THE MAGIC GARDEN OF STANLEY SWEETHEART (1970)

Title: THE MAGIC GARDEN OF STANLEY SWEETHEART

Year of Release: 1970

Director: Leonard Horn

Genre: Drama

Synopsis: A young aspiring filmmaker living in a Manhattan apartment conducts a hedonistic lifestyle filled with free love and drugs, but becomes unstuck in the process.

Within a film history context: There were several movies which looked at college dropouts as a subject in film history. One of the first was Charles Guggenheim and John Stix's THE GREAT ST. LOUIS BANK ROBBERY (1959). A college dropout becomes enmeshed in a planned bank robbery which does not quite proceed as originally envisioned. HAIL, HERO! (1969), directed by David Miller, followed a young man who drops out of college to enlist in the Vietnam War. His methodology is simple; join the army, and spout notions of peace, without violence and death. Alan Pakula's THE STERILE CUCKOO (1969), was about the tender affair between two college students. This time around, the college dropout was a female character instead of a male, but her mental instability takes its toll on her. SUMMERTREE (1971), directed by Anthony Newley, surveyed the life of a college dropout, his relationship with a nurse, and opposition to the Vietnam War, among matters. THE MAGIC GARDEN OF STANLEY SWEETHEART proffered another position on a college dropout.

As with HAIL, HERO!, THE STERILE CUCKOO, and SUMMERTREE, the college dropout was the main character in the movie, the only difference being that the second film featured a female, Pookie, instead of a male, student. The sexual content in the final two examples were more marked than the first, but it is here that THE MAGIC GARDEN OF STANLEY SWEETHEART set itself apart. Stanley's life is a succession of different women, a threesome at one point, and is drug infused at various times. In a related issue, the sex and nudity angles were exploited much further than THE STERILE CUCKOO and SUMMERTREE, whose depictions are more discreet in nature. There was also a monogamous inclination respectively for both Pookie, and Jerry in these films that Stanley completely rejects in THE MAGIC GARDEN OF STANLEY SWEETHEART. This reflects the maelstrom occurring in Stanley's life, to a degree similar to Jerry's in SUMMERTREE. The presence of a family unit is another difference between SUMMERTREE, and THE MAGIC GARDEN OF STANLEY SWEETHEART.

Jerry's mother and father in SUMMERTREE add some authority to the story, and their point of view is valuable as a contrast to that of Jerry's. Stanley in THE MAGIC GARDEN OF STANLEY SWEETHEART does not have a family in the film, the only mention is of Stanley's mother in one scene where he is reading a letter from her. This gives some insight into Stanley's background, being that he is of a privileged background, and does not have to struggle for anything, but this is not a given. The tuition of Jerry in SUMMERTREE has been paid for by his parents, which is one of the reasons why they do not wish for him to go off the rails. They, as such, have an investment in his well-being, something the other examples did not elucidate. There is thus a subtle socio-economic subtext there, in comparing Jerry to Stanley. 

In addition, it is notable that Jerry in SUMMERTREE takes a stand on issues close to his heart, such as leaving college to become a musician, and his opposition to the Vietnam War. Stanley does not possess the same level of application, only standing for a good time with women, and whatever else he can find. The sole scene where Stanley resists something he does not like, being the gay man who tries to come onto him, is the only part where he actually stands for something. The ending goes somewhat into inferring that Stanley's actions are heavy on his mind, particularly since the suicide of his friend, which takes a toll on him. This is one of the most thoughtful passages in the film, adding a poignancy to the proceedings. An interesting view of a college dropout, THE MAGIC GARDEN OF STANLEY SWEETHEART presents a capable portrait of an ardent, but confused young college dropout.

Overview: Leonard Horn was an American director with three films to his credit. He was very active on television, helming countless prime time series from the early 1960s, until his death in 1975. Mr Horn presided over episodes of Alfred Hitchcock Presents, The Untouchables, Route 66, Dr. Kildare, Lost in Space, and many others. Leonard Horn's picture debut, ROGUE'S GALLERY (1968), was about a detective, whose involvement with a wealthy young woman may bring him heartache. Studded with veteran performers from the Golden Age of Hollywood, with Dennis Morgan, Brian Donlevy, Farley Granger, and Jackie Coogan, it was not released theatrically, but later on television. Mr Horn's final movie, CORKY (1973), centred around a mechanic who dreams of being a racing car driver, but this may be more difficult for him to achieve on closer inspection. THE MAGIC GARDEN OF STANLEY SWEETHEART was Leonard Horn's second cinematic outing, and an acceptable effort. 

Leonard Horn has crafted a sound motion picture with THE MAGIC GARDEN OF STANLEY SWEETHEART. Examining the life of a college student, and amateur filmmaker in New York City who drops out of his studies, majorly detailing his experiences with women, and drugs, it is a reasonable motion picture. The central strength of THE MAGIC GARDEN OF STANLEY SWEETHEART is in the portrayal of its charismatic, unsettled, but promiscuous lead character. Stanley's life is a whirlwind of women, drugs, running around, and generally avoiding either responsibility, or accountability to others. The movie, to its credit, is not morose or too heavy, and has some unexpected humorous moments which provide reprieve from Stanley's shenanigans. The mood is typical of the anything goes feel of the era, giving THE MAGIC GARDEN OF STANLEY SWEETHEART spirit in this respect. The ending is good, leaving both the viewer, and Stanley, to ponder the effect of his actions, and what this will mean for him. THE MAGIC GARDEN OF STANLEY SWEETHEART, though, in some parts, leaves much to be desired, dragging the movie down a few pegs.

In his Don Juan way, Stanley beds a number of young women in THE MAGIC GARDEN OF STANLEY SWEETHEART, and, at one stage, is sleeping with two best friends at the same time. The revelation that he is with Cathy, and then with her friend Fran, is never discovered by the two women. It could have precipitated a fallout out between them, but is ignored. Stanley's friendship with Danny, and Danny's fate in the final stretches, is another underdeveloped plot. Danny is a character who appears to have much going on internally, being a musician, and taking recreational drugs, but his suicide comes out of nowhere. One has not been offered privileged information about him explaining why this has occurred, and it is a cheap shot in the film to create some quick drama. It would have enriched THE MAGIC GARDEN OF STANLEY SWEETHEART by knowing more about Danny, and what led to this drastic event. This, though, is something that explains what really is at the heart of THE MAGIC GARDEN OF STANLEY SWEETHEART. It is a passable rendition of a time, and an era in the United States, and possibly elsewhere, with some courage of its convictions, if not fully expressive of these in a substantial manner.

Acting: The acting in THE MAGIC GARDEN OF STANLEY SWEETHEART is one of its strengths. In the lead role of Stanley Sweetheart, Don Johnson makes an impact as the charming, footloose young man who may in fact be his own worst enemy. An actor with a ready smile, but a wildness about him that suggests volatility, here makes an auspicious acting debut. As the girl who captures Stanley's restless heart, but to whom he cannot fully commit, Dianne Hull is in another of her thoughtful roles. With her subdued but friendly manner, her Kathy is the conscience of THE MAGIC GARDEN OF STANLEY SWEETHEART. Kathy's exuberant friend Fran is an excellent turn by Holly Near. With her zaniness on display for all to see, Miss Near adds a vulnerability, and pathos, that rings true, making her character very real. 

Similarly high on the wackiness level is Linda Gillen as Barbara/Shayne. With her cutting observations of life, and ability to see through situations, Miss Gillen adds an upbeat, comic spin to the film which balances it evenly. Michael Greer, as Stanley's friend Danny, is in one of his best performances. Keeping his style understated in this movie, Mr Greer makes Danny someone it would have been great to know more about. The last acting of note was by Brandon Maggart in a cameo role as Jim, a man in the cafe who tries to come onto Stanley. With his gregarious and outgoing persona, he builds his character profile well, making it crystal clear what he wants from Stanley, and eliciting surprise from the audience in the process. 

Soundtrack: The soundtrack of THE MAGIC GARDEN OF STANLEY SWEETHEART is a positive, and memorable, feature of the movie. While it includes a brief selection of several late 1960s/early 1970s songs within its running time, these nicely accompany the visuals, and provide a flavor of the era. There are, though, several tunes which are most striking in retrospect. The opening credits are enhanced by 'Nobody Knows', performed by Richie Havens. This is a fitting start to the movie which lends an aura of pensiveness to the film, with Mr Havens' deep voice a pleasure to listen to. 'Happy Together', sung by The Mike Curb Congregation, is an alluring, emotive tune which works seamlessly to emphasize Stanley's two-timing antics with Kathy and Fran. Similarly evocative is the beautiful 'Sweet Gingerbread Man', also performed by The Mike Curb Congregation. With its bright feel, but slight melancholic undertone, it adds to the thoughtful, but whimsical, feel of the picture. The closing credits are also notable, as they showcase a somber instrumental version of 'Sweet Gingerbread Man', which perfectly sums up the movie as a whole, and relates back to the quiet opening credits. 

Mise-en-scene: The visual experience for viewers is a good one in THE MAGIC GARDEN OF STANLEY SWEETHEART. Cinematography by Victor Kemper is just right, the color not too bright, but easy on the eyes. There are plenty of outdoor location sequences which adds realism and flair to the movie. The city streetscapes, university exteriors, and shopfronts are all imperative to show the life and times of Stanley Sweetheart. Interior locations are also of a high standard, with the psychedelic nightclubs, and bustling bars vividly portrayed. Stanley's messy apartment is exemplary of his busy, and chaotic private life, and a key non-verbal detail tellingly showcased by the movie. 

Notable Acting Performances: Don Johnson, Dianne Hull, Holly Near, Linda Gillen, Michael Greer, Brandon Maggart.

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

Overall Grade: C

Link: IMDB Page

INTERVIEW WITH ACTRESS WENDY PHILLIPS

I have the immense pleasure today of welcoming a very special guest, actress Wendy Phillips, to CINEMATIC REVELATIONS for an interview. Wendy has acted in many motion pictures over the years such as AIRPLANE II: THE SEQUEL, MIDNIGHT RUN, FRATERNITY ROW [my review of the film can be found here], THE WIZARD, BUGSY, I AM SAM, FRIENDS WITH MONEY, and RENDITION, to name several. Wendy has been an acting teacher privately for many years, and is currently an Adjunct Associate Professor at the University of Southern California. In this interview Wendy will be discussing her part in FRATERNITY ROW, acting in cinema and on television, and her academic career.

Welcome to CINEMATIC REVELATIONS Wendy!

Wendy: Thank you, I’m happy to be here.

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

Wendy: Well, my parents were actors, and my father was a Broadway actor for many years, fairly successful, and was blacklisted right around the time I was born. So he went into teaching acting, and one of his students, it's almost a cliche, was my mother. They got together, and I was born along with my two brothers, and they'd just grown up in the theatre, or in acting classes.

Wannabe actors were our babysitters. We had to sit through all the plays my parents did, and it became second nature. It's the family business, what can I say? So I went to Cal Berkeley [University of California] sort of thinking I wanted to be an attorney, a lawyer, a criminal lawyer, and right the wrongs of the world. But then I realized I really hated law.

So I guess life picked me to be an actor. I got an audition, got it, and just kept going.

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Athan: Where did you study acting?

Wendy: Well, first with my parents growing up, but when I came down to Los Angeles, I had worked a little bit at the Strasberg Institute because Lee Strasberg was a close friend of my father's, but a really good person who taught me the most was a woman named Peggy Feury. She had a studio called the Loft Studio, and a lot of children of actors from New York studied there because they respected Peggy so much. People like Sean Penn, Angelica Houston, Adam Arkin, lots of people.

And I met my best friend there, Hallie Foote, who's the daughter of the playwright Horton Foote. So we were all twenty somethings in this acting class, and she was a very good teacher, and I owe her a lot.

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Athan: As the multi-faceted Betty Anne Martin in FRATERNITY ROW, your performance was excellent. What it is that drew you to the part of Betty Ann in FRATERNITY ROW, and how did it feel to make your film acting debut in the movie?

Wendy: Well, honestly, I would've, at that point in my career, taken any part. So it wasn't that I picked Betty Ann as much as Betty Ann picked me. Now, overall in my career, I've had more success playing, I don't want to say the villain, but a character that's broken in some way. And a wonderful writer/producer once said that his theory on casting was always to cast…

If you wanted a villain, get someone who's really nice because they will present complexities, as opposed to someone who's just, excuse my language, well, someone who's just kind of rotten to play a rotten person, you just, you just get two rottens. But if you cast opposites, you get a duality, which is what you look for in complex performances.

At that young of an age though, you always want to be the liked one, or the pretty girl, but over time, I appreciated it. And again, one of my oldest friends is Greg Harrison and also, Nancy Ritter. From that movie, you kind of bond as young actors. You don't know anything. You're pretending you know everything and you form very close relationships at those times of transition.

I had done a movie before FRATERNITY ROW, which is what brought me to Los Angeles. I'd done a movie of the week called Death Be Not Proud, which was really excellent, with Robby Benson, Jane Alexander, and that was my sort of professional debut. And a Los Angeles agent saw it and wanted to sign me. She also happened to be Greg Harrison's agent, and she submitted us both for FRATERNITY ROW.

That very first year was young.

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Athan: FRATERNITY ROW had an accomplished cast with yourself, Peter Fox, Gregory Harrison, Nancy Morgan, and Scott Newman as the lead group of protagonists. What was it like working with these performers, and have you kept in contact with any cast members and crew from FRATERNITY ROW?

Wendy: Well, it's interesting looking back on it. You know, Scott Newman shortly passed away after the movie, but he was difficult. He was a difficult character probably because of the demons he was struggling with, and because of who his father was. But looking back on it, he was extremely charismatic. And I'm so sorry that he wasn't able to somehow work his way through his demons.

Greg and I became very close friends, very good friends. We were the only two actors that my agent represented that were not from New York. I was from San Francisco, and Greg is from Catalina. So all those parties, we kind of just huddled in the corners, the two non-New Yorkers.

But we were very good, good friends, and we played brother and sister in season eight of Falcon Crest many years later. And Nancy, who became Nancy Ritter, John Ritter's wife, was just a wonderful person. And I went a couple of years ago, I went back to an acting class, I just wanted to. I was teaching, and I felt like I needed to walk in the shoes of being an actor again, to help my teaching.

And there's a wonderful teacher that she was in that class, so we got to sort of reconnect after many years. She's just a great person, really great. I value my friendship with both of those people. And Peter, I like Peter, but I don't know where Peter went. I think he's president of the Theater Alliance in Los Angeles, but ninety-eight percent of my work has been filmed, so I don't know very much about theater in Los Angeles.

I love film. Perhaps it was my own personal validation, my family or theatre, and I went into film. Fortunately, film accepted me in and I love it. I loved the hours, I loved the camaraderie of being the crew. I love the intimacy film that you get, that's harder to get on stage, I think.

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

Wendy: It was during the summer of 1976 maybe. We took over a paternity house at USC, and the cast and the crew in a weird way almost lived there. We just, we would just shoot sort of around the clock. Most of it takes place at night, so it's night shoots, which particularly throws your rhythm off.

So we would spend a lot of hours just hanging out at that fraternity house while they were setting up cameras. And it was conducive, conducive to conversations of the soul around 4:00 AM in the morning while you're waiting for the next shot to be set up.

In terms of a sequence from the movie, there's a fight scene in there. I think that's my favorite scene, and its with Peter Fox. I have a fight scene and I'm really not very nice, but my feelings are heard. I don't understand why everybody else feels different than I do. I’m arguing by a tree with Peter Fox, then he leaves me crying there.

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Athan: FRATERNITY ROW was directed by Thomas J. Tobin, in his only film as director. What was the experience of being directed by Mr Tobin in FRATERNITY ROW, who made his movie debut helming the picture?

Wendy: Well, he was a lovely man. I'm surprised didn't get some work out of it. I don't know if you realize this, Gary Allison was the executive producer. This is a film made by USC in an effort to get their graduate students experience.

And it was an experiment to see if they, if, a graduate department, of course USC cinema, USC cinema, a School of Cinematic Arts, is about as prestigious as you could get in this country. So I would say seventy-five percent of this, the crew were students, graduate students. Our DP [Director of Photography] had been a professional director of photography, and I think Tom had directed some, but he really hadn't worked with actors extensively. He was lovely. And I think he did an amazing job considering the pressure he was under with the school, just being the first time the school attempted to do this.

And they did find a market and you know, a year later it was sold for release and we all got paid. But at the time, everybody was doing it as a labor of love. We weren't being paid at that time. The actors weren't and neither was the crew. And once it was paid, everybody, they kept the hours, they kept the accounting. I have a wonderful story about Greg Harrison. This is a little off topic, but we did the movie, and then we didn't hear anything more about it for about a year.

And that's not unusual, but we went our own ways. But Greg Harrison was having a hard time getting any work and he was working, selling shoes. I think Carl’s Shoes didn't have any money, and all of a sudden it was just before Christmas that they cut the checks for FRATERNITY ROW. And with all his overtime, and remember, this is 1977, his check was for $36,000. From working to selling shoes, he knew that with amount of money, he could live at least a year in Los Angeles and pursue acting. And soon after that, he got Logan's Run, which was a dream. But he came over with a check because I got my check. and was in tears because it was in the nick of time.

Athan: Isn't it something when something like that happens? Many times a situation saves.

Wendy: The thirteenth hour or something and you go, oh, here I'm gonna make it.

Athan: Makes you not want to give up on life, doesn’t it?

Wendy: I don’t know, it ain't over until the fat lady sings. Do you have that expression?

Athan: Yes.

Wendy: Baseball expression here. And I think you hang, you know, it's over until, it's over. You know, it's, so hang in there.

Athan: That's it. Exactly.

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Athan: You have also acted in many television shows over the years, with Executive Suite, Lou Grant, B.J. and the Bear, CHiPs, Trapper John, M.D., Taxi, and St. Elsewhere, Falcon Crest, and more recently in E.R., Ghost Whisperer, The Mentalist, and SEAL TEAM. You have appeared in telemovies, with Paper Dolls, Shattered Vows, and Appearances just a small sampling. What, for you, are the main differences between film, and television?

Wendy: Well, there's one time, just time. TV, they have to get big, they have to tell the story. You have eight days for an hour of tv, if you're lucky. And for a feature for two hours, a two-hour feature could be like four months. So a lot of that goes to the lighting, and they can go on location. And the richness of the quality of production is much richer on a big feature.

So feature writers can write to that, while TV writers know that they have to keep the story within a certain kind of containment or they just can't shoot it in time. I think the hour long format may be the format I love the most, but it may be the most tiring to me on a series for an hour drama because you're just every day shooting for months and a different story every day. While with a feature, you have one story over a couple of months.

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Athan: You have been an Adjunct Associate Professor at the University of Southern California Graduate School of Film for the last fourteen years in the John Wells Division of Writing for Screen & Television. What is it about this role which gives you the most satisfaction?

Wendy: Oh, I'm very grateful. You know, in Hollywood there's not much use for older actresses. When I finished my last series Promised Land, I was 50 something. And while there are parts for older women, if they are any good, then Meryl Streep is doing them. There's so few, and most of them are just written like in broad terms and aren't, aren't really very interesting.

It's not why one becomes an actor. And I got offered this job out of the blue. I did a film called MIDNIGHT RUN with Robert De Niro, and the man sitting next to me in a dinner party loved that film. He turned out to be the head of the cinema department at USC, and asked if I wanted to come teach this class that had been taught by Nina Foch, who had just died one or two years earlier.

They were looking for her replacement. And I couldn't imagine teaching screenwriters the process of acting, because that's the class I teach, which, is a required course. It's the first course they get when they enter graduate school. And it's magic, it's absolutely magic. I would prefer to teach screenwriters than actors because actors are constantly, how am I going to get a job?

You know, giving them information, but they want to know, is this going to help me get a job? It's hard for them to hold onto the big picture of their journey as an artist. But if you're a screenwriter, you're like, what the heck? I've got to take this acting class? And then all of a sudden they kind of get it. They kind of get how the actor is also a storyteller, and that their words, and these people, merge together to create one story for you to view.

But the director, the writer, the actor, the cinematographer, they're all coming together to tell this story as truthfully, and fully as possible. And you know, you really, there's always one or two during a semester where you see the light comes on, you know, behind the eyes and they go, oh, I get it, I get it. And I know those people when they direct now, will truly appreciate what actors do, and not see them merely as talking puppets, which is, I kind of think, that a lot of people think actors really are. Either they're exhibitionists, or they practice in front of the mirror, and make a series of expressions, and that's not it at all.

Yeah. And I'm 72, and I get to go work with young people who are really smart and excited about their futures, and it makes me feel young. Campus in the fall and they're all arriving and their script hasn't been written yet, and they're so, they're ready to go. And you can just be, it's contagious. It really, it makes me feel very alive.

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

Wendy: I've been retired from acting for a good fifteen years, maybe longer. Maybe every once in a while it crosses my mind and someone will ask me if I'm interested in something. But you know, acting is a muscle. You have to believe in yourself. You have to have confidence that you are the best person to tell or act the story of this character.

And you have to do it a lot to believe in that. It's a kind of a trick in the mind. You have to practice it a lot so that when a part comes at you go, I know this character better than anyone else, and I can do it better than anyone else. You have to walk in with that kind of belief. And that's why young actors are always in acting class. It's not necessarily just to learn acting, it's about keeping that muscle going so that when they do get a job, they've been acting every day or you know, they've been at it for a while.

Actually teaching it is a very different part of the brain than the doing of it. And now that teaching part is really built up and the doing of it is, that's why I went to that class where I reconnected with Nancy, because I just wanted to touch it again and, make sure that part of the brain still existed. But no, no, no, just not just, I want to teach as long as I can.

You feel like that, you know, you're where you belong. You could feel it in your body, and it's not like every day is happy and there are days when I go, I don't want to teach anymore. But overall, you know, you're receiving an enormous amount of nutrition for the soul, and I'm really, really grateful for it. Really grateful because I too have, I have had acting jobs where I just could not wait for it to be over.

And if I could quit in the middle of a project, I would've, as they would have been like nightmare experiences, just because I wasn't where I was supposed to be. 

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

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Wendy Phillips links

+Wendy Phillips IMDb Actor Page

+FRATERNITY ROW movie IMDb page

+Wendy Phillips University of Southern California profile

NIGHTMARE HONEYMOON (1974)

Title: NIGHTMARE HONEYMOON

Year of Release: 1974

Director: Elliot Silverstein

Genre: Drama, Horror

Synopsis: A couple on their honeymoon witness a murder, and are pursued by the killer.

Within a film history context: From the silent era onwards, there have been several movies which deal with couples on their honeymoon who encounter murder and mayhem. One of the first was Maurice Elvey's FOOTSTEPS IN THE NIGHT (1931). The honeymoon of a scientist and his wife is interrupted by a foreign agent, who wants to steal the plans for the scientist's newest invention, subsequently causing the couple nothing but trouble. With horror film THE BLACK CAT (1934), directed by Edgar G. Ulmer, a honeymooning couple is drawn into the warped life of an architect, with murder and intrigue aplenty. In William Clements' THE CASE OF THE VELVET CLAWS (1936), which was one of the Perry Mason series mysteries, Perry and wife Della's honeymoon is interrupted by a woman with a gun. She wants Perry to have a story about her and a man retracted from a newspaper, but that is just the start of events in this short movie. THE INVISIBLE MENACE (1938), directed by John Farrow, had an army private take his new bride for a honeymoon on an island, but discovering that chaos and murder reign supreme there. 

Arthur Wood's comedic HAUNTED HONEYMOON (1940), was similar in type. When a Lord, who is an amateur private eye, honeymoons with his new wife, a crime writer, at their new country home, they become embroiled in a homicide. HOMICIDE FOR THREE (1948), directed by George Blair, again had a honeymooning couple fall into suspense and murder. In this instance, a couple proceed to a hotel and find a suite, but homicide makes its presence felt in their lives in this thriller. David Friedkin's HOT SUMMER NIGHT (1957), had a reporter interrupt his honeymoon ardent on the trail of a bank robber, but whose investigations for him may prove lethal. Horror was the name of the game in KISS OF THE VAMPIRE (1963), directed by Don Sharp. Events on their honeymoon lead a couple into a European village where they encounter vampires, and the occult, in this British production. NIGHTMARE HONEYMOON was the most realistic production about a honeymoon given to murder and mayhem, for several reasons.

While it shared the tendency of the other movies to showcase a harried couple who fall into dangerous situations on their honeymoon, NIGHTMARE HONEYMOON was lacking in obvious suspense elements, which typified entries such as THE CASE OF THE VELVET CLAWS, HOMICIDE FOR THREE, and, in particular, KISS OF THE VAMPIRE. In NIGHTMARE HONEYMOON, it was a case of witnessing a blissful, newlywed couple flush with excitement at starting a new life together, and how their stumbling upon a horrific incident changes the course of their honeymoon, and their lives from therein. It was a naturalistic presentation overall in this way, and also featured elements of action movies in the chase sequences. Aside from this, it also did not have villainous characters who held prestigious positions, such as in FOOTSTEPS IN THE NIGHT and THE BLACK CAT. In NIGHTMARE HONEYMOON, the transgressors were thoroughly psychotic criminals, without a sterling pedigree, committing heinous acts. There was a lack of glamour in this respect, with the offenders dressed down, particularly compared to the well-heeled entries of the 1930s and 1940s. A beguiling look at honeymoon calamities, NIGHTMARE HONEYMOON was the most contemporary movie of its kind in its time.

Overview: Elliot Silverstein was an American director who made six feature films between 1965 and 1994, with a considerable break of seventeen years from his fifth, to his sixth and final project. He mainly helmed dramas, with his first two movies being comedies, but also tackled crime dramas, action, and horror. Mr Silverstein's inaugural picture, CAT BALLOU (1965), was a western comedy of a young woman whose father is murdered, and seeks retaliation for the crime. She in turn becomes an outlaw, and enlists the services of an inebriated gunfighter in her quest for justice. With a cast including Jane Fonda in the title role, and Lee Marvin as her gunman, it was one of the most successful films of the year. Less popular at the box office was Elliott Silverstein's next project, THE HAPPENING (1967). When a businessman is kidnapped by a group of young people for a hefty ransom, no one, not even his wife, offers to pay the amount. He then turns against these people, and sides with his kidnappers to extort money in this enjoyable comedy caper. 

Into the 1970s and after, A MAN CALLED HORSE (1970), was one of Elliot Silverstein's best-known works. The odyssey of an English aristocrat in a Native American tribe, eventually becoming their leader, rang the box office bell, and led to two sequels. Mr Silverstein's penultimate movie, THE CAR (1977), was a foray into horror. A car without a driver causes pandemonium in a small town, specifically of the murderous kind. Critically derided in its time, it was followed by a sequel over forty years later which met with the same disdain. Elliot Silverstein's last film, FLASHFIRE (1994), followed a police detective and his assorted problems. Despite having Louis Gossett Jr. and Billy Zane in the lead roles, it sank into oblivion. NIGHTMARE HONEYMOON was Elliot Silverstein's fourth motion picture, and a competent, if inconsistent movie.

Elliot Silverstein has made a forceful, but patchy film with NIGHTMARE HONEYMOON. Taking as its starting point the reception party of a newlywed couple, it shows them elated upon embarking on a new life together. This is aptly contrasted later when they encounter villains during their honeymoon, this experience marking them irrevocably. In this respect, there is a logical sequence of events in the film which make sense as a whole for the characters, and the story. Aside from this, NIGHTMARE HONEYMOON, at first glance, would seem to be an insidious exploitation tale with few redeeming qualities to recommend it. The advertising materials suggest something akin to a horror movie, with some unfortunate self-defeating copy which does not assist the film's cause. Upon viewing the film, it is refreshing that it is not as furtive as expected. NIGHTMARE HONEYMOON has murder and rape as some of its content, but, in both cases, shies away from closeup views of these crimes. In an era of cinema where crime was often depicted in thoroughly violent ways, the picture, as such, does not glamorize it. While this is a virtue of NIGHTMARE HONEYMOON, on the other hand, it could have gone further to engage viewers both visually, and storywise.

One of NIGHTMARE HONEYMOON's best aspects is its treatment of crime in a serious manner. The criminals are not bad people who are redeemed by the end of the movie, thus avoiding a distorted message to viewers. This is admirable to see, and the film's straightforward presentation also has its virtues. Where the picture could have been better is in the filming of certain key scenes. The rape sequence is one of these examples. The movie does not depict the rape onscreen in any manner, and prefers to explore the psychological impact of this on its victim. It could have, though, set up a scene where the rapist's eyes lock with the victim's, and her scream heard as he moves towards her. In addition, and in a spare manner, this device could have been repeated throughout the movie when the woman remembers her horrible experience. There is another downside in NIGHTMARE HONEYMOON's plotting which does not help the film.

Having the rapist disappear from the narrative for a large chunk of the picture has its disadvantages. There is a concentration upon the newlyweds, and how they come to terms with what happened to them, that is compelling to watch. The absence of the criminals, though, does let the proceedings down somewhat. Watching the criminals exact their revenge step by step would have added suspense. Aside from this, there is no substantial backstory for the rapist and his accomplice. This would have been beneficial, and added dimension to the character, and picture itself, as he is not a cardboard villain as such. The anger and violence displayed have their origin somewhere, and elaborating on this would have greatly enriched the film. In essence, these flaws reflect something about NIGHTMARE HONEYMOON. It is a film which has a few impressive scenes, but the overall delivery does not live up to expectations.

Acting: NIGHTMARE HONEYMOON has several performances of note. In the lead role of David Webb, one half of the central newlywed couple, Dack Rambo is convincing. An actor with a suave presence, here adds a little danger to the mix as the charming, but complicated David. David's new wife, Jill, is expertly portrayed by Rebecca Dianna Smith. Miss Smith effectively conveys the change in temperament from bubbly newlywed, to a woman suffering after being violated, with utter force. An actress who has vanished from screens since the mid-1970s, it would have been a treat to have witnessed more acting interpretations from her. The thorn in David and Jill's side, the villainous Lee, is a surprising turn by the underrated John Beck. Usually cast as a solid, amiable leading man whose soothing presence makes his female partner at ease, here is entirely contrary in role. Although Lee is a mean seed to the core, there is just something about John Beck in this part which captures the attention, despite the movie not getting into sufficient depth about his backstory. The last acting deserving mention was by Angela Clarke as a woman David finds at the park. Even though it is a small part, Miss Clarke is riveting as a woman caught in a difficult situation, but with a good man on her side to allay her fears.

Soundtrack: NIGHTMARE HONEYMOON is purposefully lean in terms of its soundtrack, and this works for the picture as a whole. Elmer Bernstein's score covers all the bases, from the quieter scenes with soft music, to the more thoroughgoing passages with stronger music. The opening, and closing credits are also of interest in that the former features pleasant wedding music, while the latter has a somber tone which reflects the sad tone of the concluding scenes.

Mise-en-scene: The onscreen experience of NIGHTMARE HONEYMOON is persuasive to witness for viewers. Colour photography by Harry Stradling Jr. is properly subdued, with a slightly more florid turn at the film's beginning making way for shadows, and darkness, as the movie unravels. This is in keeping with the plot, and feelings of the characters, expressed in a non-verbal way. Sets are elaborate and opulent, with David and Jill's bridal suite, and hotel restaurant the main standouts, thanks to set decorator James L. Berkey. Outdoor location shooting is also impressive, with the wedding festivities, and the climactic duel between David, and Lee, just two examples of properly orchestrated scenes.

Notable Acting Performances: Dack Rambo, Rebecca Dianna Smith, John Beck, Angela Clarke.

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

Overall Grade: C

Link: IMDB Page

Trailer

FRATERNITY ROW (1977)

Title: FRATERNITY ROW

Year of Release: 1977

Director: Thomas J. Tobin

Genre: Drama

Synopsis: At a college fraternity for young men in the 1950s, hazing rears its ugly head, culminating in tragedy.

Within a film history context: Hazing in academic environments was not a common topic in cinema. One of the first to deal with this was Jack Conway's A YANK AT OXFORD (1938). In this story of a young American man trying the find his way at Oxford, he pushes a replacement runner out of the way in the baton race, which leads to his hazing at the hands of fellow students in this comedy-romance. With comedy MR. BELVEDERE GOES TO COLLEGE (1949), directed by Elliott Nugent, an older man enters college as a freshman, and is subjected to a humorous form of hazing for shaving in Whisker Week. Gordon Parry's TOM BROWN'S SCHOOLDAYS (1951), was more serious. The experiences of a young boy at an English public school, with hazing the order of the day from other students, provided the repercussions of such behaviour in this drama. FOR MEN ONLY (1952), directed by Paul Henreid, looked at how a young man in a college fraternity is subjected to intense hazing, which leads to his death. A professor at the college aims to stop hazing at the establishment in light of this tragic outcome. FRATERNITY ROW dealt extensively, and with sensitivity, with the topic of hazing in its story.

The treatment of hazing in FRATERNITY ROW was, far and away, utterly serious, as was the case in FOR MEN ONLY. In this respect, it was fully removed from the light-hearted depictions of hazing in A YANK AT OXFORD, and MR. BELVEDERE GOES TO COLLEGE. These were in line with the overall comic tone of both of these movies, but their intentions were humorous, and not meant to lower the dignity of the person being hazed. FOR MEN ONLY showed how the young man being hazed, in the end, was indirectly killed by being forced out of the fraternity by the other members, and loses control of his car from the emotional stress. The fallout from this brings hazing, and the person mainly responsible for the young man's death, into the spotlight. 

In FRATERNITY ROW, a young man partakes in a dangerous hazing ritual by a sadistic member, and chokes on a piece of liver. The young man's experience here is brought forth in all its horror, and the tragedy of his death affects not only his closest friend but also, his fellow fraternity members, and the members of a female fraternity. The man who caused this event is castigated by the dead man's best friend, and is not as high and mighty as he was prior to this taking place. There is a keen sadness by the spectator felt for Zac in FRATERNITY ROW, to say that a promising young life has been taken away by a cruel and unnecessary ritual that leaves shock, and death, in its wake. Both FOR MEN ONLY, and FRATERNITY ROW express this sentiment, with the latter's presentation heartrending, and a move for change on this front. A solid account of the effect of hazing, FRATERNITY ROW does a creditable job handling this hot topic.

Overview: Thomas J. Tobin is an American director of a single movie, being FRATERNITY ROW. He has been much more active as a producer, editor, and assistant director not only in cinema but also, on television. As FRATERNITY ROW is Thomas Tobin's sole contribution to feature films as a director, the overview with naturally concentrate on his vision for FRATERNITY ROW.

With FRATERNITY ROW, Thomas J. Tobin has crafted a well-structured, intense motion picture. The story of a college fraternity in 1954, particularly spotlighting the insidious practice of hazing in the institution, and the consequences of an incident gone wrong, it is a movie which flows at a leisurely, but assured pace, and never lags or bores. In establishing the characters, and milieu, the initial opening stretches of FRATERNITY ROW are, to be honest, slightly sluggish. Once this passes, though, the film picks up the pieces, and is compelling for its remainder. FRATERNITY ROW possesses attention to detail not only in informing viewers about fraternity life, but also ensures that the viewer cares about the characters. This is a quality which makes the ending so heart-rending but also, elicits anger in the spectator, with a call to take action. There is both a hardness, and softness to this film which give it balance, and works with the material. It is very interesting to note that the movie was a project in which cast and crew from the University of Southern California participated, and is anything but an amateurish production. Additionally, the screenplay by Charles Gary Allison was based upon his university dissertation about a real-life fraternity occurrence resulting in death. Both of these hold the movie in good stead, imbuing it with realism. An above-average picture about a topic which will always be a bone of contention, FRATERNITY ROW makes one wish that Thomas J. Tobin had helmed another movie.

Acting: An attractive and talented cast have been assembled for FRATERNITY ROW who give their best on screen. As college pledgemaster Rodger Carter, Peter Fox provides the human core of the story, and his interactions with the other characters ensure its emotive delivery. With his strong but earnest presence, Mr Fox is the perfect lead. Rodger's best friend, Zac Sterling is given panache, and appealing idealism by Gregory Harrison. The teaming of both Peter Fox and Gregory Harrison is another asset to FRATERNITY ROW, their relationship real for all to witness, and savour. Rodger's love interest, the vituperative, by the book Betty Ann Martin, is given edginess, and style, by Wendy Phillips. With her ability to play not only the malevolent but also, the vulnerable sides of Betty Ann, Miss Phillips is a three-dimensional, fascinating spitfire. 

At the opposite end of the spectrum is Jennifer Harris, Zac's girlfriend, played with delicacy by Nancy Morgan. Aside from a nice chemistry with Gregory Harrison, Miss Morgan's explosive scene with Wendy Phillips' Betty Ann is something to behold. The final acting of note was by Scott Newman as sadistic pledgemaster Chunk Cherry, whose preoccupation with hazing sets up the film's final act. Mr Newman brings it all to the table with his larger-than-life persona and physical presence, but whose facial expressions make sure that the audience can attest to some glimmers of humanity. A skilled actor for whom this was his final role, Mr Newman was gone way too soon, but here is at his best.

Soundtrack: FRATERNITY ROW showcases a number of tunes throughout its running time, but interspersed nicely at appropriate moments in the story. The movie is careful to never overwhelm with its musical choices, which works in its favour. The best use of music is during the closing credits sequence, played to Don McLean's ethereal rendition of 'If You Can Dream'. This beautiful piece sums up the raison d'etre of FRATERNITY ROW, and adds a palpable emotional force to what is already a potent, compelling motion picture.

Mise-en-scene: The onscreen experience is especially convincing for viewers of FRATERNITY ROW. Cinematographer Peter Gibbons' subtle use of colour is effective, capturing the 1950s in a muted manner which is anything but longing for the nostalgic, which is not the movie's intent by any means. Authenticity is also established by the employment of real-life university locations which command attention, and verisimilitude. Interiors are also of a high standard, with the young mens' fraternity house a standout. One of the most notable features of FRATERNITY ROW is both its opening, and closing credit sequences. The contrast between these speak of the picture as a whole. The opening, with its shots of both male, and female fraternities, seeks to inform the viewer of the history of these, with its lively musical accompaniment. The closing credits are entirely contrary, with its rolling credits set against a black background, and solemn tune. This reflects what has taken place during the course of the film, and what the audience has learned not only about the characters, but about the fragility of life, and the impact of this on their own existence.

Notable Acting Performances: Peter Fox, Gregory Harrison, Wendy Phillips, Nancy Morgan, Scott Newman.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer

RIDE THE WILD SURF (1964)

Title: RIDE THE WILD SURF

Year of Release: 1964

Director: Don Taylor

Genre: Drama, Romance

Synopsis: Three surfers come to Hawaii in search of big waves, and the excitement of competing against fellow surfers.

Within a film history context: With the rise of surf culture in the late 1950s and early 1960s, cinema began to respond with an assortment of movies about surfers. The first notable example was Paul Wendkos' GIDGET (1959). A young woman has her first experience with surfing one summer, and is squired by two surfers, one her age, the other considerably older. GIDGET was the first film released by a major Hollywood studio with a beach and surfing background. Its popularity led to two sequels, being GIDGET GOES HAWAIIAN (1961), and GIDGET GOES TO ROME (1963), several television movies, and television series in the years after. GIDGET and its counterparts were followed by the BEACH PARTY movie cycle, made by American International Pictures. 

Commencing with BEACH PARTY (1963), directed by William Asher, this led to a number of sequels, frequently starring Frankie Avalon, and Annette Funicello. These adeptly combined surfing shots with comedy, and romance. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965), and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big-name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. Aside from the BEACH PARTY movies, there were others which spotlighted surfers.

Leslie H. Martinson's FOR THOSE WHO THINK YOUNG (1964), was about a wild young man looking for romance, with the obligatory scenes of beach action, and surfing mixed in for good measure. Lennie Weinrib's musical BEACH BALL (1965), centered around a crafty, surfer rock and roll group manager employing dubious methods to raise money to purchase instruments for his band, which are discovered by the finance committee. THE SWEET RIDE (1968), directed by Harvey Hart, featured a character who was a surfer, among others such as a tennis player, and a musician, in this light movie. RIDE THE WILD SURF was a movie that took another approach to its surfer characters, and this differentiated it from its counterparts.

Examples such as FOR THOSE WHO THINK YOUNG, and THE SWEET RIDE had a single surfer male character, but RIDE THE WILD SURF contrasted three surfers within its framework. THE SWEET RIDE's surfer was older than those of RIDE THE WILD SURF, and more experienced in life. He was more enmeshed in permissive exploits than the surfers in RIDE THE WILD SURF, whose lives were innocent in comparison. These young men sought fun and romance in Hawaii, but did have a credible backstory which provided further information about them other than their penchant for surfing. Their various views on life, and what they wanted out of it, were explored here. While RIDE THE WILD SURF was not drama-heavy as a film, and did have light moments which recalled the BEACH PARTY movies, there was a deeper look into the psychology of these young men which gave them dimension. 

A young man's battle with his feelings of insecurity to prove himself as a surfer, and another's mission to show that he is more than a surf bum, but a vital human being, were two of the stories which RIDE THE WILD SURF covered. This gave the film a sense of punch which the BEACH PARTY movies lacked, as they were oriented towards comedy, romance, and escapism. In addition, the female love interests in RIDE THE WILD SURF were also three-dimensional, ably backing up the male characters without being superficial. As with the male characters, they were easy on the eyes, making them palatable to the audience in a visual, if superficial sense, but carried weight in being credible halves of a male-female duo. In essence, the dissection of real emotions, and the enunciating of these, is one of the reasons why RIDE THE WILD SURF is one of the better movies about surfers. 

Overview: Don Taylor was a former MGM contract player who began to direct motion pictures in the early 1960s. His output was generally light in tone, with some darker works interspersed. The first of his eleven movies was EVERYTHING'S DUCKY (1961). A comedy about two sailors smuggling a talking duck onto their ship, and the zany consequences of this, starred Mickey Rooney and Buddy Hackett in the lead roles. JACK OF DIAMONDS (1967), focused upon a cat burglar, and his assorted exploits stealing jewels from celebrities, and other activities. ESCAPE FROM THE PLANET OF THE APES (1971), was the third part in the series of science fiction movies, and another profitable entry. Don Taylor next made TOM SAWYER (1973). The musical version of the classic story of a young boy in the 1840s also made money, with a cast including Celeste Holm, Jodie Foster, Warren Oates, and Johnny Whitaker as Tom Sawyer. There was a foray into more dramatic territory for Mr Taylor with ECHOES OF A SUMMER (1976). The heart-rending plight of a family, whose daughter is terminally ill, was the subject of this picture, which again featured Jodie Foster, this time as the young girl. 

Horror indelibly marked THE ISLAND OF DR. MOREAU (1977). The survivor of a shipwreck stumbles upon an island, and becomes involved with a mad scientist, who is doing evil things to the citizens residing on the isle. DAMIEN: OMEN II (1978), was another horror film for Don Taylor. In this continuation of THE OMEN franchise, the demonic young Damien causes further death and destruction to those surrounding him, this time the brother of his father, and his wife. With a great cast including William Holden, Lee Grant, Sylvia Sidney, and Lew Ayres, it was an acceptable sequel to the original THE OMEN. Don Taylor's last film, THE FINAL COUNTDOWN (1980), was a war movie with science fiction overtones. In 1980, an aircraft carrier goes back in time to the attack on Pearl Harbour, the past causing issues for present events. RIDE THE WILD SURF was Don Taylor's second film, and an unspectacular, but solid effort.

In the case of RIDE THE WILD SURF, Don Taylor has created an entertaining motion picture. The story of three surfers heading to Hawaii to catch waves, and compete in surfing contests, Don Taylor makes RIDE THE WILD SURF a fast-moving experience. Mr Taylor accomplishes this by immediately diving into the story, taking spectators on a fun journey into the lives of its three leads. The lack of exposition at the beginning does not hurt the movie, as there is time further down where the audience becomes familiar with the characters, and what they are seeking. It is not a matter here of flaky young men seeking to prove their manhood, or bravado, on the waves, which can become tiresome in other pictures. The objective is of achieving something in their lives to be seen as viable human beings. The best parts of RIDE THE WILD SURF are those where intimate thoughts of the protagonists are aired, as in the case of Jody Wallis, and Steamer Lane. This goes way beyond visions of hulking surfers with no depth, which the BEACH PARTY films sometimes showcased. While it is a positive that one gets to know the characters is great detail, RIDE THE WILD SURF could have improved upon this aspect considerably.

It is pleasing that beach life and shenanigans have largely taken a back seat to more pressing considerations in RIDE THE WILD SURF, and the presence of a plausible story one of its assets, but further work could have been done in this arena. Jody's mindset was intriguing to witness, and how he sometimes shuts Brie away, but this seemed like a teaser, and prelude, to something that was never explored. Likewise, Steamer's protestations to not be seen as a beachcomber by his girlfriend's mother, and her misgivings about him, were also real, and then cast aside to seek harmony in the narrative. If RIDE THE WILD SURF spent more time examining these situations, which were perfectly valid, it would have taken the movie to another level, and even further removed from the BEACH PARTY series. Alas, it appears there was a move to keep the film light and bright, but having added pathos would have been beneficial to a greater impact. A slightly unbalanced but competently handled movie, RIDE THE WILD SURF is notable as attempting to distinguish itself from other beach pictures, and does realize this in its own way.

Acting: RIDE THE WILD SURF features a number of appealing performances. In the lead part of surfer Jody Wallis, Fabian is just right. A teen idol sensation of the late 1950s and early 1960s, it is easy to see why, with his good looks, charismatic manner, and passionate undercurrent just some of the reasons. His other half in the film, Brie Matthews, is given oomph by Shelley Fabares. What could have been a noxious nymphet in lesser hands has been made into a winsome ingenue with a fetching presence. The bouncy Augie Poole is another fun turn by Barbara Eden. An actress with an indefatigable manner, coupled with sharp intelligence, Miss Eden always gives a great account of herself in whatever she appears. Unfortunately, Augie's partner, Chase, does not fit in as well into the equation here. Peter Brown has the right look for the picture, with a pleasant personality, but is miscast as surfer Chase. 

On the other hand, ambitious surfer Steamer is a compelling figure in the person of Tab Hunter. As with Fabian, Mr Hunter was also a teen idol of his time, and here is excellent as a man seeking to prove that he is more than just a transient surfer, ably convincing the audience of this. The apple of Steamer's eye, Lily, is given poise by Susan Hart. A striking actress with a low-key disposition, whose acting career lasted only several years, it would have been interesting to have seen more from her, as her acting was precise. Lily's commanding but protective mother, Mrs Kilua, is in the authoritative presence of Catherine McLeod. With her penetrating stare and canny ways, Miss McLeod was RIDE THE WILD SURF's voice of reason and truth, and rounds out the great acting in the movie.

Soundtrack: For a movie about surfing and the 1960s, RIDE THE WILD SURF is surprisingly lean in terms of its musical accompaniment. This is a win for the picture, as it would have detracted attention away from the story and its characters. Stu Phillips' score works agreeably in the background throughout the film without becoming tiresome. The key departure from this is the final credits sequence, where Jan & Dean's 'Ride the Wild Surf' is employed, thereby tying up RIDE THE WILD SURF in a pleasing way.

Mise-en-scene: RIDE THE WILD SURF has a very good attention to detail in its onscreen viewer experience. Joseph Biroc's Eastmancolor cinematography is clean and beautiful, showcasing the pretty Hawaiian locations to best effect. There is the feeling that the spectator is on the ground with the characters in many instances, so vivid, and intimate is the photography, particularly of the surfing, and beach sequences. Costuming has been carefully arranged to make a distinction between each and every character, this aim successfully accomplished. Editing is also crisp, making the surfing segments flow very well, and evoke excitement and wonder in the viewer.

Notable Acting Performances: Fabian, Shelley Fabares, Barbara Eden, Tab Hunter, Susan Hart, Catherine McLeod.

Suitability for young viewers: Yes. Slight adult themes.

Overall Grade: C

Link: IMDB Page

Trailer

WALL OF NOISE (1963)

Title: WALL OF NOISE 

Year of Release: 1963

Director: Richard Wilson

Genre: Drama, Sport

Synopsis: An ambitious horse trainer's problems on the track extend into his busy personal life, especially with the opposite sex.

Within a film history context: Films which have a horse trainer as their central character have been quite sporadic in cinema history. One of the first major examples was Milton Carruth's BREEZING HOME (1937). The trials and travails of a horse trainer who falls in with some unscrupulous types, but is not drawn into their machinations, were the focus of this movie, along with the lead's romances. SPEED TO BURN (1938), directed by Otto Brower, had a young adult horse trainer who goes through a number of perilous situations, and encounters surly people, in order to see his horse run in the race. S. Sylvan Simon's SPORTING BLOOD (1940), starred Robert Young as a complicated young man who returns to his home town, and seeks to train a horse for a race. He finds not only support and romance, but also, misgivings on the part of others, due to his father's past. HOME IN INDIANA (1944), directed by Henry Hathaway, had an impulsive young man train horses, but not without distraction from the young women who seek to attract, and win his attention. Clarence Brown's NATIONAL VELVET (1944), was the classic story of a budding young equestrienne, and her association with a footloose young man, who together aim to train her horse for a major English racing competition. 

With THE RED STALLION (1947), directed by Lesley Selander, a young boy trains a horse in order to assist his grandmother with her expenses, but finds some nice surprises along the way in his journey. Joseph Newman's THE GREAT DAN PATCH (1949), was based upon the real-life story of racing horse Dan Patch, and his trainer's difficulties not only with the equine but also, his personal troubles. THE STORY OF SEABISCUIT (1949), directed by David Butler, was another example of a true story adapted for the screen. Here, the real-life racing exploits of horse Seabiscuit are the focus, with a trainer's niece falling for a jockey in this family movie. Frank Capra's comedy RIDING HIGH (1950), followed a man whose family want him to take a conventional route in life and participate in the family business, but whose heart lies in horse racing. WALL OF NOISE was one of the most serious of the entries about a horse trainer compared to other examples.

Several of the films, such as SPEED TO BURN, HOME IN INDIANA, NATIONAL VELVET, and THE RED STALLION, featured young adults who trained horses. These largely eschewed romantic subplots, with the exception of HOME IN INDIANA, and were of a family orientation. There was also a subtle coming of age theme present in these pictures, with the young men in question finding not only themselves but also, their purpose in life. WALL OF NOISE was allied more to the films which had an adult horse trainer, with BREEZING HOME, SPORTING BLOOD, THE GREAT DAN PATCH, THE STORY OF SEABISCUIT, and RIDING HIGH. Where WALL OF NOISE diverted was in its mature, intricate storytelling style, where sentimentality was not a presiding feature of the movie. The happy feelings evoked by RIDING HIGH, for example, were not present in WALL OF NOISE, with this film's emphasis of a dramatic nature. This is obvious in many areas of the movie. 

The horse trainer in WALL OF NOISE, Joel Tarrant, was uncompromising, and unsparing in his devotion to his sport, despite the many pitfalls it possesses for him. This gave WALL OF NOISE a harder, more compelling edge which the more conventional narratives could not offer. The other characters in the picture were similarly three-dimensional in their presentation, ensuring that the movie was geared to appeal to an adult audience, rather than to younger viewers. Romance is an area which WALL OF NOISE does not enter, keeping matters on a less mawkish level. Joel does have two dalliances with women in the film, but these exhibit the character's dispassionate feelings towards the opposite sex, not utilizing a softer approach in this arena. An intelligent examination of a horse trainer, and his dealings with those in this set, WALL OF NOISE is a perceptive movie.

Overview: Richard Wilson was an American director of eight motion pictures in his career over a fifteen-year period, from 1955 until 1970. His movies were mainly dramas, with two westerns, and several crime pictures among these. Mr Wilson's first movie, MAN WITH THE GUN (1955), was a western about a mysterious man who arrives in a small town, seeking to restore law and order. In crime drama THE BIG BOODLE (1957), a blackjack dealer is caught in a web of corruption and deceit linked to counterfeit money. Film noir was on the agenda for Richard Wilson with RAW WIND IN EDEN (1958). The arrival of a model, and her friend on a remote Mediterranean island causes waves for a man and his daughter, specifically of the romantic kind. AL CAPONE (1959), was the director's interpretation of the life of the infamous gangster, charting his ascent as crime kingpin, to his jailing. Aside from providing Rod Steiger with a showy role as Al Capone, it was one of the most popular films of its year. 

Crime once again was the focal point of PAY OR DIE! (1960). The career of real-life New York City police officer Joseph Petrosino was examined, particularly his fight against the Manhattan Black Hand racket of the early 1900s. Western INVITATION TO A GUNFIGHTER (1964), followed a gunfighter returning to his home, and finding himself not only without his home but also, marked opposition to his presence on a large scale by the town's inhabitants. THREE IN THE ATTIC (1968), was in contrast to Mr Wilson's other movies. A Don Juan romances three young women simultaneously, but their discovery of his activities leads them to lock him in an attic, where they take turns at having their way with him. Though not critically acclaimed, it was nevertheless a financial success for American International Pictures. WALL OF NOISE was Richard Wilson's sixth picture, and one of his most solid efforts.

With WALL OF NOISE, Richard Wilson has made a smoothly executed, nifty film. Taking the horse racing industry as its centerpiece, especially concentrating upon its lead character, driven horse trainer Joel Tarrant, and the assorted colorful people he encounters, it is a crisply made picture. The director has ensured that the story follows a logical and interesting course, with many surprising twists and turns throughout its running time. Scenes are all perfectly timed and never rushed, the viewer finding out exactly what the characters want, and why. Their passions are all real, and understandable. Some personalities in the movie may appear all bluster on the surface, but the screenplay assists the spectator to look deeper into what motivates these people. Aside from this, the background details of the horse racing industry itself are fascinating to witness, as are the wheeling and dealing to which many of the characters are given. It is obvious that time and effort have gone into research to make the movie as authentic as possible. An insightful peek into the racing world, WALL OF NOISE is an entertaining motion picture from director Richard Wilson.

Acting: WALL OF NOISE has stimulating performances which make the movie an enjoyable experience. In the lead role of Joel Tarrant, hard as nails horse trainer, Ty Hardin is excellent. A handsome actor with a surprising vulnerability which is displayed at just the right time in the film, his acting is strong here. The married woman who turns Joel's head, Laura Rubio, is given shading and humor by Suzanne Pleshette. A lovely actress with a knack for creating mysterious, but earthy heroines, Miss Pleshette's smoky voice and poise remain in the memory. The charismatic, complicated Matt Rubio, construction mogul and racing dabbler, is a sublime turn by Ralph Meeker. Flashing his ever-ready smile, spouting his endless list of schemes, and witty comebacks, Mr Meeker's Matt is a fascinating presence in WALL OF NOISE. Four other performances deserve mention in WALL OF NOISE.

Barnstorming modelling agency owner, and horse enthusiast Johnny Papadakis, is played with vigor by Simon Oakland. With his volatility and cutthroat ways, Mr Oakland turns what could have been a caricature into a distinctive persona. Joel's erstwhile flame Ann is given nuance and depth by Dorothy Provine. Although never a victim who takes things lying down, Ann is hard done by several people in the film, and ably captures the audience's sympathy, ensuring that they are rooting for her to have a happy ending. Spunky jockey Bud Kelsey, who takes a protective stance towards Ann, is given oomph by Jimmy Murphy. With his readiness to defend and attack, and ability to stand up for himself unequivocally, Mr Murphy offers a punchy interpretation of the lively jockey. The final acting of merit was by Murray Matheson as Jack Matlock, Joel's confidant. With his quiet, yet worldly, and philosophical ways, Mr Matheson adds a touch of class, and international pizazz, to WALL OF NOISE.

Soundtrack: William Lava's score is pleasing, adding just the correct amount of boldness, and majesty to WALL OF NOISE. Always measured, never overwhelming scenes, but emphasizing these in the best possible manner, it is a classic-style score which works. 

Mise-en-scene: WALL OF NOISE is a quality product, and this is reflected in what is presented on screen. The black and white cinematography by Lucien Ballard is beautiful, ensuring everything in front of the camera is captured in a crystal clear way. Lighting is also spot on, successfully making outdoor studio sequences convincing. Set decoration by John Austin is also notable, with the chic restaurant which Joel and Laura visit, and Laura's home two of the standouts. Costuming by Howard Shoup works on a subtle level, more marked by the female characters. The wardrobe for Suzanne Pleshette alternates between elegant daywear, and elaborate after five garments, while Dorothy Provine's costuming is toned down, but still stylish.

Notable Acting Performances: Ty Hardin, Suzanne Pleshette, Ralph Meeker, Simon Oakland, Dorothy Provine, Jimmy Murphy, Murray Matheson.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page