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

MEDIUM COOL (1969)

Title: MEDIUM COOL

Year of Release: 1969

Director: Haskell Wexler

Genre: Drama

Synopsis: A television cameraman covering the 1968 Democratic Convention becomes caught up in the unrest and racial tensions of the era.

Within a film history context: Movies which centered around a cameraman protagonist were rarely featured in cinema before MEDIUM COOL. The first major example in this respect was Edward Sedgwick's silent THE CAMERAMAN (1928). A photographer tries to find work as an MGM cameraman to become closer to a secretary at the studio, with many ups and downs along the way for him. A Buster Keaton vehicle, it was a box office success for MGM, though not personally for the actor, and souring his association with the studio. MEN OF THE HOUR (1935), directed by Lambert Hillyer, was about two newsreel cameramen, and their rivalry, both professional, and personal, especially with regards to a young woman. Jack Conway's TOO HOT TO HANDLE (1938), centered around an ambitious if unscrupulous newsreel cameraman, meeting, and falling for, an aviatrix in China while covering reports there. CHINA GIRL (1942), directed by Henry Hathaway, was concerned with a newsreel cameraman in China during World War II, and how his attachment to a young woman, who is in danger, prompts him to act against the Japanese. In the case of Jack Donohue's CLOSE-UP (1948), a newsreel cameraman inadvertently becomes embroiled in an unseemly situation when he films a segment outside a bank, thus placing himself in peril. MEDIUM COOL fit easily into the category of films about cameramen, however, it added its own touches.

It shared affiliations with those movies where the lead was a newsreel cameraman, such as MEN OF THE HOUR, TOO HOT TO HANDLE, CHINA GIRL, and CLOSE-UP. TOO HOT TO HANDLE, and CHINA GIRL, had more of a topical edge than the other two examples, with the lead characters covering stories in places of unrest. This is something shared by MEDIUM COOL, in that John's predominate project is the 1968 Democratic National Convention, where opposing groups clash in a very public manner over their beliefs, and value systems. Where MEDIUM COOL diverts from the other examples is that John is a cameraman for a television station, which is an updated version of the newsreel cameraman characters from the 1930s and 1940s. Embedded in this, there is also a subtle message of the coldness of the media, particularly in this case, television, and how it captures disturbances on film, but does not serve an edifying purpose in some instances.

In related areas, the other films with newsreel cameraman were not, as such, pungent examinations of the media. Instead of this, these pictures observed the protagonists' reaction to events, and, largely, their relationship with the opposite sex. The presence of a female love interest was apparent in THE CAMERAMAN, MEN OF THE HOUR, TOO HOT TO HANDLE, and CHINA GIRL In MEDIUM COOL, John had a relationship with a nurse, but this transferred over to his friendship with a young mother and her son. It was not a case of true love here, rather, people coming together under trying circumstances, under the veil of threat. This was something which MEDIUM COOL shared with CHINA GIRL, and its newsreel cameraman, who falls for a young Chinese woman whose life is in danger. A strong movie about a television cameraman and his activities, MEDIUM COOL offers a solid account in this regard.

Overview: Haskell Wexler was an American director who made four feature films in his career. He was infinitely more active in the realm of documentary filmmaking, crafting an additional fourteen movies, and shorts. Mr Wexler was also involved as a cinematographer, and camera operator, on pictures such as THE HOODLUM PRIEST, ANGEL BABY, AMERICA AMERICA, THE BEST MAN, IN THE HEAT OF THE NIGHT, THE THOMAS CROWN AFFAIR, COMING HOME, MATEWAN, STUDS LONIGAN, DAYS OF HEAVEN, and THE ROSE, to name just several examples. As director, Mr Wexler's third movie, LATINO (1985), was the exploration of political unrest in Nicaragua, and the relationship between an American Special Forces Trainer, and a young Nicaraguan woman. FROM WHARF RATS TO LORDS OF THE DOCKS (2007), was Haskell Wexler's final movie. Harry Bridges, an Australian-born, American resident, champion of union rights for waterfront and other workers, was the subject here, as were his many legal battles and other challenges. MEDIUM COOL was Haskell Wexler's first picture, and the film for which he is best remembered.

With MEDIUM COOL, Haskell Wexler has crafted an intense, original motion picture. Following the life of a television cameraman covering the 1968 Democratic National Convention, and other incidents, it is an arresting, thought-provoking film. Mr Haskell has achieved this by concentrating on a small group of characters, specifically cameraman John Cassellis, his associate Gus, and Eileen, the young mother he encounters one day. Supporting characters such as the black man John invites for an interview are also effective, saying much about humanity, points still relevant today. Through these people, Mr Wexler examines the role of television and the media on the lives of both those in this business, and the people who, unfortunately, are often exploited, or caught up in this, through their activism on issues. The documentary aura of the piece, and feel for everyday life and issues, is where MEDIUM COOL is at its peak. The movie is stellar in general, but some areas of the film are less than ideal in retrospect.

MEDIUM COOL has a nervy mood, and atmosphere, which is compelling to witness. It maintains the attention from beginning to end, but one specific scene stands out for its incongruity in the film as a whole. John's relationship with nurse Ruth is something which slows down the picture, and could easily have been removed, as its purpose is limited. Ruth seems to exist solely for the purpose of the male-female nude scene, which does nothing for both her character, and John's. One never finds out more about her as she seems to be in the story one minute, and out the next. Presumably it was to point out how much deeper John and Eileen's connection is in comparison to his escapades with Ruth, but it leaves a sour taste in the mouth. Overall, though, in light of the movie's ambitious aims and powerful execution, it is just a small, tawdry part of a much better whole. MEDIUM COOL deserves the acclaim it has received over time for being a telling view of the life of a cameraman, its vision on the state of humanity, and as Haskell Wexler's best work.

Acting: There are two performances which are distinctive in MEDIUM COOL. As cameraman John Cassellis, Robert Forster offers a solid interpretation of the steely man with a sense of integrity, this discerned more in the latter parts of the film. An actor who took on tough guy roles with regularity, this part allows him to incorporate some vulnerability which is refreshing to see. As Eileen, the woman who unexpectedly comes into John's life, Verna Bloom offers the film's best performance. With her quiet ways, and ability to share her thoughts with the audience, Miss Bloom is a standout in MEDIUM COOL.

Soundtrack: MEDIUM COOL has an eclectic soundtrack which is in keeping with its edgy feel. While there are a number of familiar tunes scattered throughout the movie, in many instances employed to express a sense of irony in scenes, the best musical piece is Mike Bloomfield's theme for the movie. Played during the opening credits sequence, and a number of times in the picture, it has an excitable, compelling, mysterious aura that perfectly complements the film, and what it seeks to achieve in its trendsetting, counterculture manner. 

Mise-en-scene: The visual experience is one that works very well in MEDIUM COOL. Haskell Wexler's cinematography is beautiful, capturing everything onscreen with grace. The picture has many outdoor location sequences, and these are all excellent, and boost the film's realism considerably. The highway on which John and his offsider take photos of an injured woman in a car, the unruly neighborhood of Eileen and her son, and the protest scenes, are all well-orchestrated, and memorable sequences. Verna Fields' editing deftly keeps the attention on the characters, and their plights, without being jittery, which in other pictures of the era unnecessarily distracted from the goings-on to appear fashionable.

Notable Acting Performances: Robert Forster, Verna Bloom.

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

Overall Grade: B

Link: IMDB Page

ELECTRA GLIDE IN BLUE (1973)

Title: ELECTRA GLIDE IN BLUE

Year of Release: 1973

Director: James William Guercio

Genre: Drama, Road Movie, Action

Synopsis: A highway motorcycle officer suspects that the suicide of a man was in actual fact a murder, and seeks to get to the truth.

Within a film history context: Before ELECTRA GLIDE IN BLUE, there were several movies which dealt specifically with motorcycle patrol officers. One of the first documented examples was D. Ross Lederman's HELL BENT FOR LOVE (1934). When a highway patrol officer arrests a singer for speeding, he gets on the bad side of a mobster, who tries to make his life a misery. but the policeman evens the score in this early programmer. HIGHWAY PATROL (1938), directed by Charles Coleman, had a highway officer plunged into intrigue by an oil man he arrested, and enlisted by him to find the criminals causing issues in his company. On the other hand, Fred Wilcox's CODE TWO (1953), followed the exploits of three highway patrol officers, and how their pursuit of a truck one day brings them dire consequences. THE WILD ONE (1953), directed by Laslo Benedek, featured a highway patrol officer at the beginning of the picture, who sends away the eponymous wild one, and his fellow gang members. Alfred Hitchcock's PSYCHO (1960), had a key scene with a highway patrol officer, who finds a woman asleep in her car, but allows her to leave after checking her license. In French film BREATHLESS (1960), directed by Jean-Luc Godard, a petty thief steals a car, and is chased by the police, but as a motorcycle officer goes to arrest him, is killed by the criminal. Richard C. Sarafian's VANISHING POINT (1971), contained a short scene where the lead character is pursued by two highway motorcycle officers for speeding, and manages to evade them. ELECTRA GLIDE IN BLUE was the one film of all of these which concentrated intensely on its highway motorcycle police officer.

The vast majority of movies showcased a highway motorcycle officer as a supporting character. THE WILD ONE, PSYCHO, BREATHLESS, and VANISHING POINT are all examples of this. Here, the officer often appeared for one scene, and the viewer does not find out more about them, as their use in the movie is purposely limited in scope. The first two examples show the officers in a position of authority, while the latter two are different. The protagonist in VANISHING POINT sends the officers away without causing them any real harm, but the hood in BREATHLESS actually kills the motorcycle officer who is after him. This event spearheads the action in this particular picture, leading to consequences for the assailant. With ELECTRA GLIDE IN BLUE, though, the entire movie is consumed with an examination of highway motorcycle patrol officers, with one, John Wintergreen, especially the focus. His private life is shown, as are his exploits on the job, and the professional tensions which come with this position. The spectator is provided with fragments of character, and plot information, with a profile for the character built throughout the course of the film. It is also interesting that a certain plot event for the character does have unexpected repercussions much later in the story. This gives the picture an air of justice, in that whatever one does in life brings forth consequences. An entertaining view of a highway motorcycle officer, ELECTRA GLIDE IN BLUE brings forth a proficient account in this arena.

Overview: James William Guercio is an American film director with only a single movie to his credit, being ELECTRA GLIDE IN BLUE. He has been much more active in the realm of music as a musician, songwriter, and music producer. In this case, this review will focus accordingly on Mr Guercio's contributions to this motion picture. 

With ELECTRA GLIDE IN BLUE, James William Guercio has molded an original, if somewhat lacking movie. The tale of a highway motorcycle policeman, and his hijinks on the job, including the investigation of a murder, is handled in a watchable, if flimsy manner. The story, particularly in the first half, seems to be swimming everywhere without any discernible point. This is to say that there are moments of interest, and ELECTRA GLIDE IN BLUE has a knack for being likeable in a twisted, roundabout way. It just seems to try a little of everything in its execution, but this dissipates the overall structure of the story. The story threads, though, do come together in the second half, but by this time, what came beforehand has caused the movie to be lopsided when considering it as a whole. This casual approach to its tone and mood affects one other main component of the picture. The suspense level about solving the murder case is very low, as one never finds out exactly who the victim was, and why the officer really wanted to crack the case. It is, therefore, just another passing incident in the life of its fetching policeman John Wintergreen. The movie, as such, is a pleasant diversion, a visual feast for the eyes, but nothing more than that. A film which tries to be different and partially succeeds in this aim, ELECTRA GLIDE IN BLUE is an interesting effort from one-time director James William Guercio.

Acting: Four performances in ELECTRA GLIDE IN BLUE dominate the movie. In the lead role of policeman John Wintergreen, Robert Blake is wonderful. An actor with a certain je ne sais quoi in his interpretations, he is the perfect as the police officer of many moods and inclinations. As John's detective workmate and friend Harve Poole, Mitchell Ryan is another standout performer. With his authority and serious facial expression, Mr Ryan's presence as the stalwart detective also boosts the movie's watchability. The amour of both John and Harvey, the flighty Jolene, is a showcase for Jeannine Riley. Miss Riley goes all-out in her acting, particularly in the bar sequence, where the truth comes out about her dalliances, giving the character a clear raison d'etre for her actions. The final acting of note was by Elisha Cook Jr. as Willie, a suspect in the murder case. As with Jeannine Riley, Mr Cook goes for the jugular in his role, making viewers understand what makes this man tick, and providing justification for his misdeeds, in ELECTRA GLIDE IN BLUE.

Soundtrack: In terms of its soundtrack, ELECTRA GLIDE IN BLUE is lean in this department. While there are some musical pieces, both diegetic, and non-diegetic, the key musical component is in the opening credits segment by director James William Guercio, and orchestrated by Jimmie Haskell. Its grand and unabashed score reflects the emotions at play in the film, and its barnstorming delivery. 'Tell Me', sung by Terry Kath, which is in the closing credits, casts a soulful, ironic light on the final scenes, with barbarity closing in on equity in an unfortunate manner.

Mise-en-scene: In a visual sense, ELECTRA GLIDE IN BLUE has much to recommend it. Cinematographer Conrad Hall photographs the vast landscapes in the movie, with the desert a predominate setting, with grace, lending these rugged locations an unexpected beauty which adds a verisimilitude all their own. The transition from colour to black and white in the final few minutes is also a testament to Mr Hall's ingenuity. Costuming by Rita Riggs is another great feature of the film, with Robert Blake's uniform wondrous to ponder. With his uniform entirely in black, with matching gloves, dark sunglasses and white helmet, Mr Blake looks the part, his apparel not dating in the least, even after more than fifty years since the picture was released. The same applies for Robert Blake's costuming aside from his policeman getup; classic menswear pieces combined with sophistication. In addition, the Electra Glide motorcycles used by the highway policeman have a mystique, and sleekness about them which enchants, and convinces the viewer.

Notable Acting Performances: Robert Blake, Mitchell Ryan, Jeannine Riley, Elisha Cook Jr.

Suitability for young viewers: No. Adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

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THE GAY DECEIVERS (1969)

Title: THE GAY DECEIVERS

Year of Release: 1969

Director: Bruce Kessler

Genre: Comedy, Drama

Synopsis: Two young men try to pass themselves as gay to avoid the draft for Vietnam, but things take twists and turns they did not anticipate.

Within a film history context: Homosexuality in motion pictures was not a common occurrence before the breakdown of film censorship in the late 1960s. There were, though, examples of subtly drawn gay characters and themes in films before THE GAY DECEIVERS. One of the first documented movies in this vein was Sidney Drew's A FLORIDA ENCHANTMENT (1914). In this film, a man and a woman undergo transformations into a gay man and a lesbian via the effect of seeds. It was one of the earliest films to examine gay sexuality in motion pictures, albeit in a comical manner. The love affair of two male musicians was explored in the German film DIFFERENT FROM THE OTHERS (1919), directed by Richard Oswald. Blackmail comes to the fore in this movie, with true love thwarted by a scheming man seeking to make the lovers pay for their forbidden love, with famous German actor Conrad Veidt in the lead as one of the harried musicians. In comparison, another German film, Carl Theodor Dreyer's MICHAEL (1924), spotlighted a gay painter's lover for his male model, and the difficulties their union faced. 

Into the 1930s and 1940s, gay characters were most likely to be presented in a comic manner, unlike the other examples here mentioned, and in supporting roles. Notable divergences from this were found in Pre-Code 1930s American movies such as SUNNY SKIES (1930), directed by Norman Taurog, with a gay romance story, and Raoul Walsh's SAILOR'S LUCK (1933), which also had a gay character. Of the 1940s movies ROPE (1948), directed by Alfred Hitchcock, featured a murderous gay couple, but in line with the censorship of the period, this was very much inferred with delicacy. Moving into the 1950s, there were several intimations of gay characters slightly more open in nature than those of beforehand, with some that definitely pushed the boundaries.

Possibly the most explicit gay themed film of its era, although a short movie, was Jean Genet's A SONG OF LOVE (1950). Set in a jail with prisoners and a guard among its characters, it concentrated upon sexuality, glimpses of nudity, and fantasy in a manner that was a first for its time. Another French film, the full-length THE TERRIBLE CHILDREN (1950), directed by Jean-Pierre Melville, contained a gay character, played by a female actress in a dual role, in a more conventional narrative of heterosexual romance with some homosexual undertones. With Vincente Minnelli's TEA AND SYMPATHY (1956), matters were entirely different. A thoughtful young man is believed to be gay, everyone attempting to change him, but finding sympathy with the wife of his coach. A bowdlerized film version of the stage play, it nonetheless treated its main character with empathy, despite references to homosexuality being discreet. SUDDENLY LAST SUMMER (1959), directed by Joseph Mankiewicz, was much more open about its gay character. Although the character's face is never shown, the impact of his presence in the movie is what propels the narrative, and his death is what drives his cousin, played by Elizabeth Taylor, to mental illness. Segueing into the 1960s, a gradual loosening of the Production Code brought forth franker films with more openly gay protagonists.

In Gregory Ratoff's British OSCAR WILDE (1960), the film followed the famous writer's legal trials and travails with his homosexuality, with Robert Morley in the lead role. Another British picture, A TASTE OF HONEY (1961), directed by Tony Richardson, featured a gay character in this realistic study of a young woman, and her family issues. A more devastating view of gay life and discrimination was presented in Basil Dearden's VICTIM (1961). The taut tale of a married barrister undone by a past gay affair, and involvement with blackmailers, showcased Dirk Bogarde in one of his finest performances. ADVISE AND CONSENT (1962), directed by Otto Preminger, was similar to VICTIM in that the main character's past homosexuality comes back to haunt him, but this time, running for Secretary of State in the United States government. Bryan Forbes' THE L-SHAPED ROOM (1962), had a minor gay character within its structure, in this case a musician. 

A more in-depth examination of homosexuality was featured in TAKE IT ALL (1963), directed by, and starring, Claude Jutra. In this movie, a man's difficulty in coming to terms with his sexual orientation, and relationship with a black woman, made up the content of this picture. Sidney J. Furie's THE LEATHER BOYS (1964), had a gay motorbike rider in its canvas, with a scene in a gay bar also shown. BUS RILEY'S BACK IN TOWN (1965), directed by Harvey Hart, also offered a minor character of the gay mortician who wants to offer more than employment to lead protagonist Bus. Into the mid-1960s, John Schlesinger's DARLING (1965), had a gay photographer in a small part, common for many films of the era to have a homosexual character in a supporting role. 

INSIDE DAISY CLOVER (1965), directed by Robert Mulligan, was an expose of Hollywood, and starred Robert Redford as a man with a shadowy gay sexual orientation. The controversy surrounding this did not help the film at the box office, where it was not a success. More explicit was Andy Warhol and Chuck Wein's MY HUSTLER (1965). The story of an older hustler pursuing a younger one, it was one of Andy Warhol's many gay-themed films to reach audiences in the 1960s. Much more subtle in tone was WINTER KEPT UP WARM (1965), directed by David Secter. The friendship between two young male university students, and their complex feelings for each other, was tackled by the director in this intricate movie. Jean-Claude Lord's DELIVER US FROM EVIL (1966), also had a storyline rooted in human emotion, with gay desire and bisexuality being the burning topics. 

In addition, John Huston's REFLECTIONS IN A GOLDEN EYE (1967), also treated its subject with candor, being an army colonel whose interest in an army private causes him to commit murder. In comparison, a western theme was the basis for LONESOME COWBOYS (1968), directed by Andy Warhol. Featuring five gay cowboys provoking mayhem and indulging in sexual exploits, it was another in the director's unconventional works. In marked contrast, a tense mood thoroughly enveloped John Flynn's THE SERGEANT (1968). The story of an army sergeant, and his passion for a private, was studied in much greater detail than in the related REFLECTIONS OF A GOLDEN EYE, and provided Rod Steiger an excellent role as the eponymous sergeant, with John Phillip Law as the object of his obsession. 

A complex view of homosexuality was also captured in TEORAMA (1968), directed by Pier Paolo Pasolini. An Italian family receives a visitor at their home, who changes their lives, male and female, both sexually and otherwise. A different perspective on sexual relations, it was one of the director's most intimate, challenging works. Bryan Forbes' DEADFALL (1968), had a treacherous gay character, whose actions influenced much of the goings-on in the movie with his dishonest ways. FLESH (1968), directed by Paul Morrissey, was another of Andy Warhol's movies with gay overtones. This time around, a male prostitute services both men, and women among his shenanigans. Guilt about homosexuality, and its aftermath, was played out in Gordon Douglas' THE DETECTIVE (1968). An incisive portrait of a police detective searching for the killer of a man believed to have been gay, it was an excellent showcase for Frank Sinatra in the lead role of the undaunted investigator. THE GAY DECEIVERS was the most overt example of gay characters and situations in its time in the late 1960s.

The preponderance of movies in this category were of a dramatic nature. In general, gay characters in these were tortured souls, carrying on relationships in a cloistered manner, these fraught with nothing but obstacles. DIFFERENT FROM THE OTHERS, MICHAEL, TEA AND SYMPATHY, VICTIM, and ADVISE AND CONSENT were just some of the works in this vein. Others such as MY HUSTLER, LONESOME COWBOYS, TEORAMA, and FLESH presented gay characters as being bold, and without shame for their attraction to the same sex. In sheer contrast, A FLORIDA ENCHANTMENT, SUNNY SKIES, and SAILOR'S LUCK were geared towards comedy, and lighter portraits of gay characters. THE GAY DECEIVERS fit into both these latter sets of films much more than others due to its comical take on gay sexuality and relationships. In some of the dramatic entries, there are views of devious gay characters, specifically in ROPE and DEADFALL. None of this applies in THE GAY DECEIVERS, as the characters in question are depicted as appearing to be in a loving relationship. 

The film posits what it itself describes as the 'normal', and 'straight', being heterosexuality, and that it is the opposite to the real 'normal', being homosexuality. Heterosexuality, thus, is cast in a negative light here, and this is where THE GAY DECEIVERS moves away from other entries in this category of films. Homosexuality here is implied to be freeing, expressing oneself as they wish, and living as they want, on their terms. Heterosexual characters are shown as either being unforgiving, such as Danny's father and Karen, or permissive, such as Elliott, or Mrs Conway. Malcolm and Craig happen to be a happy couple without hangups, but they just happen to be gay. The heterosexual characters seem to complicate their lives much more than the gay ones, and this is something which none of the previous pictures examined. A stimulating examination of gay and heterosexual identities, THE GAY DECEIVERS opens a discussion on this topic with its thoughtful intentions, and execution.

Overview: Bruce Kessler was an American film director with four feature films to his credit. He has been much more active on television, directing episodes of prime-time series ranging from The Monkees, The Flying Nun, Mission Impossible, I Dream of Jeannie, The Rockford Files, and much later with The Commish, Diagnosis Murder, and Baywatch Nights, the name a few from his extensive filmography. In cinema, his work spanned over the course of just three years, with movies of an exploitation orientation, or light fare. Mr Kessler's first picture, ANGELS FROM HELL (1968), was a biker movie. A Vietnam veteran returns home to find his motorcycle club disbanded, and tries to create a new one. He comes up against corrupt policemen who want to block him, but he determines to get his way, at any cost. KILLERS THREE (1968), also had a crime focus. A man just released from prison plots with his girlfriend to steal cash from a bootlegger's safe, with assistance from the man's friend, but their plan takes a nasty turn they never saw coming. Bruce Kessler's final film, SIMON, KING OF THE WITCHES (1971), was about a man's quest to become a god, but this comes at a high price for others in this horror effort. THE GAY DECEIVERS was Bruce Kessler's third movie, and one of his most-known works.

In the case of THE GAY DECEIVERS, Bruce Kessler has fashioned a breezy movie with a firm focus on different sides of the discussion about male homosexuality. It is a fast-moving ride with many entertaining moments but also, offers some food for thought. The film does not lag or become stagnant, always offering something fresh for spectators. THE GAY DECEIVERS immediately dives into its narrative, relating to viewers the story of two young heterosexual men who pretend to be gay to avoid being drafted for Vietnam. The picture highlights their efforts in this endeavour, and how their deception may, in fact, be not as productive for them as first conceived. The weight of this is felt by both men, but, in particular, by Danny. He has the most to lose in terms of his identity, family, and girlfriend, and this is where THE GAY DECEIVERS is at its best. The pathos here is palpable, and how this experience does not leave him untouched is fully explicated. Consequences are presented, and entirely credible. Unfortunately, several pithy scenes do not a picture make, and with reference to THE GAY DECEIVERS, it does have its downsides.

In some ways, the gay angle has its positive features. THE GAY DECEIVERS is at pains to depict Malcolm and Craig as akin to a bickering heterosexual couple, which is a definite contrast to Danny's troubles with girlfriend Karen, and Elliot's lustfulness, and bedhopping habits. There is a loyalty to the other which consequently flies in the face of the heterosexual characters. On the other hand, the stereotyping of the gay couple in terms of their behavior makes them seem both flamboyant, and not real. Possibly it was done to make them stand out from the other characters, but it is overly exaggerated at times. Aside from this, it is never really shown whether Danny or Elliot have learned anything about masquerading as a gay couple. It seems that it is just convenient for the plot, and not peering deeper into their consciousness, especially Elliot's. In effect, their deed was accomplished, and they were not drafted in the end, but it remains on that superficial level. The twist at the very end, while clever in some respects, does seem forced. Having the Colonel act in one way through the majority of the film, and ending another way, was disconcerting. All in all, though, this seems to reflect the intentions of THE GAY DECEIVERS. It is a well-made movie that aims to be fun, has some edifying content, but, in the end, does not explore its topic as thoroughly as it could have.

Acting: There are quite a few stimulating performances in THE GAY DECEIVERS. In the lead role of Danny, one of the two men seeking to avoid the draft, Kevin Coughlin is excellent. An actor gone way too soon at the age of thirty, his naturalistic acting makes the viewer sympathize with him, despite the character's often dubious methods. Danny's best friend, the strapping, athletic Elliot, is given panache by Lawrence Casey. Mr Casey showed that he was much more than a pretty face here, ensuring that Elliot has a sense of dignity, in spite of the actor being shirtless for much of the movie. The girlfriend of Danny, Karen, is a touching turn by Brooke Bundy. Miss Bundy ably highlights her love-struck character, with happiness, and later, confusion, reigning supreme, but she carries it off with effervescence, and charm. Danny's clever, intuitive sister Leslie, is made memorable by Jo Ann Harris. With her keen intellect and straightforward nature, Miss Harris really seems to be Danny's sibling, even resembling Kevin Coughlin with his penetrating stare. Four other actors provide great accounts of themselves in THE GAY DECEIVERS.

As Malcolm's other half, Sebastian Brook is very real as the flamboyant Craig. Mr Brook's theatrical mannerisms are fun to witness, but when he drops this facade in his later scenes, his sincerity shines through. It is unfortunate that Mr Brook only made a small number of films, which is another true talent gone untapped in cinema. The intriguing Duane, neighbour of Danny and Elliot, is a subtle interpretation by Christopher Riordan. Knowing that less is more, the shrewd Mr Riordan knows how to maintain one's attention without going overboard in a picture about gay men and their lives. Colonel Dixon, the odious man who causes Danny and Elliot angst over their draft orders, is a neat performance by Jack Starrett. A film and television director who made quite a few appearances in feature films, is a contrast with his stiff upper lip, to the farcical situations in which the other players find themselves. The final acting of note was by Joe Tornatore as Sergeant Kravits, the Colonel's offsider. With his expressive comic face and ways, Mr Tornatore ups the zany quotient in the film, its last stretches enlivened by his amusing wackiness. 

Soundtrack: In terms of its soundtrack, THE GAY DECEIVERS has a great soundtrack courtesy of Stu Phillips. It works in every respect, from the farcical segments to the quieter stretches, enhancing the moment effectively.

Mise-en-scene: THE GAY DECEIVERS possesses a pleasing attention to detail with its mise-en-scene. Colour photography by Richard Glouner is lovely, making everything onscreen appear natural without being too florid. Interior sets have held up well, not seeming particularly dated, and are of their era, as a bit of a time capsule. The perfect example is Danny and Elliot's rental home, with its garish furnishings fun to witness. Exteriors are also well chosen, with the swimming pool adding veracity to the movie, as do all the outside sequences. With respect to costuming, Norman Salling has selected garments which reflect the characters' distinctive personalities, such as Karen's smart apparel, and Craig's cravats, and coordinating clothing.

Notable Acting Performances: Kevin Coughlin, Lawrence Casey, Brooke Bundy, Jo Ann Harris, Sebastian Brook, Christopher Riordan. Jack Starrett, Joe Tornatore.

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

Overall Grade: C

Link: IMDB Page

TO KILL A CLOWN (1972)

Title: TO KILL A CLOWN

Year of Release: 1972

Director: George Bloomfield

Genre: Drama, Horror

Synopsis: A couple rent a beach house from a physically-challenged Vietnam veteran, but he has much in store for them during their stay.

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 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. 

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 once again assimilating into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. TO KILL A CLOWN differed from other entries in that it was not an exploitation movie, but, rather, centered in suspense, and psychological in tone.

As with many of the films in this category, a disturbed Vietnam veteran fuels the narrative, but in the case of TO KILL A CLOWN, the presentation was not as overt, or flashy as examples MOTORPSYCHO!, ANGELS FROM HELL, or THE RAVAGER. There was a complex series of events in which the true motivations of the veteran come to light both for the characters, and the viewer. Despite its slow build, TO KILL A CLOWN finds its footing in the second half, and the frightening psychology of veteran Major Evelyn Ritchie is revealed. Where TO KILL A CLOWN also differs is in the characters whom the veteran plays against. Bikers were largely in evidence in MOTORPSYCHO! and ANGELS FROM HELL, but a married couple is Evelyn's opposition here. This takes matters in another direction, as one sees the impact of the Major on the lives of this couple. 

The Major exacting his revenge on Timothy and Lily provides the movie with some of its best moments. Evelyn in TO KILL A CLOWN, therefore, takes a leaf out of the many films with a villainous Vietnam veteran with no redeeming features, such as THE RAVAGER, and SKYJACKED. He is bad to the bone, but the spectator is never cognizant of what happened in Vietnam to make him this way. This is, unfortunately, left out of the movie, unlike JUD and WELCOME HOME SOLDIER BOYS, where one is given an intimate account in this respect. An interesting view of a Vietnam veteran, TO KILL A CLOWN is notable for branching off into another direction with its treatment of this character. 

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, also, venturing into comedy in his output. Mr Bloomfield's first movie, JENNY (1970), was a tender story about a young woman who has a child out of wedlock, and her marriage to a testy photographer. Despite compatibility issues, they find common ground in the end. 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 sunk 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, with 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. TO KILL A CLOWN was George Bloomfield's second film, and one of his best-known.

George Bloomfield has created a satisfactory, if sometimes lacking picture with TO KILL A CLOWN. The story of a married couple renting a cabin on the beach, and their encounter with their landlord, a Vietnam veteran, which has severe consequences for them, is a film with some good moments, but patchy overall in its impact. That is not to say, though, that the movie is without its positive aspects. There is a sound grasp of characters and their idiosyncrasies, and one gets to know them, particularly the married couple, as three-dimensional people. Although the movie changes mood from a comical focus, to a more serious one later, the repartee, and bickering, between the couple does make them relatable. One could easily see them existing in the real world as actual people, with the deft characterizations ensuring this. This also applies to the cunning, unsparing Major Evelyn Ritchie, Timothy and Lily's nemesis. While TO KILL A CLOWN is watchable, and there is a degree of suspense in the movie, there are definite limitations which undermine its power.

There is not an issue with the sequence of events in TO KILL A CLOWN, but the fact that it is lopsided in terms of the impact of the first, and second halves of the picture. The introduction to painter Timothy and wife Lily works, but the preparation for Major Evelyn's entrance into the story is too diffuse. The first half of the movie takes too long to pick up steam, and Evelyn is not utilized sufficiently to create an aura of terror to, in effect, tantalize the audience. The comic sequences with Timothy and Lily are agreeable, but could have been balanced way better intercut with scenes of Evelyn, and what he had planned for the couple. Aside from this, while Evelyn is an ominous presence, one never is given further insight into his Vietnam days, and what made him to be how he was. This is largely left to the side, and the vicious dogs seem to do all the talking in the film in this respect. The second half of TO KILL A CLOWN picks up considerably in pace, but the resolution is not as spectacular as one would expect. It leaves matters hanging, when they could have been decisively dealt with, bringing needed closure to the picture. Despite these flaws, some things can be said about the film. TO KILL A CLOWN attempts to generate an atmosphere of taut tension and terror, but falls short in attaining this aim on a consistent level.

Acting: While the cast of TO KILL A CLOWN is small in size, they offer some great performances. In the lead part of Major Evelyn Ritchie, Vietnam veteran, and central antagonist, Alan Alda plays against type here, showing that he was a versatile actor with his portrayal of the villainous Major. Those smiles and expressions utilized in his other roles have been employed well, showing the Major for the heinous man he is. As Lily, one-half of the married couple in the movie, Blythe Danner, in her movie debut, is excellent. With her husky voice, warmth, and nous, Miss Danner deftly displays all sides of her character with ease, being both the comic, and dramatic elements. The final acting of note was by Heath Lamberts as Timothy, Lily's husband. As with Blythe Danner, Mr Lamberts navigates both the zany parts of his role in the picture, and the more dramatic, with aplomb.

Soundtrack: TO KILL A CLOWN has an appropriate soundtrack which emphasizes the moods which the film seeks to capture, thanks to composers John Hawkins and Richard Hill. Both the opening, and closing credits feature the song "With My Eyes", sung by Georgie Fame, which is a passable tune, but the music after this is an electric guitar piece which stands out for its funky, jazzy tone.

Mise-en-scene: Due attention has been paid to the onscreen experience for viewers of TO KILL A CLOWN. Walter Lassally's cinematography records the proceedings with elan, taking advantage of the beach setting of the story, and also, with the evening scenes shot for maximum suspense. Trevor Williams' art direction is spare, with a limited number of settings, such as the beach house Lily and Timothy share unobtrusive, and keeping the focus on the characters. The opening credits are striking for their use of animation, which imbues the film with an unconventional, 1960s style bent. On the other hand, it also projects a comical mood, which is not what the picture happens to be, thereby misinforming the viewer. This, though, is in keeping with TO KILL A CLOWN's intentions, being a serio-comic drama which veers in either direction throughout its running time.

Notable Acting Performances: Alan Alda, Blythe Danner, Heath Lamberts.

Suitability for young viewers: No. Female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page