THE KING OF MARVIN GARDENS (1972)

Title: THE KING OF MARVIN GARDENS

Year of Release: 1972

Director: Bob Rafelson

Genre: Drama

Synopsis: A radio disc jockey becomes involved in his older brother's fantastical get rich quick and other schemes, trying to set him on the straight and narrow, and away from an aging beauty and her stepdaughter but, fate has other ideas.

Within a film history context: Stories of families, in this case of two brothers, have been featured variously through cinema history. DUEL IN THE SUN (1946) and SABRINA (1954) are notable examples from the 1940s and 1950s respectively, each pitting one brother against the other for the love of a woman, with contrasting results. With the 1970s, the decade of THE KING OF MARVIN GARDENS came movies such as THE GODFATHER (1972), JUNIOR BONNER (1972), THE LAST AMERICAN HERO (1973), LOST HORIZON (1973), and THE GRAVY TRAIN (1974). Unlike the examples from 1946 and 1954, these 1970s films did not involve brothers battling over a woman. These movies had brothers in combat for a variety of reasons, such as the family business in THE GODFATHER, with THE GRAVY TRAIN showcasing brothers in a loving relationship who defend each other to the very end. JUNIOR BONNER and THE LAST AMERICAN HERO spotlighted brothers who had personal rivalries unconnected to romantic entanglements, but which were on a personal level.

In the case of LOST HORIZON, on the other hand, two brothers were at odds for one of them to not become involved with a woman, which was in definite opposition to the other movies. THE KING OF MARVIN GARDENS has a similar predicament, in which one brother tries to dissuade the other from pursuing a relationship with a woman and her stepdaughter, with tragic results. Unlike the other movies mentioned, the themes of brotherly love and loyalty are handled in an exhaustive manner in THE KING OF MARVIN GARDENS, taking up the majority of the movie's screen time. This has the effect of making the film one of the most intimate, honest explorations of brotherly relationships in the history of cinema.

Overview: THE KING OF MARVIN GARDENS was director Bob Rafelson's third film, released after FIVE EASY PIECES (1970) and his first feature film, the irreverent HEAD (1968). The majority of his films are character-driven in nature, with some sporadic forays into suspense such as THE POSTMAN ALWAYS RINGS TWICE (1981). THE KING OF MARVIN GARDENS falls into the category of Mr Rafelson's character-driven dramas, a tightly directed, engrossing drama of two brothers, and how their bond is tested by outsiders but, events, and their own idiosyncrasies, threaten this close kinship.

Mr Rafelson has made a film which thoroughly examines the relationship of two brothers, opening them to the audience with all their flaws and fantasies intact for viewers to contemplate. This is the excellent component of the film, its most compelling aspect. There are some slow stretches in the film which dull the effect to a small degree, but Mr Rafelson makes up for these with his showcasing of the central brother-brother relationship. The female characters in THE KING OF MARVIN GARDENS bring tension and complexity to the film, testing the brotherly dynamic, and add an unpredictability which showcases further nuances in the brothers. On the same note, there is the impression that if the distaff side did not appear in the film there was enough material in the brother-brother dynamic that could yet have been covered, so compelling was the relationship between the two central protagonists.

Acting: The acting in THE KING OF MARVIN GARDENS is of a very high standard, with two performances in particular standing out for their realism. Bruce Dern is an actor who always gives his best on film, and this movie is no exception. An engaging, energetic performer who in this movie does not hold back in the role of Jason Stabler, the silver-tongued, roguish cad. Mr Dern infuses his role with personality and depth, and one wants to believe his pipe dreams, and hope that they turn out as he wishes. Jack Nicholson is more than a match for Mr Dern as his pensive brother, David Stabler, in THE KING OF MARVIN GARDENS. Mr Nicholson is the real surprise, and revelation in the movie.

Usually cast in roles which take advantage of his penchant for off the wall antics and scene-stealing, in this film he takes on the role of the quieter, more thoughtful brother. This works so beautifully as Mr Nicholson stays largely composed in THE KING OF MARVIN GARDENS, underplaying his role, that it creates a great contrast with Bruce Dern. This choice makes their relationship all the more poignant, and realistic. This is my favourite performance from Jack Nicholson, and the effect of his restraint works all the more in an emotional sense especially at the film's conclusion.

Soundtrack: THE KING OF MARVIN GARDENS has relatively no score or music, the naturalistic background noise the only soundtrack the film possesses. The use of sound or music is most evident when Sally welcomes David to Atlantic City accompanied by a small orchestral ensemble, a nightclub visit, and, the faux Miss America pageant where the principals participate. The film largely stands on its own without any theme music, preferring to concentrate on the visuals which draws attention to both these, and the actors.

Mise-en-scene: The imagery in THE KING OF MARVIN GARDENS is what remains with the viewer long after the movie has ended. The cinematography has captured a bleak winter in Atlantic City to maximum effect, and it reflects the chilly emotions in play for the characters in the movie, particularly Jason Stabler's tenuous relationship with aging beauty Sally. Aside from this, THE KING OF MARVIN GARDENS utilizes other outdoor locations such as the train station where David and Sally first meet, the beach where the brothers are on horseback, and the shop that David and Jason visit, and these add a freshness and veracity to the proceedings. Interior locations such as the slightly garish hotel room in which the brothers and women are staying reflects the raw emotions and scenes that take place inside here. With the red drapes and carpeting this infers that what is taking place between the characters here is akin to a theatrical performance, replete with barnstorming emotions between them for the audience to witness, and devour.

Award-worthy performances in my opinion: Jack Nicholson, Bruce Dern.

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

Overall Grade: B

Link: IMDB Page

Trailer

COVER ME BABE (1970)

Title: COVER ME BABE

Year of Release: 1970

Director: Noel Black

Genre: Drama

Synopsis: A university student filmmaker battles his professor and colleagues to produce his vision of the perfect movie, but finds himself alone when he alienates everyone around him with his quest.

Within a film history context: Films about characters who are voyeurs, sometimes in the most perverse manner, utilizing technology or instruments to capture or view various scenarios, have been featured many times throughout cinema history. Michael Powell's PEEPING TOM (1960) was one of the first to present a character, a psychopath who photographs the expression on his unsuspecting victim's faces when they realise they are about to die. Alfred Hitchcock's REAR WINDOW (1954) presented a character peering at the apartment block opposite his, the film detailing what he saw, and how his life was affected thereafter. Looking forward more than thirty years, Brian De Palma's BODY DOUBLE (1984) presented a different scenario, where an actor witnesses the murder of a young woman through his telescope, similar to REAR WINDOW, but in an exceedingly more violent fashion. COVER ME BABE shares elements of these films, the contrast being that the protagonist never becomes involved in murders or other crimes. While COVER ME BABE's main character indulges in voyeuristic behaviour through his filmmaking, he is never depicted as being psychopathic, but, instead, obsessive about producing the film of his dreams.

Apart from the voyeuristic elements of the film, COVER ME BABE also belongs to a genre of movies which deal with filmmakers, their lives and foibles presented to the audience to consider. Vincente Minnelli's THE BAD AND THE BEAUTIFUL (1952) and Federico Fellini's 81/2 (1963) are amongst the most notable to deal with filmmakers. The main difference between THE BAD AND THE BEAUTIFUL and COVER ME BABE is that THE BAD AND THE BEAUTIFUL revolves around a  ruthless producer, unlike COVER ME BABE's director character. On the other hand, 81/2, like COVER ME BABE, has a filmmaker lead character, but the protagonist of 81/2 is decidedly more sympathetic, the audience given insights into his psyche. In the case of COVER ME BABE, the viewer never finds out exactly why Tony Hall acts the way he does, his motivations never disclosed to the audience.

Overview: Noel Black directed seven feature films in his career, mostly notably his debut with PRETTY POISON (1968), to JENNIFER ON MY MIND (1971), and ending with PRIVATE SCHOOL (1983). COVER ME BABE was released in 1970, and followed a student filmmaker's quest to make the ultimate film of his liking, despite the opposition he encounters from his university professor and fellow colleagues. Mr Black has made a striking, well-balanced movie with a dramatic flair and style that can be witnessed not only visually but also, thematically. The imagery in COVER ME BABE is arresting from the first shots of a man walking, his shadow on the ground, to a character painting a model, the use of light on her body, and, as another example, filmmaker Tony Hall viewing shots of his film in the processing lab. COVER ME BABE, though, is not just about visuals and nothing further.

Mr Black has directed a story which touches upon a man, Tony Hall's, obsession with reality, and how he wants to move away from standard fictional narratives to produce a film based upon real-life scenarios, and mould these unrelated occurrences into a film. In his quest to make the movie of his dreams, the lead character indulges in voyeuristic and sadistic practices which largely demean the participants. These situations cast him in a negative light, despite his undaunted and stubborn self-righteousness. Mr Black's use of vignettes is quite powerful, with Tony Hall encountering a transvestite, an alcoholic, a child needing resuscitation on the beach, to name a few examples, and these add up over the course of the film as fascinating scenes of reality within a film. These also function to show that lead character Tony Hall sees humanity as just a tool to titillate and exploit through his filmmaking. Noel Black, in essence, has fashioned a movie that was provocative in the time of its release but is still relevant today with the use of technology, especially in the internet age, and how in many instances it can be utilized in inhumane, sadistic ways.

Acting: In the lead role Robert Forster displays just the correct amount of toughness and cynicism through his character of good-looking filmmaker Tony Hall. The viewer expects him to crack at some point, to show some more humanity than usual, but this never occurs. The only times he displays some semblance of vulnerability are through his relationships with two women, but even these just serve to further his filmmaking aspirations. The character of Tony Hall functions as a motivation for the film's other characters to carry through with his wishes, and as a sounding board against his ideals. In the end, though, the other characters reject his notions of filmmaking without humanity. The supporting characters are furnished with great performances from skilled thespians who infuse their roles with sensitivity.

Sondra Locke is a standout as the woman Tony Hall uses and abuses before finally breaking away from his filmmaking obsession. Her character, Melisse, operates as the film's conscience, and someone who tries to humanize Tony but, to no avail. Many of the film's most powerful, telling moments involve Miss Locke, in combat with Tony Hall. Apart from Sondra Locke, Robert Fields is also striking as Tony Hall's supervisor who is alternately taunted by Tony Hall, but finally retaliates at the film's conclusion. Mr Fields is a very versatile actor who can play any role, as witnessed by his victimized man on the bus in Larry Peerce's THE INCIDENT (1967). In COVER ME BABE he is offered much more leverage, and scope in his role, and carries it out beautifully. The final excellent performance in the film is by Floyd Mutrux as Tony Hall's gay filmmaking colleague Ronnie. In an economy of words Mr Mutrux expresses pain, confusion, and reticence with his facial expressions and body language, especially in the final scenes. The character of Ronnie is a telling contrast to the cocky, self-confident body language, mannerisms, and voice of Tony Hall.

Soundtrack: The music and songs featured in COVER ME BABE have a typical late 1960s/early 1970s vibe, with philosophical, introspective lyrics and a pleasing beat. These perfectly reflect what the film wishes to achieve in its subtle, thoughtful style, and greatly complements the visuals as well.

Mise-en-scene: COVER ME BABE is visually beautiful without being garish, colour carefully utilized in both indoor, and outdoor scenes. The scenes of Tony Hall filming people either with, or without their consent are well judged in terms of the settings, which give these scenes authenticity. The parts of the movie where film colleagues are conferring about film, or viewing footage on the screen also add credibility and realism to the narrative, as does the office of Tony Hall's university professor.

Award-worthy performances in my opinion: Sondra Locke, Robert Fields, Floyd Mutrux.

Addendum: I feel that the film's title COVER ME BABE, while the name of a song used in the movie, does not properly epitomize the film. The alternative title RUN SHADOW RUN would have been much more appropriate, in light of scenes in the film which actually depict this. If I could have named this movie as I wished I would have called it THE FILMMAKER or something of this nature, as COVER ME BABE misrepresents the movie as something frivolous and faddish which it is not.

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

Overall Grade: B

Link: IMDB Page

Movie Excerpt

THE GRASSHOPPER (1970)

 

Title: THE GRASSHOPPER

Year of Release: 1970

Director: Jerry Paris

Genre: Drama

Synopsis: A restless young woman from Canada runs away from home and becomes a Las Vegas showgirl, but is undone by her flippant and promiscuous behaviour.

Within a film history context: Films about showgirls have appeared many times over the history of cinema from its earliest days. In the silent cinema narratives about showgirls ranged from Edmund Goulding's SALLY, IRENE AND MARY (1925) to Lewis Milestone's THE GARDEN OF EDEN (1928) with Corinne Griffith being well-known examples. The sound era was no different, with films such as Busby Berkeley's 42ND STREET (1933), FOOTLIGHT PARADE (1933), and countless others aiming a spotlight on a showgirl lead character. The movie closest in the time period of THE GRASSHOPPER's release was George Stevens' THE ONLY GAME IN TOWN (1970), which dealt with a showgirl and her romantic entanglement with a piano-playing gambler in Las Vegas. THE GRASSHOPPER was less romantic, and more explicit in its sexual content than THE ONLY GAME IN TOWN, and the older films, and, with a much more promiscuous outlook than the latter film. THE GRASSHOPPER also looked toward Paul Verhoeven's 1995 movie SHOWGIRLS which was significantly more graphic in its depiction of sexuality but also, its violent content.

Overview: Director Jerry Paris made nine films in his career, the vast majority being comedies, or films with nonsensical themes. His first feature film, DON'T RAISE THE BRIDGE, LOWER THE RIVER (1968) was a movie with Jerry Lewis, and his last being parts two and three of the POLICE ACADEMY franchise in 1985 and 1986 respectively. THE GRASSHOPPER was released between these films in 1970, his fifth feature film, and one of two he made in the 1970s. While the film is a drama, and shares campy elements from his other movies, unfortunately, THE GRASSHOPPER is not a well-balanced film. The action occurs too quickly, and many of the transitions are unrealistic, and abrupt.

When we first meet main protagonist Christine she seems demure and unassuming, the opposite to how she ends up in the film. Soon Christine is a hard-nosed showgirl, sleeping with a variety of men, the viewer needing a scoreboard with which to keep up with these liaisons. The character shuttles from situation to situation, and from man to man, but there are no emotional hooks present to make the viewer feel for her predicament. These are all handled in a glamorous, slick manner, the visuals always more striking than the story, which leaves the viewer dissatisfied, and cold. A visually stunning but apathetic movie, THE GRASSHOPPER was an interesting attempt at making a movie for the 'now' of its time, and a morality play of sorts, but without heart.

Acting: The acting in the film is of a good standard, with some excellent performances standing out. Lead actress Jacqueline Bisset does a sound job in the movie, but is not entirely convincing in her rendition of a young woman corrupted by life as a Las Vegas showgirl. Her Christine seems too strong, too assured as a person who would be swayed by people, used and abused. Miss Bisset's innate self-confidence and headstrong nature seems at odds with her character. In addition to this, she is not allowed to express emotion at events which have transpired to her, which renders the character more internalised, and bloodless. This also brings forth an unemotional ring to the movie which undercuts the severity of the happenings to no end. Despite this, the supporting characters greatly breathe life into the film.

Joseph Cotten brings grandeur and class to his role as one of the many men who succumb to Christine's charm, but with a touch of classic Hollywood that enchants and charms to no end. Jim Brown, on the other hand, does exceedingly well as the one man Christine loves, marries and loses, bringing his characteristic virility, and appeal to the role. The most striking male performance in the movie, though, is by Christopher Stone as a gigolo who entices Christine into prostitution. From Mr Stone's first appearance in THE GRASSHOPPER in the shower scene with Christine, he brings an unmistakable sensuality, danger, and urgency to his scenes that rings true.

Soundtrack: Most notably the theme song 'Look Again' sung by The Brooklyn Bridge is played at both the beginning and conclusion of the film, with variations through the remainder of the movie. It adds a thoughtful late 1960s/early 1970s touch to the film, and is a suitable musical accompaniment to THE GRASSHOPPER.

Mise-en-scene: The Las Vegas set pieces are spectacular to witness, filled with colour, and akin to something from Hollywood musicals from the 1930s, 1940s or 1950s, but with more revealing costumes than would have appeared in movies from these eras. The costuming for Miss Bisset is appropriate to where she is on screen, from the start when she is in Canada, her showgirl outfits, to more elegant clothing with Joseph Cotten. The settings in the film, in general, are of a high standard, accurately presenting where the main character is in a certain point in time. From the cozy family home in which Christine is first seen, to the Las Vegas theatre rooms, elegant hotel rooms, to the tenement she shares with the gigolo, the mise-en-scene in THE GRASSHOPPER is one of its best aspects.

Award-worthy performances in my opinion: Christopher Stone, Joseph Cotten, Jim Brown.

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

Overall Grade: D

Link: IMDB Page

Trailer

DRIVE, HE SAID (1971)

Title: DRIVE, HE SAID

Year of Release: 1971

Director: Jack Nicholson

Genre: Drama

Synopsis: Basketball champion and university student Hector Bloom carries on an affair with his professor's girlfriend, while Hector's friend Gabriel suffers a nervous breakdown attempting to avoid the draft for Vietnam.

Within a film history context: Character studies of sports stars have often been featured throughout cinema history. Comparable films from around the late 1960s and early 1970s come to mind, such as a professional skier in DOWNHILL RACER (1969), a tennis pro in THE CHRISTIAN LICORICE STORE (1971), and a stock car champion in THE LAST AMERICAN HERO (1973). These movies explored different sporting personalities, their drive to the top of their game, with the concurrent effect that their personal lives clashed with their competitive spirit, and were polar opposites in nature. DRIVE, HE SAID was no different, examining the professional and personal life of a basketball player, but unlike the other two films, was much freer in highlighting the protagonist's sexual, and other extracurricular activities. It was also notable for its dialogue which was sprinkled with four-letter words, and inclusion of both male, and female frontal nudity. This frank content set it apart from other movies around this era which were more restrained in these areas.

In addition to being a character study, DRIVE, HE SAID was also among a group of films with a university campus theme produced in the early 1970s. These included movies such as Richard Rush's GETTING STRAIGHT (1970), Michelangelo Antonioni's ZABRISKIE POINT (1970), Stuart Hagmann's THE STRAWBERRY STATEMENT (1970), and Stanley Kramer's R.P.M (1970). While these films covered thematic territory similar to DRIVE, HE SAID in terms of alienation and disillusionment, the movie differed from these in how it moved away from the depiction of lecture theatres and other university locales. The closest the film was to spotlighting university rooms was the basketball auditorium, the outside grounds of the establishment, and, most notably, the science laboratory at the film's conclusion.

Overview: DRIVE, HE SAID was actor Jack Nicholson's directorial debut, followed by GOIN' SOUTH (1978) and THE TWO JAKES (1990). DRIVE, HE SAID explores the life of ace basketball player, and university student, Hector Bloom. While the movie's events follow Hector's life and loves, the impression is that the protagonist plays, in retrospect, more of a secondary role in the narrative, which shifts the emphasis to the supporting characters. This may not always be detrimental in cinema, but in the case of DRIVE, HE SAID it makes Hector seem like a dullard, and just a viewer in his life more than an active participant. It also renders his relationship with Olive, and their various ups and downs, as rather boring, instead of being the film's primary focus. Despite these deficiencies, there are some very good aspects to the movie.

The filming of the basketball sequences are exciting, the camerawork capturing the action as if the audience was there in the stadium witnessing it first hand. The behind the scenes shower room frolics give the characters a depth and identity away from their public image as basketball champions. Apart from the basketball scenes the supermarket segments are entertaining, and takes some steam away from the movie by giving it a lighter air. Gabriel's draft dodging, shameless behaviour, and eventual breakdown, though, are the best part of the film. These are handled in an eye-opening but sympathetic manner, particularly the science laboratory scene, without making the character seem like a caricature. In all, DRIVE, HE SAID is an insightful, thoughtful film with some very interesting elements, but, is not coherent as a whole.

Acting: This is a movie where the acting is sound, with some miscasting in pivotal roles which hampers the film somewhat, but several very striking performances abound. In the lead role William Tepper does a passable job, and is watchable, but, unfortunately, lacks the charisma which would entirely convince the viewer of his plight. This has the effect of him passing the baton to other performers in the film to shine, and also, functioning more as a plot device than as a real character. The role would have been much better suited to Jeff Bridges, who, after playing basketball in HALLS OF ANGER (1970) would have brought more drama and full-blooded emotion to the part. The lead role notwithstanding, Bruce Dern, on the other hand, turns in a brilliant, finely tuned performance as Tepper's coach who does his best to keep Tepper's character on an even keel professionally, but finding difficulty due to Hector Bloom's excesses. Presenting Bruce Dern onscreen without his usual moustache was an inspired idea, and works beautifully in DRIVE, HE SAID. The camera feasted upon Mr Dern's face, particularly his eyes, which expressed so many different emotions, and also afforded him an even more authoritative aura than other films in which he had appeared with his facial hair.

Apart from Bruce Dern, Michael Margotta also offers a standout performance as Tepper's troubled, drug-addicted friend Gabriel in the film. He has by far the most challenging role in DRIVE, HE SAID, given the character's mood swings and extreme behaviour throughout the film. It is a credit to Mr Margotta that he maintained audience interest in his character who could be thoroughly resistible at times. The pity felt towards the character at the film's end is justified, and Mr Margotta plays these scenes to maximum effect, often without uttering a single word during his most manic moments. Additionally, there were several other performances in the film which merit discussion.

Karen Black, a performer who generally shines in her roles, was given a part as Hector Bloom's secret dalliance Olive that severely undercut her energy. The role did not allow her to display the range and sensitivity that was so apparent in films such as FIVE EASY PIECES (1971), and BORN TO WIN (1971) to give a few examples. On the other hand, June Fairchild was lively as Gabriel's girlfriend Sylvie who also takes a shine to Hector Bloom. There was the feeling, though, that she could have been further utilized in a better capacity in DRIVE, HE SAID instead of just having her giggling in her scenes, and running around naked. She had an energy and sass that was contagious, and deserved more coverage in the film than she received.

Soundtrack: The music used during the opening basketball scenes adds a pulsating, thumping rhythm to the proceedings, perfectly matching, and enhancing, the action. This music is employed at various other points in the movie, and works just as well, emphasising the nervy, jazzy energy of DRIVE, HE SAID.

Mise-en-scene: The sets and spaces used in the film are naturalistic and appropriate to the characters and the action taking place. The scenes of hijinks between the basketball players in the shower stalls are realistic, and add dimension to the characters. It is as if the audience is afforded an uncensored, revealing look at what happens behind the scenes between athletes, with the shower faucets running, and uninhibited displays of male nudity. On the other hand, the supermarket scenes between Hector and Olive have a certain flair about them due to their location. This location provides an authentic backdrop to the argument that is taking place between them, adding an everyday feel to it, with the restrictions of the store used to full effect.

Apart from the public areas in the film, the characters' places of living are also well designed. The abode that Hector and Gabriel share is messy, which parallels their stormy private lives, in particular Gabriel's shattered state of mind. In complete contrast to this, the house that Olive lives in with her boyfriend, university professor Richard, is homey and well-appointed. With a comfortable kitchen and living room that have wide windows, offering a view of the outside world from this vantage point, the living room exuding a graceful air, Richard and Olive's home is the most attractive of the settings featured in DRIVE, HE SAID.

Award-worthy performances in my opinion: Bruce Dern, Michael Margotta, June Fairchild.

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

Overall Grade: C

Link: IMDB Page

Trailer

THE LOVE MACHINE (1971)

 

Title: THE LOVE MACHINE

Year of Release: 1971

Director: Jack Haley Jr.

Genre: Drama

Synopsis: An ambitious, womanizing television anchorman rises through the ranks and becomes head of the network, but suffers a humiliating fall from grace.

Within a film history context: Several of author Jacqueline Susann's novels were adapted into motion pictures in the late 1960s to the mid-1970s. The first of these, VALLEY OF THE DOLLS (1967) caused a sensation in both its print and film adaptation, although looked down upon by film critics. ONCE IS NOT ENOUGH (1975) was the last of Miss Susann's novels to receive a film treatment, and was also successful at the box office. THE LOVE MACHINE (1971), falling in between both of the previous films, was not a box-office hit, failing to generate the popular momentum of the other two movies. Like the other two films, THE LOVE MACHINE was another Jacqueline Susann vehicle that followed a central character corrupted by life and themselves being corrupted before eventually seeing the light. Unlike VALLEY OF THE DOLLS and ONCE IS NOT ENOUGH, THE LOVE MACHINE lacked the lush romantic angle which characterized the former films, the latter geared more toward salaciousness, satire and comedy.

Overview: Jack Haley Jr. directed only two feature films in his career, the first being NORWOOD (1970) with THE LOVE MACHINE his second film. The remainder of his time was spent in television directing specials, episodes of television shows, and telemovies. THE LOVE MACHINE is probably the most well-known of his two films. Whereas NORWOOD was a comic movie with musical asides, THE LOVE MACHINE was similar in the manner in which it handled its comic content, but in a coarser, raunchier manner. While it is a movie that is not unlikable, the combination of many disparate elements renders it uneven overall. It ranges from being a straight drama to a comedy, with tragic moments in between, some satirical, to a battle of the sexes.

The narrative of a man willing to do anything to rise in the television industry is handled well by the director if at times events occur too quickly, and the impact of these, how, and why they happen, are not felt by the audience. I found the depiction of the behind-the-scenes shenanigans at a television network, with its flawed personalities and outrageous events interesting, if somewhat nonsensical at times. It is a complete contrast to the heated goings-on at a television station in NETWORK (1976), which was more in-depth than THE LOVE MACHINE in this arena. The interpersonal relationships between the characters are engaging in THE LOVE MACHINE, but many needed further development.

The main protagonist, Robin Stone, seems to hop in and out of bed with various women at lightning pace, but these transient relationships are mainly handled in a cool, indifferent manner. The only two relationships that have a major impact plot wise and drive events forward are Robin Stone's pairings with Amanda, and Judith. As a side note, Mr Law's Robin Stone did seem to be well-matched with whichever female character he was paired, no mean feat on his part. To the film's detriment, though, characters such as Tina St. Claire pop in and out of the film, with the effect that these actors are wasted in the film, and their talents not fully utilized.

Despite its reputation which clouds the film's virtues, THE LOVE MACHINE does feature some effective stories. Amanda's suicide, Robin Stone's tussle with a prostitute, the crumbling marriage of Greg and Judith Austin, Robin's friendship with photographer Jerry, and the fall-out from this all carry weight, but the film does not gel into a cohesive whole. A watchable if inconsistent film, THE LOVE MACHINE does deserve credit for at least attempting to tackle a combination of genres, but with the end result not being as successful as one would wish.

Acting: The performances in this film are sound overall, with some standing out more than others. John Phillip Law as Robin Stone is good in the film, and despite seeming cold and unfeeling, offers an interesting interpretation of the lead character. With his good looks, deep voice, and steely confidence, Mr Law did display the character's vulnerability in scenes such as his reaction to model Amanda's death, greeting comedian Christie Lane in the office scene, and in his scenes with Judith Austin. [When I first saw the film I was struck by John Phillip Law's resemblance to fellow actor Jeff Tracta from television serial The Bold and the Beautiful - just something I picked up on]. Jodi Wexler made a valiant attempt to make her ill-fated character Amanda striking, but the writing of Amanda as a one-note, insecure young woman did not fully assist her in making the character more rounded. Alexandra Hay, in a tiny role as Robin Stone's amour, was pert and comical, giving her cameo character some spice, and precipitating Amanda's downfall. Other actors also did a comfortable job in their roles in THE LOVE MACHINE which deserve mention.

Robert Ryan was solid in the film, from being in charge at the network to his strained marriage to Judith, he added just the right amount and humour and authority to give his role credence. David Hemmings contributed much to the film as the gay photographer with designs on Mr Law, going head to head with Dyan Cannon in one of the film's most outré scenes. Jackie Cooper was entertaining as Mr Law's rival at the network, his enthusiasm palpable. Maureen Arthur, unfortunately, was wasted in the role of Ethel Evans. If one has seen Miss Arthur's other performances such as in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1967), her energy and sass were second to none, and one of the reasons why that film worked so well. In this film the writing of the role took away that individuality, not allowing her to shine. I did find her pairing with Shecky Greene, though, to be quite entertaining, but the film did not capitalize on their combined personalities which was disappointing. Ethel Evans' flirtation with Robin Stone was another brief shining moment that added dimension to the film as, notably, she was one of the women with whom Robin Stone did not have an affair. I found two contributions, though, to be extremely proficient in the movie.

Dyan Cannon always gives a great performance, with her vitality and sensitivity well on display in THE LOVE MACHINE. Miss Cannon also has great dramatic impact especially during the rambunctious fight scene close to the end of the film, her interactions with Robert Ryan, and burning a bed when she discovers something unsavoury about Robin Stone, and exacts revenge. Apart from Dyan Cannon, I also found Shecky Greene's acting to be very pleasing. Playing a comedian in the film, Mr Greene brought a change of atmosphere to the proceedings with his booming voice and easy manner, setting him apart from the movie's other male characters. The scenes where he proposes to Amanda reveal an appealing softness and vulnerability behind the ever-present comic façade. The subsequent events where Amanda rejects him, and he reacts with sheer annoyance to her presence thereafter, had believable poignancy and depth.

Soundtrack: The use of 'He's Moving On' sung by Dionne Warwick is catchy and one of the main reasons the film remains in the memory. It not only comments about the film's protagonist but also provides a breezy, melodic counterpoint to the movie. THE LOVE MACHINE also utilizes 'Amanda's Theme' as a theme for its ill-fated female character. Unlike 'He's Moving On', "Amanda's Theme' is a quieter, more pensive musical arrangement that perfectly reflects the qualities that the character embodied in the movie.

Mise-en-scene: The film's sets were all well done, ranging from Robin Stone's luxury apartment, with its spare but elegant furnishings, the gracious mansion of Greg and Judith Austin, with its fine furniture and ambience oozing distinctiveness and class. The offices of the television network were slightly crass and garish in nature, but this could be seen to reflect the rough and tumble nature of the television network in the film. The costuming for the female characters in many instances in beautiful, with actresses featured in lush furs and fine fabrics. The costuming for Amanda's photo-shoot, at times, seems to be left of centre at times, but this is no ordinary film, these creations fitting in with the film's offbeat nature. Costume designer Moss Mabry was possibly making an analogy between the ephemeral, fickle natures of fashion and television through the use of his designs in the film.

Award-worthy performances in my opinion: Dyan Cannon, Shecky Greene, Robert Ryan.

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

Overall Grade: C

Link: IMDB Page

Trailer

RIVERRUN (1968), THE FARMER (1977) and WELCOME TO THE CLUB (1971) - Some currently unavailable films which I would like to see one day

Here are some films I would like to see one day if they ever became available for viewing.

There has been mention of RIVERRUN (1968) on the internet, with several reviews, an analysis, and comments about it and the films of director John Korty. The film, unfortunately, has never been released either on videocassette or DVD format. Would be a fascinating film to see, I believe, with its counter-culture theme, and father-daughter conflict.

The only movie directed by David Berlatsky, THE FARMER (1977), like RIVERRUN, has not appeared in any formats. It is a film that seems to have a following from what I have witnessed on the internet, and may one day, hopefully, be available for viewing. I find films where justice is served on evil-doers more interesting than those where there is no punishment for the villain, from what I have seen from THE FARMER'S trailer it seems to fit into this equation. It is of note that THE FARMER was refused classification by the Australian Office of Film and Literature Classification in 1977; I wonder if this decision would remain the same if the film was re-viewed today after more than forty years.



WELCOME TO THE CLUB (1971) seems to have disappeared off the face of the earth. It is extremely difficult to access information about it, and, like the previous two motion pictures, has not been released in a home video or DVD format. Of interest for the appearance of actor Jack Warden, and the only directorial turn by Walter Shenson, producer of The Beatles' movie A HARD DAY'S NIGHT (1964).

GLASS HOUSES (1972)

Title: GLASS HOUSES

Year of Release: 1972

Director: Alexander Singer

Genre: Drama, Comedy

Synopsis: Portrait of a family in meltdown; Victor is having an affair with a young woman, nineteen year old daughter Kim is involved with her father's business associate Ted, and Victor's wife and Kim's mother, Adele, holds civic meetings at home, carrying on a secret relationship with the neighbourhood novelist.

Within a film history context: With the breakdown of US film censorship in the late 1960s and the introduction of a self-regulatory censorship system, the MPAA, cinematic films began to showcase more explicit themes in terms of sexual content, violence and language which had heretofore been banned. The inception of the R and X ratings in the US was a watershed for film censorship, freeing directors and writers to explore content in a much freer manner than beforehand. BOB & CAROL & TED & ALICE (1969), MIDNIGHT COWBOY (1969), and EASY RIDER (1969) were all pivotal films at the time for their frank treatment of sex and related themes. GLASS HOUSES arrived several years after these particular movies, and was also candid in how it handled its content.

GLASS HOUSES highlighted a dysfunctional family, reviewing its dynamics, and also looked at incest pertaining to a father-daughter relationship. Dysfunctional families have been explored over the years in cinema in various capacities. Films such as A SUMMER PLACE (1959) focused upon two families, specifically highlighting mother-daughter, father-daughter, and son-mother relationships, morality, and fractured families. Forward twenty years and Robert Redford's excellent ORDINARY PEOPLE (1980) explored family grief at the loss of a child, and how the surviving sibling was viewed by his parents. GLASS HOUSES differs from these in that it examines an affluent couple whose marriage has gone stale, and how the daughter harbours a secret, incestuous love for her father.

The incest theme is handled in a highly tense, provocative but understated manner, without showing anything unseemly occurring between the two characters. The editing in the final scenes leaves the door open for the viewer to imagine what might, or might not happen to the characters, which elevates the film into an artistic domain, and away from exploitation territory. It looks forward to films such as THE REINCARNATION OF PETER PROUD (1975) a supernatural thriller also with an incest theme, in that a man falls in love with his daughter after being reincarnated in another man's body. GLASS HOUSES does not go as far as this film, but there are inferences that the father in the movie may subconsciously desire his daughter, in light of his affair with a young woman his daughter's age.

Overview: Alexander Singer directed only five feature films in his career, the majority of these centred upon their female characters, the exception being western CAPTAIN APACHE (1971). Mr Singer presented their flaws, foibles and strengths, warts and all to viewers to sympathize and understand, if not necessarily to agree with. His first film A COLD WIND IN AUGUST (1961), was the character study of a stripper who falls in love with a seventeen year old young man. LOVE HAS MANY FACES (1965) was a melodrama about a woman caught in a difficult situation, adultery, and intrigue in Acapulco. PSYCHE 59 (1964) was an elegant, suspenseful drama about a woman's loss of memory, and the impact this had on her life, and that of her sister and husband.

GLASS HOUSES focused upon a family consisting of father Victor, his wife Adele, and their nineteen year old daughter Kim. Mr Singer has successfully made a film which, despite a short running time, delineates the characters and their situation for the viewer with great clarity. Unlike his other films, GLASS HOUSES does devote a significant amount of screen time to its female characters, but also does likewise with its male protagonists. The film is the study of a Southern Californian family, and begins with the husband and father's affair with a young woman. Taking place over the span of approximately two days, the action shows Victor coming home after a late night tryst, and his cooling relationship with wife Adele the next morning, witnessed by him kissing her on the cheek rather than on the lips. Their daughter, Kim, watched her father return home from his clandestine affair the night before, and countless times prior, and makes sure her mother knows what is going on the next day. The most intense scenes in the film involve Kim, who knows exactly how to push both her mother, and her father's buttons. The mother-daughter/father-daughter relationships are presented by the director as alternately tenuous, tragic, but very relatable.

GLASS HOUSES has elements of drama, comedy and suspense, the director skilfully weaving these together without the film ever being uneven. A great example is the intercutting of the civic meeting with Kim, her lover Ted, Victor and mistress Jean at the 'Institute of Encounter Awareness', a health and wellness retreat. The relative calm of the retreat, with people relaxing or getting their feelings out in the open in therapy sessions is contrasted with the raucous civic meeting, where a variety of people from all walks of life voice their concerns about community issues and the environment, morality, and people's quality of life. The film is at its peak in these moments, juggling high drama with comedy, and more poignant moments.

There have been comparisons made with Paul Mazursky's earlier BOB AND CAROL AND TED AND ALICE (1969) but, for me, GLASS HOUSES is the superior of the two films. While the other film was largely comic in scope and had good performances, its tone was rather modish, and the characters seemed to like to punish each other, downgrading their marriages just for the sake of being in fashion. GLASS HOUSES differed as it presented a real life situation, being a couple over forty whose life has become all work and no passion, with their liberated, voracious daughter not helping matters in any way. GLASS HOUSES also positions its characters within the world of the late 1960s/early 1970s, touching upon influences such as the hippie generation, feminism, women's place in the home and public sphere, the changing role of men in society as women's roles evolved, and the generation gap. It also explored most notably, and in a more explicit manner, younger women/older men relationships, something that had been touched on in cinema from time to time, with CASS TIMBERLANE (1947) and SABRINA (1954) famous examples, with LOLITA (1961) a scandalous variation on the theme. GLASS HOUSES, in essence, was much more than some attractive people dabbling in recreational drugs and daring each other to commit illicit acts, which is how BOB AND CAROL AND TED AND ALICE sometimes appeared.

Acting: This is a movie where the acting is highly skilled by the entire cast, both main actors and supporting cast. Ann Summers beautifully portrays Adele as the hapless, unappreciated mother and wife, her reactions to situations touching but also, priceless. One of the best segments of the film is seeing Adele, who was sad and unwanted in the first half, come alive during the civic meeting scenes, mixing with the people present, and creating a positive atmosphere. Apart from this, her scenes with novelist Les Turner, played by Clarke Gordon, also have a magical, comical but sad aura all rolled into one. Clarke Gordon makes a memorable mark in the film with his pipe-smoking, irreverent novelist. With much of his dialogue delivered with a pipe in his mouth, Mr Gordon brought a style and passion that added flair to the film. His chemistry with Ann Summers effectively was akin to the blossoming of a withered flower in the spring after a very cold winter. In addition to these actors, two other thespians were notable in the film for their contributions.

Deirdre Lenihan handles a difficult role as Kim with aplomb, alternating between playing daddy's little girl, a hellion making her mother feel insecure and unworthy, a sex kitten with Ted, with shades of vulnerability throughout. The success of the film largely rests on her shoulders, and the effective portrayal of the mood changes and tendencies the character exhibits. Apart from these three actors another performer made an indelible impression in GLASS HOUSES. In a small role in the civic meeting scene, the bravura Mary Carver brought her impassioned character to vivid life. Miss Carver's role is one of the most startling cameos of anger, confusion and righteousness ever captured on film.

Soundtrack: The brilliant instrumental theme music composed by David Raksin perfectly complements the content, adding suspense particularly during the opening credits, and the final scenes. Variations of the main theme are utilized throughout the film which emphasize the tone of the scenes depending upon what is happening onscreen.

Mise-en-scene: The film was notable for its use of real locations which bring the narrative world to life for the spectator. The film captures the sights, sounds and feel of Southern California, with a real home used as the family base of Victor, Adele, and Kim. The use of the kitchen, bedrooms but in particular, the living room, with its spiral staircase, add validity and realism to the narrative world. Other locations such as Victor and Ted's office with its wide clear windows, offering a view of the city, Ted's dual level seaside home, the bungalow of Kim's friend Linda, with its soft beige interior and colourful ornaments all work to give the characters a life beyond just surface appearances. Outdoor location filming is also excellent, adding crispness to the film. The film showcases sights such as Victor's trek to work across the freeway, his stops at the gas station for petrol, and the courtyard of the health retreat, to name a few, which could not be replicated in a studio.

Award-worthy performances in my opinion: Ann Summers, Deirdre Lenihan, Mary Carver, Clarke Gordon.

Suitability for young viewers: No. Adult themes, sexual themes and language, and female nudity.

Overall Grade: A

Link: IMDB Page

Movie Excerpt

THE CHRISTIAN LICORICE STORE (1971)

  

 

Title: THE CHRISTIAN LICORICE STORE

Year of Release: 1971

Director: James Frawley

Genre: Drama

Synopsis: A professional tennis player takes the road of drink and drugs as his career begins to flourish.

Within a film history context: Over the years there has been a film genre which deal with characters on the road to ruin, presenting life lessons to viewers within their particular contexts. Films around this time period such as Mark Robson's VALLEY OF THE DOLLS (1967), detailing an actress' descent into drugs and promiscuity, is a melodramatic variation of the type. Jerry Schatzberg's PUZZLE OF A DOWNFALL CHILD (1970) is similar in nature and thematic content, but in this instance charting a high fashion model's fall from grace. Further back in time films such as WRITTEN ON THE WIND (1956) and the many versions of MADAME X could be seen as the predecessors of the 1970s road to ruin films. THE CHRISTIAN LICORICE STORE added an art-house, introspective style to the genre, but, compared to the other films had a lack of overt melodrama. It is also different in that it concentrates upon a male protagonist, unlike the other films which often had female central characters.

Overview: Director James Frawley directed only five cinema feature films in his career, the majority spent in television series and telemovies. He also helmed films as diverse as western KID BLUE (1973), and Mr Frawley's final three motion pictures were all comedic in nature - THE BIG BUS (1976), THE MUPPET MOVIE (1979), and the raucous FRATERNITY VACATION (1985). THE CHRISTIAN LICORICE STORE was his first feature film, and probably his most serious work in terms of themes. The rise and fall of a pro-tennis star is well-handled in this film by the director, if often there could have been more explanation of the protagonist's actions and motivations, which would have made these more understandable to the viewer. The relationship between coach and player is nicely acted, the chemistry between Beau Bridges and Gilbert Roland highly palpable. The romance between Beau Bridges' and Maud Adams' characters is also well fleshed out, and receives a proper resolution in the story. As with many films of the 1970s events are handled in a sombre, symbolic tone, leaving events for the viewer to interpret as they wish. The movie would have been better to deepen understanding of the main character by presenting his psychological urges more, and Mr Bridges' interpretation in turn would have benefited further from this.

Acting: The performances in this film are very good. Beau Bridges is always great to watch, a personable, well-spoken performer who did his best in the movie to make his character believable. He had the look and mannerisms to convey his character's shallowness and self-absorption, particularly in the film's second half. Maud Adams is a suitable match for Beau Bridges physically, and carries off her role with an intriguing and subtle sensuality, despite the role being of a secondary nature to her co-star's. The film's most striking performance, though, is by Gilbert Roland as Beau Bridges' tennis coach. Infusing his role with humour, panache, and a tidy moustache, Mr Roland added a certain je ne sais quoi to the movie which is more marked especially after his scenes end.

Soundtrack: The instrumental score by Lalo Schifrin is understated and classy, perfectly complementing the scenes in the film without being overpowering in any way. There is also the use of several songs which have a light, ethereal quality to them, commenting about the characters and action in the film. Apart from this there is a short scene of Tim Buckley singing in a nightclub which lends a psychedelic tone to the movie, and telegraphing the protagonist's eventual downfall.

Mise-en-scene: The movie showcases many locations which appropriately furnish the story for the viewer, such as tennis courts, locker rooms, and the homes of the lead characters. The carefully directed party scene is also adept at presenting an array of personalities to the viewer which provides an artsy, amusing angle to the movie. The photo shoot scenes where Maud Adams' character takes images of a fruit market and its employees are also well done, assisting in establishing her character's occupation for the viewer. Apart from this, the screening of a movie at the beginning of the film affords an opportunity to display THE CHRISTIAN LICORICE STORE's credits in an inventive, unconventional manner.

Award-worthy performances in my opinion: Beau Bridges, Gilbert Roland.

Suitability for young viewers: Parental discretion advised. Infrequent coarse language, brief male nudity, adult themes, stylized drug use.

Overall Grade: C

Link: IMDB Page
 

WELCOME HOME SOLDIER BOYS (1971)

Title: WELCOME HOME SOLDIER BOYS

Year of Release: 1971

Director: Richard Compton

Genre: Drama, Psychological Suspense

Synopsis: Four veterans just returned from Vietnam take a cross country journey across an unsympathetic and corrupt America, ending in an explosion of emotions.

Within a film history context: There were a number of films released in the 1970s, including WELCOME HOME SOLDIER BOYS, which dealt with the difficulties Vietnam veterans faced on their return home, and overall sense of displacement and disillusionment. Films such as TO KILL A CLOWN (1972), TRACKS (1976), COMING HOME (1978) and THE DEER HUNTER (1978) dealt with the theme in different but equally eye-opening ways. WELCOME HOME SOLDIER BOYS was one of the first to deal with the issue of Vietnam veterans in such an honest, unsparing manner.

Overview: Richard Compton directed seven features in his career, beginning with THE GUN RUNNER (1969), originally rated X in 1969, and, most notably, action drama MACON COUNTY LINE (1974) and its sequel RETURN TO MACON COUNTY (1975). Over the course of his career director Richard Compton dealt with people caught in extreme situations, and how this could lead to explosive reactions from his protagonists. His films could be characterized as drive-in fare with exploitation elements, but WELCOME HOME SOLDIER BOYS, his third motion picture, was by far the best of his cinematic oeuvre. An incisive examination of discrimination, alienation, and the effects of war on its four central characters, WELCOME HOME SOLDIER BOYS is a carefully structured narrative that builds slowly but gradually over the course of its running time. The events depicted may seen slight when taken into account individually, but add up when the film is reflected upon in retrospect.

Scenes such as Danny coming home to his parents and checking out his bedroom, the basketball game where he receives a frosty reception, and others such as Danny's talk with a prostitute give depth and credence to the narrative. There is also the subtle theme of outsiders living on the fringes of society who find solace with each other as hardly anyone else can understand them. The four soldier boys become a 'family' of sorts, supporting each other when others fail to come to the plate to assist them. They remain a close unit despite many hardships, and stay together to the end, a touching but also tragic scene.

There has been much discussion about the violence in the last few minutes of the film, and I will offer my thoughts on this. The violent content is more artistic and restrained compared to other films dealing with outpourings of emotion, eschewing gore and other unnecessary elements by keeping these to a minimum. WELCOME HOME SOLDIER BOYS' distance from cheap exploitation elements, thereby exploring the realm of human emotions in a heightened manner projects the film into a more symbolic, thoughtful sphere than its counterparts.

Acting: All of the acting is naturalistic with the film's performers in great form. The four soldier boys headed by Joe Don Baker as Danny, with Paul Koslo as Shooter, Elliott Street as Fatback, and Alan Vint as Kid, the youngest of the foursome, do an admirable job, with the actors distinctive in their portrayals. Danny is the leader, and the eldest of them, Shooter is the strong laconic type, more comfortable silent than speaking. The third member, Fatback, is the most gregarious, humorous of the team, while Kid is the good-looking member who holds faith dear to him more than the other three. Apart from the central foursome Florence MacMichael is thoroughly effective in a small role as Danny's mother, while Francine York has a few good moments as a prostitute Danny meets at the sleazy motel.

Soundtrack: The soundtrack in this film is very spare, largely sprinkled with several songs by country music singer Ronee Blakely at key moments in the narrative. The lack of music in this film serves a definite purpose as scenes largely stand on their own for their emotional power without the necessity for background music.

Mise-en-scene: The cinematography highlights the many places which the soldier boys encounter on their journey, the countryside depicted in an expansive, rugged, but sometimes desolate manner. It serves as a metaphor for their experiences during the course of the movie, some beautiful, others terrible, with others simply horrendous. Sets such as the pool hall where the soldier boys are targeted by some Korean War veterans, the motel, the Foley family home, and the basketball auditorium, all work in a functional and intrinsic manner, complementing the narrative world, and giving dimension to the characters, and the world they inhabit.

Award-worthy performances in my opinion: Joe Don Baker, Paul Koslo, Elliott Street, Alan Vint, Florence MacMichael.

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

Overall Grade: A

Link: IMDB Page

Movie Excerpt

BUSTER AND BILLIE (1974)

Title: BUSTER AND BILLIE

Year of Release: 1974

Director: Daniel Petrie

Genre: Drama, Romance, Revenge

Synopsis: Buster Lane, Greenwood High School, Georgia's handsomest and most popular student, leaves fiancée Margie Hooks when he falls in love with town pariah Billie-Jo Truluck, but their love affair ends in tragedy.

Within a film history context: The early 1970s brought forth a filmic revival of nostalgia for past eras in American history. The trend began with Peter Bogdanovich's splendid THE LAST PICTURE SHOW (1971), and most notably continued with George Lucas' AMERICAN GRAFFITI (1973). BUSTER AND BILLIE can be seen as a continuation of this focus on nostalgia, taking place in 1948 Georgia, with THE LAST PICTURE SHOW set in 1951 Anarene, Texas, with 1962 California showcased in AMERICAN GRAFFITI.

Overview: Over the course of his career Daniel Petrie directed a variety of films, dealing with issues such as racism in A RAISIN IN THE SUN (1961), the character studies of a lifeguard in LIFEGUARD (1976), and that of a police officer in FORT APACHE THE BRONX (1981). He treated his characters with understanding and sympathy, and invited audiences to do likewise. In BUSTER AND BILLIE, Ron Turbeville's screenplay deftly explores themes such as coming of age, discrimination, immorality, family ties, and sexual repression in 1948 Georgia, based upon a real-life incident from his home town. Mr Petrie presents his characters as flawed, realistic people which in this particular film plays out with great conviction. No one changes character in the film to fit a circumstance which is refreshing to witness. BUSTER AND BILLIE is a film that runs the gamut from drama, comic moments, romance, and tragedy, but is not light viewing. Be prepared for something that touches the mind and heart, with some ferocity, but without undue sentimentality.

Acting: The acting is uniformly excellent, and there is not a false note anywhere in this film. There is a large supporting cast, but they ably support the leads. Years before her role as feisty Fallon on night-time serial Dynasty, Pamela Sue Martin as Margie suggests that there is more beneath the surface to her supposed wallflower character which makes her an interesting match to Jan-Michael Vincent's Buster in the first part of the film. Robert Englund, later famous as Freddy Krueger in the A NIGHTMARE ON ELM STREET film franchise, is lively and intuitive as Buster's friend Whitey. My favourite acting performances, though, were by Jan-Michael Vincent and Joan Goodfellow.

Jan-Michael Vincent portrays Buster as a strong, sensitive young man who has a bit of a devilish streak, as witnessed by his tenuous relationship with the school bus driver. Buster is immediately positioned in comparison to his school friends as the 'good' young man with some shades of grey. He is curious how his school friends see Billie as just 'a means to an end' but does nothing to find out more about her. Buster steers away from Billie in the beginning as he is seemingly happy with fiancée Margie, but Margie's reluctance in a certain area is the impetus for him to meet Billie. At first he sees Billie as just a sexual quick fix, but something unexpected, and deeper develops between them which also brings a change in Billie's character. Jan-Michael Vincent's charming, solid performance, and chemistry with Joan Goodfellow is the centrepiece of the film, containing its best moments.

Joan Goodfellow's Billie is perfectly matched with Jan-Michael Vincent's Buster in this film, making his engagement to Margie seem like a sideline after the film is finished. When we first meet Billie she is being used by Buster's friends for their gratification, but the character is not shown as enjoying this, biting her lips, and walking away dejectedly after another one of these sessions. Billie is at first a character who speaks in a low voice, but Buster brings out her 'voice' in a manner of speaking, and her personality into the light for the first time. Joan Goodfellow underplays her role, which makes the transition between her first incarnation, and second all the more startling, and heartbreaking.

Soundtrack: The use of "Billie's Theme" by Hoyt Axton is employed throughout the movie in various capacities depending upon the scene. A moving and emotional song, it perfectly complements the action without ever becoming tedious. It is used to most effect at the beginning of the film during the credits, and at the end. When one first sees the movie and hears the song, it is beautiful but does not make sense until the film starts moving, and is most poignant in the final scenes. The film also utilizes period songs to evoke the atmosphere of 1940s Georgia, such as in the dance scene featuring country music singers Claude Casey and Slim Mims, and in the pool hall sequences.

Mise-en-scene: The cinematography beautifully captures the Georgia landscape, with its farms, fields and other buildings featured, which give the film an aura of authenticity that could not be duplicated in a studio. The bus driver's dusty window is one of many small but significant touches that the film presents which bring verisimilitude to the film. Another striking scene is the school house wall which is filled with graffiti which provides a revealing, and important narrative insight into the characters, and their activities for viewers.

There are also symbolic comparisons made between the various family homes in the movie that speaks volumes of the characters in a non-verbal manner. The Lane and Hooks family homes are cosy, with a nice airy atmosphere, comfortable furniture, and friendly parents. The Truluck home resembles more of a stable than a home, with badly dressed, abrupt parents, various clothing pieces hanging on the wall instead of pictures or ornaments, and an unkempt table at the entrance. This points to a downbeat ambiance, but also serves to establish Billie's home life and upbringing by unsuitable parents, therefore increasing understanding about the character's motivations and actions.

Award-worthy performances in my opinion: Jan-Michael Vincent, Joan Goodfellow, Robert Englund.

Suitability for young viewers: No. Low-level coarse language, brief male and female nudity, adult themes, high-level violence.

Overall Grade: A

Link: IMDB Page

Trailer

Welcome to CINEMATIC REVELATIONS

Welcome to CINEMATIC REVELATIONS, a new blog in which I will examine films which have made an impact upon me over the years.

While the films I will spotlight on the blog are from various eras of cinema, I will generally concentrate upon the movies of the 1960s and 1970s, these being personal favourite decades of film.

In the next blog post the first film I will explore is Daniel Petrie's BUSTER AND BILLIE (1974), a film I have seen many times, and a movie with which I am very happy to inaugurate my new blog.

I hope you enjoy visiting my blog, and that it stirs happy memories of film, opening discussion on the films themselves, and cinema as an art form in itself.

(Image credit: mconnors at morguefile.com)