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.
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.
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.
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.
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
Overall Grade: B
Link: IMDB Page
Movie Excerpt
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