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

CAPTAIN MILKSHAKE (1970)

Title: CAPTAIN MILKSHAKE

Year of Release: 1970

Director: Richard Crawford

Genre: Drama, War

Synopsis: A young Marine on leave from the Vietnam War falls for a young woman, and is caught up in a number of antiwar, and counterculture events at this time.

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 in character, 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, helping 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 psychological problems played out 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.

A most infamous depiction 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 seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. 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, but 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 between them spill over. On the other hand, Gunther Collins' JUD (1971), was an independent film which followed a Vietnam veteran, and charted his return to society in a most thoughtful manner. Different in scope and character, SKYJACKED (1972), directed by John Guillermin, showcased a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, CAPTAIN MILKSHAKE again surveyed a Vietnam veteran, but diverted in many ways from previous entries.

In surveying the other movies in the genre, it is refreshing that CAPTAIN MILKSHAKE has a Vietnam veteran who is basically well-adjusted psychologically. This was evident also in THE BORN LOSERS, with its mentally-sound lead character, and in JUD, where he managed to maintain a sense of himself, despite being in some stressful situations. Many of the other movies capitalized on the respective veteran's mental instability, such as in MOTORPSYCHO!, ODDO, THE RAVAGER, and WELCOME HOME SOLDIER BOYS. This was mainly employed for visual purposes, whereby violent passages occur with a veteran losing his grip on reality, and turning against those who he feels have wronged him, with innocent people in the firing line in some instances. This was particularly evident in WELCOME HOME SOLDIER BOYS, but the difference with the former films is that it had a well-developed storyline which explored why the veterans wreaked havoc on a small town and its inhabitants. None of this appears in CAPTAIN MILKSHAKE, which gives it a point of difference from the other slam-bang movies.

In CAPTAIN MILKSHAKE, Paul silently ponders his life while having flashbacks of his tour of duty in Vietnam. Viewers are given first-hand knowledge of Paul's thought processes, instead of him exploding for inexplicable reasons, which does stifle the realism of MOTORPSYCHO!, ODDO, and THE RAVAGER. Paul actually enunciates his experiences in Vietnam to other people, setting up a debate on the issue in which the audience can participate. In addition, CAPTAIN MILKSHAKE is also notable for its anti-war sequences featured throughout the movie. This is something that the other movies did not contain as they were straight narratives in comparison to CAPTAIN MILKSHAKE. The segments are slanted toward peace, and anti-Vietnam war sentiments, but, nevertheless, are important as a movie which takes a strong position on war and its aftermath. The scene with the mother of a Vietnam soldier who died in conflict is one of the best scenes in the film, moving in its execution. One of the best of the pictures about Vietnam war veterans, CAPTAIN MILKSHAKE is a candid movie.

Overview: Richard Crawford is an American director with only CAPTAIN MILKSHAKE to his credit. In addition to helming the movie, he also was responsible for the writing, and producing capacities. As he only made a single movie in his career, naturally the overview will concentrate on Mr Crawford's contribution to CAPTAIN MILKSHAKE.

With CAPTAIN MILKSHAKE, Richard Crawford has crafted a thought-provoking and daring motion picture. Taking as its subject a Vietnam veteran who has returned to his hometown on leave, and the many challenges he faces, it is both entertaining but also, an emotional movie experience. Mr Crawford has successfully juxtaposed a number of elements in his film, with the exploration of the lead character and his psychological makeup, late 1960s/early 1970s counterculture, romance, and anti-war sentiments. In general, these mesh well during the course of the movie, and keep things fresh and always evolving. The film is at its height particularly when examining the leisurely romance between carefree, hippy Melissa, and pensive returning veteran Paul, their family interactions, and the various anti-war set pieces the picture features. Story events unfold in a manner which is pleasing to witness, in keeping with the film's measured tone. There are, though, a number of aspects which unfortunately do go against the movie's grain as a whole.

While CAPTAIN MILKSHAKE is observant as a movie in terms of its milieu and characters, it does feel sometimes that it is too keen-eyed in certain instances. These do take up time which could have been better served in more emotional set pieces, a strength of the movie. Several examples come to mind. Paul and his friend visiting the bar with the topless waitress does nothing to further the story, only providing the film with a cheesy, exploitative feel. The scene where Melissa skinny dips in the pool with her friends, likewise where she and Paul do the same in the ocean, are needless, and only offer superficial titillation, but nothing more. Sequences where drugs are featured also seem to drag the film's pace. It could be said that these were representative of the picture's time period, but in retrospect, feel dated. CAPTAIN MILKSHAKE would have done well by looking at Melissa's relationship with her mother, and Paul's with his mother. This would have given them even more background, and a useful back story. In spite of these weaknesses, some things can be said about CAPTAIN MILKSHAKE. It is a sincere movie which convinces viewers of its anti-war stance with style, and in an edifying manner.

Acting: There are six performances in CAPTAIN MILKSHAKE which deserve praise. In the lead role of Marine Paul Fredericks, on leave from Vietnam, Geoff Gage is excellent. With his clean-cut looks and thoughtful manner, Mr Gage leaves one to ponder the absence of a talented actor to cinema. Paul's ladylove, the restless but sensitive Melissa, is played with jazzy appeal by Andrea Cagan. Her subtle anti-establishment leaning, and dislike for niceties, makes Melissa a nice match for Paul. As Paul's mother Mrs Fredericks, Belle Greer is another understated acting interpretation. Her comforting ways, and lack of pretension, steer her to the role of best mother in the movie. Three other actors contribute great work in CAPTAIN MILKSHAKE.

As Thesp, one of Melissa and Paul's friends, and a major instigator of the anti-war movement, David Korn offers yet another distinctive portrayal to CAPTAIN MILKSHAKE. Mr Korn's unique presence lends a visual counterpart to Paul and the other male characters, as a warrior in the picture. Melissa's upwardly mobile mother, Mrs Hamilton, is a small but telling role for Darlene Conley. Her singular presence is rewarding to witness, as it assists in explaining Melissa's reticence for refinement, and is entertaining in and of itself. The final acting of note was by Joanne Moore Jordan as Mrs Randolph, a woman in the anti-war peace rally who has lost her son in Vietnam. Miss Jordan makes clear her stance for the audience, appearing to become emotional at any time, but keeping her composure, ensuring that Mrs Randolph is one of the most telling characters in CAPTAIN MILKSHAKE.

Soundtrack: Despite being a picture of the early 1970s, CAPTAIN MILKSHAKE is pleasingly light-handed in its approach to its soundtrack. The movie could have been weighed down by a frenetic soundtrack, but thankfully is not of this orientation. There are a number of songs played at various moments in the narrative, with some diegetic uses of these. The most prominent is 'Untitled Protest', performed by Country Joe and the Fish. With its clear but no-nonsense take on the topic of war, it is a perfect summing up of the futility of war, adding a foreboding atmosphere to the film's end.

Mise-en-scene: Visually, CAPTAIN MILKSHAKE has much to recommend it. Cinematography by Robert Sherry is beautiful, particularly the beach scenes which the picture utilizes throughout its running time. The contrast between black and white, and colour photography also works well, and provides the film with a stimulating bridge between different scenes. The visual effects by Reggie Hager, Joe Purcell, and Harry Woolman, especially at the movie's conclusion, are also effective, lending it a pathos, and starkness, which haunts the senses.

Notable Acting Performances: Geoff Gage, Andrea Cagan, Belle Greer, David Korn, Darlene Conley, Joanne Moore Jordan.

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

Overall Grade: B

Link: IMDB Page

Trailer

THE REVOLUTIONARY (1970)

Title: THE REVOLUTIONARY

Year of Release: 1970

Director: Paul Williams

Genre: Drama

Synopsis: A young male student rebels against his university association, believing that strong action has to be taken for reform of their activities.

Within a film history context: Movies about revolutionary figures were quite common in European and world cinema, with various examples found in American film history. The silent screen had several American and Russian pictures with a revolutionist central character, many of which are considered lost. One of the first movies to deal with a revolutionary was Josef von Sternberg's silent THE LAST COMMAND (1928). A Hollywood film director, previously a radical in Imperial Russia, seeks the services of a former Russian general to star in a picture about the Russian Revolution, an event which affected them both heartily. Into the sound era, comedy CRACKED NUTS (1931), directed by Edward Cline, was completely contrary. The machinations of a man who wishes to win a woman's favour, and move closer to her niece, by arranging for the overthrow of a country's king, was an early pre-Code movie. With Reinhold Schunzel's BALALAIKA (1939), an officer in the Russian army falls for a singer, who is in fact a covert revolutionary, but their union is complicated by the backdrop of turmoil during World War I in this romance. TORRID ZONE (1940), directed by William Keighley, spotlighted a plantation owner in South America whose livelihood was threatened by a revolutionary, whose influence on the workers there causes nothing but problems. In Robert Z. Leonard's musical NEW MOON (1940), a nobleman masquerading as an indentured servant leads his cohorts to rebel against their ship's captain. 

WE WERE STRANGERS (1949), directed by John Huston, had as its focus a man, and a woman, who worked together with associates to overthrow the despotic president of Cuba in the early 1930s. Elia Kazan's VIVA ZAPATA! (1952), was the stirring biopic of Mexican revolutionary Emiliano Zapata, and his efforts to topple corrupt government regimes. With Marlon Brando in the lead, Anthony Quinn and Jean Peters in support, it was a memorable picture. THE ROOTS OF HEAVEN (1958), directed by John Huston, had an ecologist at its fore, whose aim was to protect endangered African elephants from extinction. He attained the assistance of several people, but with detractors from his point of view in this drama. The life and adventures of Scottish sea captain John Paul Jones were dissected in John Farrow's aptly titled JOHN PAUL JONES (1959). From his early life on ships, journey to America, and exploits in Russia defending Empress Catherine the Great, it starred Robert Stack in the eponymous role. In contrast, THE DAY THEY ROBBED THE BANK OF ENGLAND (1960), directed by John Guillermin, also had characters as revolutionaries in the narrative. At the turn of the twentieth century, several IRA members plan to rob the Bank of England, but the execution of this is not as simple as first envisioned. Basil Dearden's KHARTOUM (1966), followed the efforts of a British general to protect the city from a religious zealot who will do anything to wrest control of it. 

In western VILLA RIDES (1968), directed by Buzz Kulik, Mexican revolutionary Pancho Villa teams up with an American aviator to bring about change in the country. The life and times of influential American dancer and choreographer Isadora Duncan was the premise for Karel Reisz's ISADORA (1968). With her lack of inhibitions, and commitment to her artistry, she blazed a trail in her time, this deftly conveyed by Vanessa Redgrave in the lead role. On the other hand, Lindsay Anderson's IF... (1968), observed an uprising by students at a boy's boarding school, headed by a number of pupils whose vehemence against the establishment reaches its zenith. 100 RIFLES (1969), directed by Tom Gries, revolved around a Mexican revolutionary seeking to free his people of a dictatorial regime. He joins forces with a Mexican woman, and an American lawman, to fulfil his quest. Richard Fleischer's CHE! (1969), was an account of the life of Argentine revolutionary Ernesto Guevera, more commonly known as Che, his involvement with Fidel Castro in Cuba, political problems there, and in Bolivia. THE REVOLUTIONARY was a movie which was dramatic in its orientation, as were the majority of films in this category, but distinguished itself from these in its own way.

Many of the films of this kind were based around characters caught up in political unrest in a respective country, such as THE LAST COMMAND, CRACKED NUTS, WE WERE STRANGERS, VIVA ZAPATA!, KHARTOUM, VILLA RIDES, CHE!, and 100 RIFLES. Generally, it was a strong male character going against corrupt regimes, and in quite a few instances, paying the price for their loyalty with their lives. There was support from other male protagonists, and, in rare instances such as WE WERE STRANGERS and 100 RIFLES, female characters. On this count, a female revolutionist could be found in BALALAIKA and ISADORA, but this was the exception rather than the rule. In comparison to those pictures which spotlighted turmoil in a particular country, the other examples had a less worldly view of events, with character being both revolutionaries, and activists for a cause. In NEW MOON, the lead had a concern for the rights of his fellow ship mates, and in ROOTS OF HEAVEN, the conservation of elephants was the burning issue. Other features of these films in comparison to THE REVOLUTIONARY are worthy of dissection.

Decidedly villainous depictions of revolutionaries were found in TORRID ZONE, IF...and THE DAY THEY ROBBED THE BANK OF ENGLAND. The people in these caused more mayhem than any real good by their actions. In IF...the bloodshed does not further anything positive, just a rebellion for the sake of one in the school. THE REVOLUTIONARY was along the lines of those radicals, as in the other films, who wanted to see a change for the better. In this case, the revolutionist strived for improvements both in university, and employment arenas, but was not able to achieve this aim. Where THE REVOLUTIONARY diverts from other entries is in its much quieter presentation of events. There is no melodrama in this movie, which marked WE WERE STRANGERS, VIVA ZAPAPA!, and KHARTOUM. Instead of this, the mood is slow and thoughtful, in keeping with the flavour of early 1970s New Hollywood cinema. The use of the main female romantic lead is also interesting, as she does not become caught up in her boyfriend's activities, but is mostly there in support. There is some minor suspense when she is meeting him in secret, but that is the extent of her role in the movie. An uncommon view of a revolutionist, THE REVOLUTIONARY is notable for its take on this type of character.

Overview: Paul Williams is an American director who has made eight motion pictures over a period of thirty-three years. His films consisted of dramas, comedies, and thrillers. Mr Williams' first movie, OUT OF IT (1969), juxtaposed two very different men, and their interactions with women, with one a bookworm, the other, a ladies' man in this comedy. DEALING: OR THE BERKELEY-TO-BOSTON FORTY-BRICK LOST-BAG BLUES (1972) was another comedy. The transportation of drugs from one city to another takes a wrong turn for a university law student, in that his girlfriend is arrested for the second cache, and seeks to get both the stash, and his love, back. With NUNZIO (1978), matters were of an entirely different nature. A grown man with mental issues believes he is Superman, but his life takes unexpected twists and turns in this touching drama. In MISS RIGHT (1985), a central male protagonist is at its center, with a Lothario journalist busily hopping from one woman to the other, but finding difficulty in extricating himself from these liaisons. A move into thrillers for Paul Williams resulted in MIRAGE (1995). Trouble starts when a man enlists a detective to tail his wife, who has emotional troubles, namely a personality disorder, causing the private eye's world to turn upside down. THE REVOLUTIONARY was Paul Williams' second movie, but not a sterling achievement.

Paul Williams has attempted to create a thoughtful motion picture with THE REVOLUTIONARY, but has come up short in its execution. The tribulations of a university student whose dissatisfaction with his college leads him on a quest to change the system, albeit unsuccessfully, it is a dispiriting movie experience. While there are some fleeting scenes which give momentary hope to the spectator that a sense of excitement will prevail, these are in vain. It is a film which does have a certain mood and feel, but it is too slow-paced, and listless, to maintain one's attention span. This happens, that happens, but there is never a sense of urgency, or emotional attachment, which emerges out of this. It is as if THE REVOLUTIONARY is a stylistic exercise which does not unravel as it should. On paper, it might have seemed better, but the reality is opposite to this. The conclusion is also problematic, and the fallout from this makes the viewer feel cheated, as it just ends with a freeze frame. A sincere but misguided attempt at building a portrait of a revolutionary, THE REVOLUTIONARY makes one consider how much better it would have been with surer handling, and a more gripping presentation.

Acting: There is a trio of acting performances which are of note in THE REVOLUTIONARY. As A, the student revolutionary, Jon Voight offers yet another incisive acting interpretation. An actor with a wide portfolio of roles over many years, he had a knack for portraying people on the fringes of society in his younger years, and this part suits him. He is well-paired with the radiant Helen, played with earnestness by Jennifer Salt. With her gracious and lively demeanor, Miss Salt provides an ethereal glow to the movie that alleviates its duller stretches. The final acting of merit in THE REVOLUTIONARY is by Seymour Cassel as Leonard, one of A's friends and accomplices. Mr Cassel always knows how to light up the proceedings, and this is no exception. Leonard's relaxed defiance is a nice contrast to A's more stony-faced reactions to events, making Leonard another memorable character in THE REVOLUTIONARY.

Soundtrack: In terms of its soundtrack, Michael Small has been careful to not overload the movie, despite a heady concentration on its subject matter. Music is most discernible during the opening credits sequence, with its background of photographs depicting revolutionaries, and in the closing segment. The soundtrack appears sporadically throughout THE REVOLUTIONARY, only at the most urgent of moments, which works well for it overall.

Mise-en-scene: In a visual sense, work has gone into THE REVOLUTIONARY to make it a convincing experience for the spectator. Brian Probyn's colour photography is perfect without being overly bright, making sense for an intense movie about revolutionaries, and their harried lives. Both interiors, and exteriors, have been carefully selected, representing the locales of a small town well. The introductory credits are also impressive, utilizing photographs of past revolutionary events, and figures, to place the incidents in the movie into perspective for viewers, by charting their development over time.

Notable Acting Performances: Jon Voight, Jennifer Salt, Seymour Cassel.

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

Overall Grade: D

Link: IMDB Page

BREAKING AWAY (1979)

Title: BREAKING AWAY

Year of Release: 1979

Director: Peter Yates

Genre: Drama, Sport

Synopsis: A young man from Indiana aspires to race as a professional cyclist.

Within a film history context: Movies about competitive cyclists have not been a common sight on cinema screens before BREAKING AWAY. Maurice Champreux's silent French film LE ROI DEL LA PEDALE (1925), alternate title THE PEDLAR, was about a hotel bell boy who determines to race in the Tour-de-France, and also capture the heart of his ladylove. This three-hour movie has a number of impressive race sequences which have stood up well for their authenticity, and picturesque locations. Comedy 6 DAY BIKE RIDER (1934), directed by Lloyd Bacon, starring Joe E. Brown, was similar in orientation. A man who has lost his girlfriend to a bike rider, tries to win her back by competing in a six-day bike racing competition. Jean Stelli's French movie POUR LE MAILLOT JAUNE (1940), or FOR THE YELLOW JERSEY, was about the romance between a cyclist competing in the Tour-de-France bike race, and a journalist covering this event. BREAKING AWAY was similar to all three of these movies, but diverted in other key areas.

As with LE ROI DEL LA PEDALE, BREAKING AWAY featured a main male character with a single-minded ambition to race in a major cycling event. Both pictures depict the existence of the particular protagonist, with their family lives deftly illustrated. The difficulties on the cyclist in training for the events are also deftly shown, making these films realistic in their presentation. Where Fortune, the cyclist in LE ROI DEL LA PEDALE seeks to win the admiration of a woman, in BREAKING AWAY, though, Dave's first love appears to be cycling. A romantic relationship with Katherine is a pleasing, if secondary notion for him. LE ROI DEL LA PEDALE, and 6 DAY BIKE RIDER, are compatible in terms of a man wanting the attention of a woman by utilizing his athletic prowess to garner affection. Dave in BREAKING AWAY goes in another direction here, wooing Katherine with Italian serenades that are as far away from cycling as one can get. This also paints Dave as a more multi-faceted character, in that he is not Italian himself, and uses these psychological tactics to disarm, and display his tenderness for Katherine. 

Other narrative traits of BREAKING AWAY deviate from the other European movies. BREAKING AWAY also departs from the other examples in the exploration of friendships which it offers. While Dave is the lead, and his psyche explored in an exhaustive fashion, he is contrasted with friends Mike, Cyril and Moocher. These are all young men coming of age, unsure of what to do with their lives, but finding mutual solace in their confusion. This character structure is nowhere to be found in LE ROI DEL LA PEDALE, 6 DAY BIKE RIDER, or POUR LE MAILLOT JAUNE, with their concentration on the main character. BREAKING AWAY additionally offers further insight into Dave via his interactions with his group of best friends, which is also measured against his relationship with his mother, and father. A well-executed of a cyclist, BREAKING AWAY is a pleasing addition to films in this category.

Overview: Peter Yates was a British director who initially made films in the United Kingdom, before working in the United States, and again in Britain. His output was varied in scope, from comedies, musicals, dramas, to thrillers. Mr Yates' first movie, SUMMER HOLIDAY (1963), was a popular musical starring Cliff Richard as a young man who travels with his friends across Europe in a double decker bus, finding adventure, love and fun along the way. In contrast, crime drama ROBBERY (1967), was a filmic account of the infamous 1963 Great Train Robbery, altered to maintain a fictional perspective alongside realistic detail. Peter Yates' next movie was among his most notable, being BULLITT (1968). The story of a hardened San Francisco policeman, and his pursuit of an underworld figure, was both a critical and financial success for Warner Brothers, and a top role for Steve McQueen in the lead. Next came romance JOHN AND MARY (1969), with Dustin Hoffman and Mia Farrow. A man and a woman who meet in a bar, have a one-night stand, and then become acquainted in an emotional sense, was the focus here, but it was not a popular success. The 1970s was a period when some of Peter Yates' best films were released to the public.

Peter Yates' seventh movie THE HOT ROCK (1972), was a heist caper about the pursuit of a valuable diamond from a museum, and the efforts to appropriate it, which are anything but easy for those involved in this comedy drama. Crime of a different nature ruled THE FRIENDS OF EDDIE COYLE (1973). A criminal with his fingers in a number of pies informs on his associates to avoid being jailed for a recent event, but things catch up with him in dramatic fashion. Much lighter in tone was FOR PETE'S SAKE (1974). The raucous tale of a Brooklyn housewife trying to help her husband financially, but coming unstuck time and again, was a deft showcase for Barbra Streisand in the lead, with Michael Sarrazin as her spouse Pete. Peter Yates followed this with another comedy, MOTHER, JUGS & SPEED (1976). The antics of a number of people in opposing ambulance companies for jobs made up the content here, with a cast including Raquel Welch, Harvey Keitel, Larry Hagman, and Bruce Davison. One of Mr Yates' most commercially successful projects came next, being THE DEEP (1977). The story of a pair of divers who stumble upon deep sea treasure in Bermuda, was one of the hits which assisted Columbia Pictures in its turnaround in the late 1970s. The 1980s, and after, were also productive for Peter Yates in a creative sense.

EYEWITNESS (1981), was a tense tale of the relationship between a man who witnesses a murder, and a television reporter covering the crime. Although critically well-regarded, it lost money at the box office. Mr Yates then made a foray into fantasy with KRULL (1983). The battle of a Prince to save his Princess fiancée from aliens from another planet, was another disappointment, with a low box office take, and high production costs, ruling out a healthy return. There was a return to form for the director with THE DRESSER (1983). The close relationship of a theatre actor and his personal assistant was a prestige picture which garnered numerous international film awards, and acclaim for the director, and its cast including Albert Finney, and Tom Courtenay. In SUSPECT (1987), a public defender is assigned the case of a homeless man accused of the murder of a judge's secretary, and from herein things take a murky turn for her in this thriller. An innocent person placed in a horrendous position by being in the wrong place at the wrong time was explored in AN INNOCENT MAN (1989). An airline mechanic going about his life is framed for murder by two corrupt policemen, ending up in jail, but once released, sets a plan in motion seeking revenge on these officers. 

Into the 1990s came YEAR OF THE COMET (1992), for Peter Yates. A valuable bottle of vintage wine from the early 1800s is discovered by a young woman, and this initiates the pursuit of this by various people, with some of these parties having an unethical interest in it. ROOMMATES (1995), starred Peter Falk as an elderly man whose union with his grandson is contrasted in two life stages. It was not a box office success, and critically derided. Peter Yates' penultimate movie, THE RUN OF THE COUNTRY (1995), observed the interaction of a father and his son in an Irish village, and how their strained relationship becomes even more so with the entrance of a young woman into the son's life. As with the previous example, this movie lost money on its release in cinemas. The final picture for Peter Yates was CURTAIN CALL (1998). In this comedy, a man purchases a Manhattan townhouse, and his life is disrupted by the spirits of two people previously living at the residence, who offer him words of wisdom about his life. BREAKING AWAY was Peter Yates' twelfth film, and one of his best-known pictures.

In the case of BREAKING AWAY, Peter Yates has crafted an appealing, consistent movie. Charting the life of an ebullient young man in Bloomington, Indiana, who aspires to be a competitive bike racer, it is a charming film which flows exceedingly well from start, to finish. The viewer is allowed to become an intimate spectator in the life of Dave, his family, and small circle of close-knit friends. There is a breezy sense of wonder, and truth to this movie, which makes it an inspirational ride for its audience. The depiction of the family is one of its sterling qualities, and beautiful in its execution. There are some allusions about class differences made in BREAKING AWAY which work in a subtle way, never becoming tiresome, or overwhelming the movie. These come from the characters on both sides of the class divide, adding poignancy to their situations. The 'haves', being the privileged Indiana University students, are not as such played as all-out villains, and the director manages to even give them a vulnerability which works within the movie's context. BREAKING AWAY, in all respects, does have many qualities to recommend it, but some flaws are obvious in retrospect.

The center of attention in BREAKING AWAY is Dave, and his friends subsequently take a back seat to him in the narrative, but fleshing out their personal lives just that bit more would have given them even more traction in the film. The scenes of Moocher with a young woman are akin to being a teaser in this respect, as this thread is brought forth, and dropped just as rapidly. If it was not included in the first place, it would not be missed. Both Mike, and Cyril, do not have a personal life in the movie as such, and this is disappointing. Mike, in particular, with his rebellious but charismatic nature, is inexplicably never referred to as being attached to a young woman at all. Aside from this, the usage of wealthy Rod, and his friends in the film also is insufficient. While the scenes which feature this group of characters are pithy, having them as a sideline, instead of delving further into what made them tick, was dismaying. Pitting Mike against Rod in extra scenes would have been dynamite, in light of the sequence where they compete against each other in the quarry's waters. Overall, though, despite these limitations, certain facts about BREAKING AWAY are clear. BREAKING AWAY is an enjoyable picture which scores with its views on coming of age, family, class, and happiness, with its sincere presentation.

Acting: The characterizations in BREAKING AWAY are one of its sterling qualities. In the lead role of Dave Stohler, avid bicycle racer and Italophile, Dennis Christopher is excellent. With his multi-faceted performance, Mr Christopher makes his protagonist complicated, yet understandable at the same time. As Dave's strong but sensitive friend Mike, the movie is a showcase for Dennis Quaid. Employing both body language, and expressions in a non-verbal manner, Mr Quaid deftly makes Mike one of the picture's most potent assets. Dave's wistful, knowing mother Evelyn, is expertly portrayed by Barbara Barrie. Miss Barrie plays off Dennis Christopher exceedingly well, convincing the audience they are a mother and son duo. The third cog in this wheel is Ray Strohler, Dave's father, and Evelyn's husband, in the agreeable person of Paul Dooley. Mr Dooley has a realism about his acting, coupled with a subtle zaniness, that makes his Ray a lifelike, and justified figure in the film. 

Three other performances are of note in BREAKING AWAY. As Roy, Mike's policeman older brother, John Ashton affords the movie another true to life performance. Although his role is small, nevertheless, Mr Ashton's authority shines through as Mike's unshakable sibling. Dave's love interest Katherine, is given credence by Robyn Douglass. Miss Douglass' attraction to the ambitious Dave can be keenly felt, and her reaction to his trickery one of the best scenes in BREAKING AWAY. The last important acting contribution is by Hart Bochner as the privileged, discriminatory Rod. With his good looks and understated manner, Mr Bochner makes Rod someone you love to hate, but the final reels display a gentleness which is both unexpected, and gratifying to witness.

Soundtrack: BREAKING AWAY has a great soundtrack which immeasurably assists the movie in its aims. The renowned composer Lionel Newman, long with Twentieth Century Fox, provides a beautiful score which lifts the spirits throughout the picture, enhancing its aspirational qualities. Aside from this, there are several songs featured, the most prominent being 'M' Appari Tutt' amor' performed by Dennis Christopher, as he woos Katherine from her window perch above.

Mise-en-scene: The onscreen experience for viewers of BREAKING AWAY is a convincing one. Matthew Lionetti's photography is consistent, the colour just right, as the film is not garish in tone, but of a more down to earth nature. Outdoor locations are all well-chosen, and boost the movie's naturalistic tone. Editing is another strong point, with Cynthia Scheider's work particularly palpable during the picture's exciting cycling sequences. Lee Poll's set decoration is keenly felt, especially with the Strohler family home, and its comfortable feel exuding the sense of being a real setting.

Notable Acting Performances: Dennis Christopher, Dennis Quaid, Barbara Barrie, Paul Dooley, John Ashton, Robin Douglass, Hart Bochner.

Suitability for young viewers: Parental discretion advised. Low-level violence.

Overall Grade: B

Link: IMDB Page

T.R. BASKIN (1971)

Title: T.R. BASKIN

Year of Release: 1971

Director: Herbert Ross

Genre: Drama

Synopsis: A disaffected young woman from Ohio moves to Chicago, but finds nothing but loneliness, and isolation.

Within a film history context: The trials, and travails, of young women from a small town who go to live in the big city were explored a number of times before T.R. BASKIN. With Burton King's silent A LITTLE GIRL IN A BIG CITY (1925), a young woman from the country wins a beauty contest, falling into elaborate traps set by a cunning magazine publisher, but emerging with her dignity intact in this drama. THE RED KIMONO (1925), directed by Walter Lang and Dorothy Davenport, was a morality tale of a young woman from a small-town who becomes a prostitute, and is enveloped in a murder case when she discovers the man she loves has been cheating on her. Into the sound era, one of the most famous films about a small-town girl in the city was William Wellman's A STAR IS BORN (1937). A young woman desires to become an actress, and comes to Hollywood, but her meeting with an alcoholic star brings her not only happiness, but also, much grief. In comparison, NOTHING SACRED (1937), again directed by William Wellman, had a young lady who was thought to have a terminal illness, but discovers that she was misdiagnosed. She plays along with the ruse that she is ill, and a reporter looking for a story falls for her lies, and in love with her. On the other hand, Gregory La Cava's UNFINISHED BUSINESS (1941), featured a small-town woman who proceeds to New York, has an affair with a man, but is subsequently ignored by him. She then marries his brother on the rebound, but this marriage is tested in this romantic comedy.

PRESENTING LILY MARS (1943), directed by Norman Taurog, was the story of a young woman from Indiana who yearns for the stage, and at first is not taken seriously by a Broadway impresario. When she ends up in New York, and pushes him for a chance, she finally receives this. A suspense mode was employed in William Castle's WHEN STRANGERS MARRY (1944). When a young woman from a small town comes to New York to meet with her husband, she is forced to realize that he, in fact, may be a psychopathic killer. UNWED MOTHER (1958), directed by Walter Doniger, related the tale of a young woman from the country who heads to Los Angeles, and into the clutches of a Lothario, who leaves her pregnant, and in the lurch. Similarly downcast was Brandon Chase's GIRL IN TROUBLE (1963). When a young woman leaves the safety of her family farm to make it big in New Orleans, she becomes a stripper, and is subjected to nothing but maltreatment, and sadism, in this exploitation drama. CONFESSIONS OF A BAD GIRL (1965), directed by Barry Mahon, followed the narrative line of the previous entry. A young woman comes to New York to be an actress, but finds that auditioning involves the casting couch to the nth degree in her case. More exploitation fare with sex and nudity was found in Tony Orlando's HOT NIGHTS ON THE CAMPUS (1966). A young woman from Indiana comes to New York to attend college, and lives with four other women who initiate her on a crash course of permissive behaviour, which culminates in her falling pregnant. T.R. BASKIN was a movie which closely surveyed the life of a small-town girl from Ohio, examining her new existence in Chicago.

T.R. BASKIN was of a dramatic persuasion, and had most in common with those films which approached their subject in a serious manner. It was furthest as could be from those light entries where a small-town girl becomes a success in the big city, such as NOTHING SACRED, and PRESENTING LILY MARS. It lacked the sentimentality of these pictures, with their upbeat protagonists, instead, presenting a portrait of a young woman, essentially, on her own in the city, and living by her wits. There was a slight correlation between T.R. BASKIN, and movies from the 1950s and after, such as UNWED MOTHER, GIRL IN TROUBLE, CONFESSIONS OF A BAD GIRL, and HOT NIGHTS ON THE CAMPUS. In these movies, the morality of the young woman in question was the key issue here, and how her transplantation from a small town, to the big city, was a driver in her path to promiscuity. While this may be a simplification on the part of these films, nevertheless, this narrative line does infuse these examples. 

Having a young woman corrupted by her exposure to the big, bad city lended itself to much angst and melodrama, such as in UNWED MOTHER and GIRL IN TROUBLE. HOT NIGHTS ON THE CAMPUS concentrated on the sex and nudity angle, unlike the other movies, which were more straitlaced. The sexual element was but a small part of T.R. BASKIN, and not the raison d'etre, as in HOT NIGHTS ON THE CAMPUS, with its racy scenes. T.R. BASKIN was also not obvious in terms of its central character, and her psychology. It provided a limited account in this respect, mainly charting the woman's reaction to the coldness, and loneliness, of city life, and some of its people. The woman's interactions with other people were muted, and noted in a dry, distancing manner. The city itself could be seen as being a character of sorts in T.R. BASKIN, with the endless secretarial office space, and T.R.'s gloomy apartment just two examples of this. A different view of a small-town young woman in the big city, T.R. BASKIN offers an interesting account in this arena.

Overview: Herbert Ross was an American director who helmed twenty-four films over a twenty-six year period. His output consisted of romances, comedies, and musicals. Mr Ross' inaugural movie, GOODBYE, MR CHIPS (1969), was a remake of the 1939 version with Robert Donat and Greer Garson. This time around, the male school teacher was played by Peter O'Toole, with his showgirl ladylove, by Petula Clark. Next came Herbert Ross' first comedy outing, THE OWL AND THE PUSSYCAT (1970). The tale of a prostitute and a bookish man finding love, was a raucous effort that rang the box office bell, due to the presence of Barbra Streisand and George Segal, and a healthy dose of sauciness. Mystery was the name of the game in THE LAST OF SHEILA (1973). A movie producer invites a group of friends to his yacht, who were present at his home one year to the day when his wife was killed in a car accident. A game of cat and mouse then ensues, with red herrings aplenty in this thriller. Mr Ross then tackled the sequel to FUNNY GIRL (1968), being FUNNY LADY (1975). Continuing the story of Fanny Brice, her career highs, and personal relationships, it was another success for the director, with Barbra Streisand again in the lead. 

THE SUNSHINE BOYS (1975), was a comedy of two vaudeville comedians reuniting for a television special after many years, but whose existing offscreen animosity might affect their current project. Mystery THE SEVEN-PER-CENT SOLUTION (1976), focused upon duo Dr Watson and Sherlock Holmes, and how Watson seeks to assist Holmes with his psychological issues through Sigmund Freud. There was a change of pace for Herbert Ross with THE TURNING POINT (1977). Two friends involved in ballet compare their lives until the present, with the daughter of one becoming a ballerina, this making the women reassess where they have been, and where they are going in life. Also successful was THE GOODBYE GIRL (1977). The unlikely teaming of a struggling actor, a dancer, and her daughter in a New York apartment, was box office gold for Warner Brothers, also bringing an Oscar for Richard Dreyfuss in the lead role. Another well-regarded movie for Herbert Ross was CALIFORNIA SUITE (1978). With an all-star cast including Jane Fonda, Alan Alda, Michael Caine, Maggie Smith, and Walter Matthau, this peek inside the lives of guests at the Beverly Hills Hotel was a fun cinematic diversion, with some moments of pathos. 

The 1980s began a run of less-prominent projects for Herbert Ross. Biopic NIJINSKY (1980), though, was not as well-liked as his 1970s efforts. The life of Russian dancer Vaslav Nijinsky was the topic here, and his crumbling mental state. Despite a stellar cast, with Alan Bates, Janet Suzman and Sian Phillips, it was not a financial success. PENNIES FROM HEAVEN (1981), was another box office disappointment. The life of a sheet-music salesman in 1930s Chicago, and his romance with a schoolteacher, made up the content of this ambitious, but unpopular musical drama. I OUGHT TO BE IN PICTURES (1982), was also a loss maker, being the story of a young woman trying to break into the movies, and reunite with her screenwriter father. Herbert Ross made a comeback with FOOTLOOSE (1984). When a young man from the city moves to a small town, and rails against its stance toward music and dance, he starts a revolution of sorts in this energetic drama with a pulsating soundtrack. In contrast, comedy was at the core of THE SECRET OF MY SUCCESS (1987). A young university graduate finds a way of progressing his career without undue strain in this romantic comedy. 

DANCERS (1987), also examined ballet, as with THE TURNING POINT and NIJINSKY. The romance between a male ballet dancer and his younger muse was charted here, with Mikhail Baryshnikov in the central part. Despite this, it failed to recoup its costs at the box office. Success again came Herbert Ross' way with STEEL MAGNOLIAS (1989). When a young beautician gains employment at a salon, she is made to feel at home by the town's womenfolk. With an all-star cast including Sally Field, Dolly Parton, Olympia Dukakis, Daryl Hannah and Shirley MacLaine, it was a bonanza for Tri-Star Pictures. Comedy was also at the heart of MY BLUE HEAVEN (1990). When a federal agent is assigned to watch over a gangster and his wife, fireworks ensue in this comedy crime caper. TRUE COLORS (1991), had a male-male friendship at its core. The very different perspectives of two young men, both law students, are examined here, and how their aims to progress in Washington take them in opposite directions. This, unfortunately, was another of Herbert Ross' misfires, making back only a fraction of its production costs. Herbert Ross' cinematic sawn song was in the form of BOYS ON THE SIDE (1995). The close relationship between three women drives this narrative, which was not only a box office success, but also, critically acclaimed. T.R. BASKIN was Herbert Ross' third film, but one of his lesser movies.

Herbert Ross has made an unsatisfactory picture with T.R. BASKIN. The story of a young woman from Ohio who seeks a new life in Chicago, and running into inherent difficulties along the way, it is a deflating viewing experience. A number of reasons point to this in the movie. Although the acting is one of its best qualities, the lead actress, in particular, is let down by the film's reticence in providing a backstory for its titular character. Aside from the fact that T.R. Baskin is seeking a new life in Chicago, one never gets a sense of why this is so. This subsequently poses questions about her which are never answered, such as what she is running away from, and how she arrived at the decision to move to Chicago. Even though one receives some information about the character through her interactions with other characters in the story, for the most part, T.R. Baskin remains an enigma. Thus, audience identification with her is not an easy feat. While Herbert Ross aptly paints a picture of difficulties in city life, alienation, and loneliness through the visual aspects of the film, the narrative leaves much to be desired in terms of its execution. The movie largely limps along at a snail's pace, and with little to capture the emotions of the spectator. A demanding but disappointing work, T.R. BASKIN stands out as a dismaying movie from Herbert Ross. 

Acting: There are several notable acting performances in T.R. BASKIN. In the lead role of T.R. Baskin, Candice Bergen is excellent. Carefully unravelling the many layers of this young woman to the audience, with a revelation in the final section of the movie, it is one of Miss Bergen's most psychologically complex roles, and one she delivers with finesse. As Larry, T.R.'s love interest, James Caan adds his unique persona to the film. With his easy-going ways, crackly voice, and engaging personality, it would have been good to have seen more of Mr Caan in the picture. The final noteworthy acting in T.R. BASKIN was by Marcia Rodd as Dayle, T.R.'s colleague at the office. Miss Rodd's good humor, knowing attitude, and nous make her one of T.R. BASKIN's brightest lights, in what is otherwise a dispiriting movie.

Soundtrack: T.R. BASKIN takes a very lean approach to its soundtrack, which makes sense in terms of the film's themes, and presentation. Aside from diegetic music in scenes such as the restaurant sequences, there are two notable sequences which employ non-diegetic music. The first is the passage where T.R. and Larry are walking in the city, with a tinkly piano tune quietly playing in the background. The next is when T.R. strolls along the riverside after leaving Larry's home. These are some of the most pensive moments in the film, and nicely punctuated by the solemn scoring in these segments. The closing credits are in contrast to the lack of music in T.R. BASKIN as a whole, with Jack Elliott's piano theme ending the picture in a thoughtful manner.

Mise-en-scene: The visual experience for viewers is one of T.R. BASKIN's best qualities. Cinematography by Gerald Hirschfeld is beautiful, compensating for the deficiencies in the narrative with its subtlety. In turn, production design, and art direction by Albert Brenner is memorable, with the never-ending typing pool where T.R. Baskin works, her apartment, Larry's warm abode, the restaurants, bars, and department store which T.T. visits with Dayle, all excellent examples of his work. Costuming is also of a high standard, Agnes Lyon's creations ensuring that the cast is well-outfitted in upscale, smart apparel, this applying to both the male, and female performers.

Notable Acting Performances: Candice Bergen, James Caan, Marcia Rodd.

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

Overall Grade: D

Link: IMDB Page

Trailer