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