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