Several of Bob Rafelson's films have comic touches interspersed with high drama, such as HEAD, FIVE EASY PIECES, THE KING OF MARVIN GARDENS, and MAN TROUBLE, but in STAY HUNGRY, these segments greatly suit the overall mood of the piece. Sequences such as Craig dancing to country music, and the bodybuilders leaving the contest, and spilling out into the street, are nice flourishes which create a sense of je ne sais quoi in their execution. A diverting excursion into the zany, but plausible, STAY HUNGRY is a pleasure to watch.

Acting: STAY HUNGRY has a number of notable performances. As Craig Blake, the young man who buys a gym, only to fall into unforeseen trouble with his venture, Jeff Bridges adds another great interpretation to his repertoire. While Mr Bridges excels in drama, he has a marvelous penchant for the comic, with his dancing scene one of the funniest sequences in a 1970s movie, for that matter, in all of cinema. Craig's ladylove, the dynamic Mary Tate Farnsworth, is a fun turn by Sally Field. Well-matched with Jeff Bridges, their union more than cuts the mustard, with the combination of comic, and serious moments, working well. Strong but quiet bodybuilder Joe Santo is made memorable by Arnold Schwarzenegger. With his low but commanding voice and unique presence, Mr Schwarzenegger makes Joe a sympathetic presence in STAY HUNGRY. Franklin, a worker at the gym, is a showy role for Robert Englund. With his jovial, fast-talking ways always making him an enjoyable personality on film, here he does it again with a small, but palpable appearance. As Amy, Craig's aunt, Fannie Flagg brings pizazz and style to the film with her cameo. With her relaxed manner, and personable demeanour, Miss Flagg adds a touch of glamour to the film. 

Soundtrack: STAY HUNGRY has a spare use of music which serves it well. The soundtrack, composed by Byron Berline and Bruce Langhorne, is graceful and serene, with the opening credits accompanied by a scene in the forest, thereby lending it a lyrical feel. The closing credits are contrary, with the jolly banjo tune played over images of all the movie's players, putting the madcap feel of the picture into perspective. There are certain uses of incidental music, such as the water-skiing sequence, where Craig and Joe jog near the bridge, and when the bodybuilders are on the street, which work with the onscreen action, emphasizing either the wackiness occurring, or the quieter moments. One of the best uses of diegetic music in the film, though, is the dancing scene with Craig being swept up by the banjo rhythms. The music adds to the uninhibited mood of the sequence, and is easy to see why Craig reacts in this way to this enchanting piece.

Mise-en-scene: Visually, STAY HUNGRY is just right. Victor Kemper's photography nicely captures the action, with the outdoor scenes particularly noteworthy for enhancing the beauty of the forest depicted. Production design by Toby Carr Rafelson clearly differentiates between the key locations in the movie. The lush Blake family home, with its aura of comfort and ease, the gym building, with its front desk, and gymnasium room replete with equipment, and Amy's splashy home, are pleasing to the eye, and realistic, also courtesy of set decorator Robert Gould. Costuming by Nancy McArdle, and G. Tony Scarano, is naturalistic. Two examples are the wardrobe worn by Jeff Bridges, which is well-tailored, and Fannie Flagg's dress in the party sequence, which is refined, and flattering. 

Notable Acting Performances: Jeff Bridges, Sally Field, Arnold Schwarzenegger, Robert Englund, Fannie Flagg.

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

Overall Grade: B

Link: IMDB Page

Trailer

ROLLER BOOGIE (1979)

Title: ROLLER BOOGIE

Year of Release: 1979

Director: Mark L. Lester

Genre: Drama, Comedy, Sport

Synopsis: A young upper-class woman with a love for skating falls for an ambitious working-class skater, teaming up with friends to save their favourite roller-skating venue from closure.

Within a film history context: Roller disco was a short-lived fad of the late 1970s which grew out of disco, which was all the rage at the time. As a film genre, it was similarly ephemeral, with a handful of movies devoted to the topic. One of the first to deal with roller disco was J. Robert Wagoner's DISCO GODFATHER (1979). In this movie, a crime and action drama, a retired policeman owns a disco, and does his best to put drug dealers in their place. SKATETOWN U.S.A. (1979), directed by William A. Levey, was about the rivalry between two young men for a cash prize in a roller disco competition. Robert Greenwald's XANADU (1980), came at the tail end of the roller disco craze. A musical fantasy concerning an artist, and his love for a sprightly young woman, featured numerous roller disco set pieces throughout its running time. ROLLER BOOGIE was released in 1979, at the height of roller disco, and was one of the most financially successful films in the cycle.

As with the latter two examples, ROLLER BOOGIE was entirely consumed with roller disco skating as a subject. In terms of locations, SKATETOWN U.S.A. was more restricted in this sense than ROLLER BOOGIE and XANADU. It took place almost fully inside a roller disco alley, with some forays into outdoor spaces. ROLLER BOOGIE was more fluid in this arena, due to its story of a young roller skater, her family life, and skating not only beachside but also, in the roller-skating alley. SKATETOWN U.S.A.'s story was contained by its story, being the competition between two young skaters for a money prize. One is not exposed to their family lives as such, even though there are small insights into their lives prior to being in the roller-skating alley. In addition, the humor in ROLLER BOOGIE is far less contrived than the antics in SKATETOWN U.S.A. They emerge out of pre-existing situations and characters, rather than being concocted for momentary amusement. Where ROLLER BOOGIE and SKATETOWN U.S.A. find common ground is in the many skating sequences they showcase. These set pieces are handled well in each movie, with glittery visuals offering the requisite visual eye candy for viewers. Aside from this, romance is one of the main features of ROLLER BOOGIE which runs throughout the film. SKATETOWN U.S.A. has more subtle instances of this, preferring to concentrate on the music, musical acts, and skating scenes more than romance. A sound example of a roller-skating disco movie, ROLLER BOOGIE is a charming picture.

Overview: Mark L. Lester is an American film director who has made twenty-seven films thus far from 1973 to 2014, with one upcoming project. His output is a selection of dramas, action, comedy, adventure, and crime among others. Mr Lester's first movie, STEEL ARENA (1973), was the story of a race car driver, and how his penchant for death-defying stunts may get him into serious trouble. Action was again in the cards in TRUCK STOP WOMEN (1974). A mother and daughter running a bordello go up against gangsters who are trying to take over their outfit. WHITE HOUSE MADNESS (1975), was a satire about the administration of Richard Nixon, and how everything that could go wrong, did, in this comedy. One of Mark Lester's notable first efforts came in the form of BOBBIE JO AND THE OUTLAW (1976). The tale of a young country singer, and her entanglement with a criminal, culminating in several crimes, was a breakout role for Lynda Carter as the eponymous Bobbie Jo. Suspense, on the other hand, permeated STUNTS (1977). The mystery of what really happened on a movie shoot, with a stuntman dying, is investigated by the man's brother, who assumes his sibling's place in the production. Into the 1980s, Mark Lester made varied motion pictures.

CLASS OF 1984 (1982), was the story of a teacher arriving at a high school, and encountering nothing but problems from its controlling, hardcore gang of violent students, who make his life sheer hell. Mark Lester then made a foray into science fiction with FIRESTARTER (1984). A young girl with pyrotechnic abilities is sought after by a government agency, who take a great interest in her gifts for specific reasons. One of Mr Lester's highest grossing films was action blockbuster COMMANDO (1985). When the daughter of an army colonel is kidnapped by archcriminals, he determines to find her, no matter what the consequences. ARMED AND DANGEROUS (1986), was a move into comedy for Mark Lester. A former policeman and a lawyer make career changes into security, and inadvertently becomes mixed up in shady business, but discover corruption in their company, and aim to investigate this. The 1990s were also a time of filmic activity for Mark Lester, with action high on his agenda.

CLASS OF 1999 (1990), was a sequel to the director's own CLASS OF 1984. This time around, violence again has been rearing its ugly head in American high schools. A new school principal tries to reinstate order, enlisting the assistance of robots in his mission, but things take a sinister turn in this science fiction movie. In SHOWDOWN IN LITTLE TOYKO (1991), two policemen with a penchant for martial arts team up to protect a witness against Japanese organized crime, but are confronted by hard facts in this action vehicle. NIGHT OF THE RUNNING MAN (1995), once again mined action territory. A taxi driver comes into a large amount of money, which is from the Mafia. and a hitman pursues him tenaciously to retrieve the cash. THE EX (1996), featured a psychopathic young woman who would do anything to return to her ex-husband, resorting to murder to accomplish her goal. Another movie from Mark Lester with a sociopath protagonist was MISBEGOTTEN (1997). A warped man seeks to have a child by artificial insemination, becoming a father, but then turns the life of the woman mothering his child, and her husband, upside down. 

Into the 2000s and beyond, Mark Lester made similar films with action/adventure/crime themes. In the case of BLOWBACK (2000), a series of murders occur in the style of a dead criminal, but this casts doubts as to whether he really is deceased, and actually has a hand in these crimes. In BETRAYAL (2003), a hitwoman ends up with a large amount of money from a job which has gone awry, and runs away to avoid being taken down by a mob boss for the cash. STEALING CANDY (2003), was about three former criminals who kidnap an actress to perform a pay per view pornographic film, but things are murkier than first envisioned in this thriller. GROUPIE (2010), detailed how a groupie joins a rock band, with a series of murders taking place after his arrival. With horror movie POSEIDON REX (2013), the search for treasure close to the island of Belize reawakens a dormant predator which causes torment aplenty. DRAGONS OF CAMELOT (2014), Mr Lester's last movie to date, was a tale of Camelot, and his evil sister Morgan, in her quest to rid herself of the Knights of the Round Table. ROLLER BOOGIE was Mark Lester's sixth film, and one of his most entertaining efforts.

Mark Lester has delivered a humorous and diverting movie with ROLLER BOOGIE. The story of a young upper-class woman seeking fame as a roller skater, and her involvement with a fellow skater from the working class, it is a fun motion picture. Admittedly, the film is light and frothy, aiming to please the audience in its bold, unashamed manner. It does not aspire to be high art, but seeks to be a pleasant time-passer, which is a positive quality. ROLLER BOOGIE knows exactly to whom it is aimed, being teenagers and their families, and does not beat around the bush in this respect. The film builds slowly but surely, and has a number of well-orchestrated sequences which raise it above other films in the roller-skating genre. The humor is actually funny, and there are no messy slapstick segments which seem forced. The tone is happy, but not overly empty-headed. For all its good features, there are a number of flaws which do not assist ROLLER BOOGIE in its intentions.

It is pleasing to witness the presence of skater Terry's mother and father in the film, especially as matters come full circle for the family at the end, but their importance in the narrative has been undercut by the satirical nature of their presentation. Showing them as caricatures in the initial stages of the movie is disappointing, as they could have been given much more deserved depth. Additionally, Franklin is a zany, accident-prone, upper-class preppy character, but it would have been great to find out more about him, and why he wants Terry so. Again, giving greater coverage to these characters would have added much needed zing to the final product. ROLLER BOOGIE also has a pleasing array of supporting characters who make their presence felt. As with others in this ilk, giving characters such as Hoppy, Gordo, and, above all, Jammer, more airtime, would have added further to the movie. Alas, there is only so much time that can be expended on peripheral characters, which is symptomatic of many pictures. In the final analysis, though, ROLLER BOOGIE is a proficient roller-skating film, and an enjoyable outing from Mark L. Lester.

Acting: There are distinctive performances in ROLLER BOOGIE which give the movie life and verve. As Terry Barkley, the young woman who yearns for more out of her upper-class existence, and finds this in roller skating, is a nice turn by Linda Blair. Her transition from a bored young woman, to someone with a purpose, is well enunciated by Miss Blair. As Bobby, the young man seeking Terry's heart, Jim Bray is natural, with a sincere screen presence. A champion roller skater in real life, he would have been great in further movies, this being his only film. Hoppy, one of Bobby's friends, is given fun treatment by James Van Patten. With his penchant of mispronouncing words, and general fun-loving nature, Mr Van Patten is lively. In contrast, the direct but catty Lana, is imbued with unassailable spirit by Kimberly Beck. Watching Miss Beck chew up Franklin, and others, are some of the brightest parts of the picture.

Albert Insinnia as the relaxed Gordo, another of Bobby's friends, contributes subtle humor as Hoppy's foil. An actor with warmth and an approachable demeanor, Mr Insinnia radiates a leisurely vibe here. As the sex-mad, accident-prone Franklin, who wants Terry, but always makes a hash of things, Christopher Nelson makes the viewer feel for him, despite his lecherous ways, which make for rollicking set pieces throughout the picture. The owner of the roller-skating venue, Jammer, is given authority by Sean McClory. With his no-nonsense ways, but vulnerability, Mr McClory delivers in his small role. The final acting of note is by Mark Goddard as one of the gangsters seeking to close the skating alley for redevelopment. His piercing gaze, and sheer audacity, can be keenly felt here, making Thatcher one of the best villains of 1970s cinema.

Soundtrack: ROLLER BOOGIE has a spirited soundtrack which blends exceptionally well with the visuals. The opening credits feature 'Hell on Wheels', performed by Cher, a strong tune that bolsters the movie from the get-go. In the closing credits, 'Roller Boogie' is played, another forceful song, this time warbled by Bob Esty. There is also a happy sprinkling of pop songs of the era utilized throughout the picture, with examples such as 'Boogie Wonderland', and 'Summer Love'. The soundtrack never becomes tiresome as there is always something different on offer musically, which keeps the film hopping.

Mise-en-scene: ROLLER BOOGIE offers a good visual experience for viewers. Dean Cundey's colour cinematography is pleasant without being too garish. As the movie is shot predominately in outdoor locations, these are nicely captured, such as the boardwalk at the beach, and the exterior of the Barkley family home. Costuming by Linda Bass, Jack Buehler, and Urbana Villafane nicely contrasts the casual wear of Bobby's friends, to the more sophisticated wardrobe of Terry's parents and family friends. This points to subtle class differences between the characters expressed in a non-verbal manner. Editing is another solid aspect of the picture, with scenes connected well, and the skating sequences conjuring excitement in the spectator. 

Notable Acting Performances: Linda Blair, Jim Bray, James Van Patten, Kimberly Beck, Albert Insinnia, Christopher Nelson, Sean McClory, Mark Goddard.

Suitability for young viewers: Parental discretion advised. Brief male nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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.

*

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