CAREFUL, HE MIGHT HEAR YOU (1983)

Title: CAREFUL, HE MIGHT HEAR YOU

Year of Release: 1983

Director: Carl Schultz

Genre: Drama

Synopsis: In 1930s Australia, PS, a young boy, whose mother passed away early in his life, is caught between two maternal aunts Lila and Vanessa who each seek custody of him.

Within a film history context: Films revolving around custody battles over a child between two opposing parties have been onscreen since the 1920s. One of the first documented movies about the topic was Louis Gasnier's silent film FAINT PERFUME (1925). In this movie, a couple divorce, and battle over the custody of their son, with romantic issues arising as the husband falls for his wife's cousin. More serious was John Robertson's WEDNESDAY'S CHILD (1934). A young child is a pawn between his divorced parents, and his adjustment to this new situation is fraught with difficulty. Matters were somewhat different in BRIGHT EYES (1934), directed by David Butler. With Shirley Temple in the lead role, a young orphaned girl goes to live with a wealthy family, arranged by her uncle, with her godfather vying for her custody. On the other hand, Walter Lang's CARNIVAL (1935) featured a widowed puppet master with a young child, who is sued for custody by his father-in-law, but finds difficulty eluding the determined man. Employment was the motivation for a custody battle in STEPCHILD (1947), directed by James Flood. A woman's marriage breaks up as she wants to keep her job without giving her two young sons attention. The couple divorce, and the husband gains custody of the children, with the woman wanting to stay with her husband, but he is seeking another mother figure for his children, with tenuous results. 

Larry Peerce's ONE POTATO, TWO POTATO (1964) was equally complicated. A white woman divorces her husband, and marries an African-American man, but her former husband seeks custody of their son, in light of his ex-wife's new mixed marriage. Much more extreme in content was THE LAST WOMAN (1976), directed by Marco Ferreri. A man is deserted by his wife, leaving him with an infant son. He then embarks on an affair with a young woman, but his ex-wife seeks custody of their child, the pressure of this making him castrate himself. Controversial for its male, and female nudity, and one violent scene in particular, it gave Gerard Depardieu a showy role. One of the best known films about custody battles was Robert Benton's KRAMER VS. KRAMER (1979). In this movie, a woman leaves her husband, and their young son, but later contests custody, their messy relationship, and the impact on their son the basis of the story. A highly profitable modern drama, it earned four Oscars for best picture, director, and lead actors Dustin Hoffman and Meryl Streep. CAREFUL, HE MIGHT HEAR YOU could be seen as being as intricate in nature as ONE POTATO, TWO POTATO, and as emotional as KRAMER VS. KRAMER, but otherwise carved its own unique path.

It is one of the most intensive, psychological, and stirring portraits of characters involved in a custody battle for a young child ever filmed. As with many of the films above, special mention going to KRAMER VS. KRAMER, CAREFUL, HE MIGHT HEAR YOU is a movie that takes its time in building the dramatic situations for its viewers which makes one feel for the characters, and deeply comprehend their particular mindsets. CAREFUL, HE MIGHT HEAR YOU has a serene, lush atmosphere that immeasurably assists in this; the story is never rushed, everything is presented and explained thoroughly, with no plot holes or gaps. It is a film that flows effortlessly from scene to scene without any staginess. Some moments of melodrama abound in the film which are to be expected, but these are in keeping with the action, and never out of place. There are further features of the movie that set it apart from other entries in the genre.

It is difficult as such to pinpoint a villain in CAREFUL, HE MIGHT HEAR YOU as everyone's motivations make perfect sense, thus eliminating the easy way out of stacking the cards against certain characters to make them look bad. The characters have been so well defined that they jump off the screen for their realism, their passions highly palpable to the viewer. There are no two-dimensional protagonists here to let down the proceedings, thus making the film hollow. In addition to this, the film lacks the sensational elements that distinguished THE LAST WOMAN, hence leaving a sour taste in the mouth with that movie. CAREFUL, HE MIGHT HEAR YOU is more of a slow burn narrative, the heightened scenes of drama achieved through careful story building without the need for visual excess. A dignified film that deserves its high critical reputation, CAREFUL, HE MIGHT HEAR YOU is an enriching, one of a kind movie experience.

Overview: Born in Hungary, Carl Schultz has directed seven films over his twenty-one year cinematic career, the majority Australian films, with many credits on television. His first film, BLUE FIN (1978) was a family film about a father and son involved in tuna fishing in South Australia, with Hardy Kruger in the lead role. Mr Schultz's second movie, GOODBYE PARADISE (1982) starred Ray Barrett in the story of a former policeman penning a tell-all book about police corruption on the Gold Coast, Queensland, with a string of adverse circumstances eventuating from his novel. It was also the first time Mr Schultz directed Robyn Nevin on screen in this comedic action film. BULLSEYE (1987) was an historical adventure film about a pair of friends in the 1860s who steal cattle, transporting it across Australia. 

One of Mr Schultz's most intimate films was TRAVELLING NORTH (1987). In this comedy-drama, an older couple make the move to the country, with the movie exploring their passions, marriage and life. With seasoned thespians Leo McKern and Julia Blake as the married couple, it was a touching viewing experience. Mr Schultz then made a foray into fantasy and religious themes with THE SEVENTH SIGN (1988). A pregnant woman's anticipation of her child's birth is the starting point of an intricate chain of events with many biblical overtones. Lambasted by critics, it is a complicated work with much suspense and angst to spare. Carl Schultz's final film to date is TO WALK WITH LIONS (1999). The biography of wildlife conservationist George Adamson, it was another of Mr Schultz's films with an adventure background, as was BLUE FIN. CAREFUL, HE MIGHT HEAR YOU is one of Carl Schultz's best-known motion pictures, and undeniably his crowning achievement as director.

As with TRAVELLING NORTH, Mr Schultz concentrates upon a set of characters, presenting them with all their positive traits, flaws and foibles for the audience to take in and consider. There is also the exploration of interpersonal family relationships that BLUE FIN studied to a smaller degree. Where CAREFUL, HE MIGHT HEAR YOU differs is in the utterly compelling, emotional approach to its story and characters that Mr Schultz has accomplished, across a larger number of protagonists than the other films. Viewers can thoroughly relate to, and understand where the characters are coming from, in whatever they do and say. They are three-dimensional in every respect, and never act out of character, or do things which are not true to their beliefs. 

Adapted from the auto-biographical novel of the same name by Sumner Locke Elliott, CAREFUL, HE MIGHT HEAR YOU is an emotionally charged, thoughtful viewing experience, that leaves the spectator satisfied, but also, hopeful. Mr Schultz has created an enthralling mix of drama and pathos, with some subtle comic moments that occur at just the right time, giving the film equilibrium. Always on target, never over the top as a film, it knows how to pull at the heart-strings in its richly textured manner. A fine achievement of the Australian film industry, and one of the best motion pictures ever, CAREFUL, HE MIGHT HEAR YOU is a movie that does both its director Carl Schultz, and Australian cinema, proud.

Acting: CAREFUL, HE MIGHT HEAR YOU has a top-notch cast which make the film a thoroughly vivid viewing experience. Wendy Hughes is touching as Vanessa, one of two sisters vying for custody of PS. What could have been an empty villainess in other hands is given a graceful, sympathetic treatment by the actress, making her actions understandable to the audience. As Vanessa's nemesis, and sister Lila, who also wants PS, Robyn Nevin delivers a strong, equally excellent performance. These actresses work so well together that their animosity fuels the movie, and is one of its many strong points. As PS, the object of everyone's attention, Nicholas Gledhill gives a wonderful account of a strong-willed young boy caught within a tangled web of adult emotions, and many of his own. Impressive given the actor's very young age at the time of the film's production, Mr Gledhill played PS as the innocent, the mischief-maker, and the child seeking to carve his own identity. Supporting roles have also been furnished exceedingly well in CAREFUL, HE MIGHT HEAR YOU.

Geraldine Turner, as Vere, Lila's neighborhood friend, adds her unique personality to the film. An actress adept as being alternately brassy, strong and empathetic, with a wonderfully bawdy nature, Miss Turner lights up the screen in the limited time she has on camera. John Hargreaves, as Logan, also adds his distinctive persona to CAREFUL, HE MIGHT HEAR YOU. While retaining some of his easy-going nature in this film which is on display in his other movies, Mr Hargreaves adds a sympathetic note to the role of the wayward wanderer, with a nice dose of unexpected urbanity that suits him. The final acting of note in CAREFUL, HE MIGHT HEAR YOU was by Peter Whitford as George. Paired well with Robyn Nevin's Lila, Mr Whitford brings his pained George to life, most tellingly during his most emotional scenes, which are haunting to witness. 

Soundtrack: The instrumental score composed by Ray Cook enhances what is taking place on screen immeasurably, without ever being syrupy or overdone. Background music is played throughout CAREFUL, ME MIGHT HEAR YOU, and especially at key moments such as Lila and Vanessa's limousine confrontation, to maximum emotional effect.

Mise-en-scene: Everything presented in front of the camera for viewers makes CAREFUL, ME MIGHT HEAR YOU an authentic movie experience. Costuming by Bruce Finlayson is on target, suited to the characters. The designer makes evident differences in characters' socio-economic levels, with Vanessa's elaborate wardrobe a telling contrast to Lila's more down-to-earth clothing, reflecting her working-class status. Cinematography by John Seale employs a subtle use of colour, ideal for a film set in the 1930s. While the film is visually beautiful, the muted colour assists in capturing life in 1930s Australia without ever being harsh on the eyes. Brighter colour hues would not have assisted the movie, as it is not a technicolor musical, and would consequently have been detrimental. Use of colour in CAREFUL, HE MIGHT HEAR YOU is soft, and appropriate for a film that explores emotions in such a profound manner.

Award-worthy performances in my opinion: Wendy Hughes, Robyn Nevin, Nicholas Gledhill, Geraldine Turner, John Hargreaves, Peter Whitford.

Suitability for young viewers: Suitable for children with adult discretion. Adult themes, low-level violence.

Overall Grade: A

Link: IMDB Page

Trailer

WILD IN THE STREETS (1968)

Title: WILD IN THE STREETS

Year of Release: 1968

Director: Barry Shear

Genre: Comedy, Drama, Satire

Synopsis: A twenty-four year old pop star with counterculture ideals becomes president of the United States, but goes too far in his quest to rid the country of any citizens over thirty, causing sheer chaos.

Within a film history context: While there have been many films over time about real-life presidents of the United States such as Abraham Lincoln, movies with a fictional president have not been as frequent in occurrence. One of the first was Gregory La Cava's GABRIEL OVER THE WHITE HOUSE (1933). In this movie, a man becomes president of the United States, with a life-changing event converting him into a respectable statesman. With a cast including Walter Huston in the lead role, and Karen Morley and Franchot Tone in support, it was an irreverent film with revealing moments of reflection. Short film RUFUS JONES FOR PRESIDENT (1933), directed by Roy Mack, was the story of a child elected as the president of the United States, with Sammy Davis Jr. in the lead role. Daring at the time, and notable not only for a child being made president, and an African-American adolescent, it was an interesting predecessor to the later THE MAN (1972), where an African-American man becomes the United States president. William Wellman's THE PRESIDENT VANISHES (1934) was entirely different in tone and theme. In this film, the president of the United States seeks to protect his country from involvement in a European war, which is sought by fascists. Notable in being in a more political vein than previous movies, it pointed to later films which explored more incisive political territory. Moving forward to the 1960s, several films dealt with fictional United States presidents in a trenchant manner.

ADVISE & CONSENT (1962), directed by Otto Preminger, was a thriller concerned with the president's Secretary of State, and how a probe into his character may well bring down not only the latter but also, the president himself. One of the director's hard-hitting thrillers from this period, it provided meaty roles for a cast including Franchot Tone, Charles Laughton, Henry Fonda, and Burgess Meredith. More satirical in nature was Stanley Kubrick's DR STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). In this movie, an American president becomes unwittingly involved in intrigue with the Soviet Union through the actions of his brigadier, with much humor and hijinx. Featuring Peter Sellers as the American president in one of three roles, it was potent at the time of its release due to its Cold War content, and barnstorming presentation. SEVEN DAYS IN MAY (1964), directed by John Frankenheimer, also dealt with a Soviet theme, but this time, in a dramatic manner. In this instance,  the president's close associates scheme to topple his leadership, due to the president's support of a disarmament treaty with Russia. One of the director's best films for what was a decade of memorable movies, it featured Fredric March as the president, with Burt Lancaster and Kirk Douglas in support. 

Franklin Schaffner's THE BEST MAN (1964) took matters in another direction. While a president was present in the movie, it was more concerned with the machinations of two men vying for the presidential nomination, this taking up the majority of the film's screen time. One of the most heart-stopping films with an American president was FAIL SAFE (1964), directed by Sidney Lumet. Here, the Soviet theme was again apparent, with the president under extreme pressure to cushion the blow of a unintended nuclear attack against Russia. One of the most compelling films in this genre ever made, FAIL SAFE gave Henry Fonda many excellent moments as the beleaguered president. Curtis Bernhardt's KISSES FOR MY PRESIDENT (1964) offered a completely different spin on matters. In this film, a woman is elected United States' president, with both comic, and awkward moments for her husband, who assumes the duties a first lady usually would carry out. A refreshing take on matters, giving the issue a lighter feel, it gave Polly Bergen as the president, and Fred MacMurray as her harried husband, sprightly comic parts. A more action-oriented slant was offered by IN LIKE FLINT (1967), directed by Gordon Douglas. This film presented feminist politics, with a group of women who seek to turn the United States upside down, kidnapping the American president among their exploits, and generally displacing the dominant patriarchy. The thorn on the side of the women is spy Derek Flint, played with charm by James Coburn. Although it had many dramatic moments, WILD IN THE STREETS was in the style of the more comic explorations of fictional American presidents, with some of its own striking qualities.

Thus far in history, no president or prime minister aged under thirty has been elected leader of their country. WILD IN THE STREETS was notable in that it presented its lead character, Max Frost, who, at the age of twenty-four, in real life, most likely, would not be considered to be president of their nation. The film was slightly more realistic than RUFUS JONES FOR PRESIDENT in this respect, whose pre-teen became the United States president, something which is the stuff of fantasy. There was something which these films had in common, though. Both of these movies had characters who had no political experience as such, both being entertainers. They differed from the other films listed above which mostly had characters who were already in politics, and seeking to promote themselves, their causes and beliefs, many times by underhanded means. There is the equation of entertainers being similar to politicians in terms of their popularity with people, using their charisma to convince others that they are in their corner, fighting for their rights. 

In WILD IN THE STREETS, voting in a smooth speaking twenty-four year old pop star turns to mayhem for the citizens of the United States, and this is explicitly depicted by the film. What the film deftly portrays is someone who becomes a megalomaniac, and control freak, exemplified by his rounding up of the population over thirty years of age into camps. At the time of the film's release there was tension in the United States, and across the world, with counterculture passions running high. Old values and customs were being placed under the microscope, with much railing against, and rejection of these ideals. This point is where WILD IN THE STREETS differs from others in the genre such as THE BEST MAN, with their more conventional narratives and characters. 

With WILD IN THE STREETS, the effect of someone totally unsuited, and mentally unstable, in power, exercising his rights to an outrageous extent, is what propels the film forward. While there is the subtle undercurrent present that Max Frost, in his delusional manner, was seeking to create a new world order with his actions, there is the implication that sudden change, without the benefit of fully formed laws and decisions, both not based in either reality or with humanistic values, bring about a consequent discombobulation in society. More than any of the other films in the genre dealing with fictional American presidents, WILD IN THE STREETS shows how an inexperienced, and unfit person, in a position of power, can cause real harm to the fabric of society with ill-judged actions.

Overview: Barry Shear was a director with many credits in television, directing episodes of series, and telemovies. In cinema he helmed five feature films, the first of these being THE KARATE KILLERS (1967). An irreverent tale of espionage, boasting a cast including Joan Crawford, Curd Jurgens, Telly Savalas and many others, it was an early indication of the unconventional nature of Mr Shear's work. His third film, THE TODD KILLINGS (1971) was about a disturbed young man who indulges in flattery and murder, with Robert Lyons in the lead role. Based upon a real-life 1960s case, it also starred Barbara Bel Geddes and Gloria Grahame in support. Mr Shear's fourth and penultimate movie, ACROSS 110TH STREET (1972) was a crime drama dealing with the Mafia, and two New York policemen. His final film, THE DEADLY TRACKERS (1973), co-directed with Samuel Fuller, was a western about intrigue and revenge in a Mexican town, with a sheriff finding difficulties with a Mexican police officer. WILD IN THE STREETS was Barry Shear's second film, and one of his most recognized efforts.

Mr Shear has fashioned a movie that handles its theme in an entertaining, exhaustive manner, similar to his other films. It was most akin in the treatment of its lead character to THE TODD KILLINGS, whereby a young, handsome man uses his charms on others to largely deceive them, and hence carry out his wishes. Max Frost in WILD IN THE STREETS, though, is much more fleshed out than the protagonist of THE TODD KILLINGS. The director ably charts the path of a young man, not fully happy with his life, who becomes a pop star, then president. The speedy way up for Max Frost is as rapid as his downfall, which the film plays with at the end. It is inferred that one tyrant worse than him will appear soon to take his place, a delicious and pithy twist for the film that gives it real punch. Apart from this, Mr Shear also effectively presents the effect of Max Frost's popularity on not just the world at large but also, in the family of politician Johnny Fergus. Johnny Fergus' push to appeal to a younger voter, believing Max Frost's popularity with this segment of the population his ticket to winning the vote, but things do not go as planned for Mr Fergus. The rebelling of Johnny's son Jimmy against him causes waves in the film, which is one of the best sections of the film. WILD IN THE STREETS, though, does have some lapses which, unfortunately, render the film uneven as a whole.

While, on the surface, the film has a flashy appeal, mainly with regards to its visuals, which are beautiful to witness, WILD IN THE STREETS does become carried away with its spectacle at times, to the movie's detriment. The director has staged the film well, with many excellently coordinated scenes such as the riots, the hysteria surrounding Max Frost's concerts, and political rallies, to name a few. Where the film is weakest is in exploring the human reaction to the events taking place. The conflict between Max Frost and his family, also the issues between Johnny Fergus, his wife Mary, and their children, especially Jimmy, are where the film takes a break from the razzle dazzle, and becomes compelling. Regrettably, there are not enough of these moments to give the film more balance. It feels as if WILD IN THE STREETS is rubbing its hands together with glee during the more frenzied stretches, but, at the same time, missing out on further explorations of conflict that would have added immeasurably to the film, such as the Fergus marriage, and the breakdown of this family. It would have been a great contrast to the Frost/Flatow family conflict which occurred at the film's start, giving a greater sense of tragedy to the film which its irreverence does not allow. All in all, WILD IN THE STREETS is an ambitious but imbalanced film that some tinkering could have made a much better movie than the final product.

Acting: This is a film where the acting immeasurably assists in making it an entertaining experience. As Max Frost, pop singer turned United States president, Christopher Jones does a tremendous job as the charismatic, but paranoid Max. Mr Jones pulls off what is a very challenging role with passion, bringing his energy and smarts to a character who at times can be utterly egotistical. As his mother Daphne, Shelley Winters contributes another scene-stealing, memorable performance. She makes her love for her son something both real, but also, tragic. As Senator Johnny Fergus, Hal Holbrook brings authority to his role, and is especially spellbinding during his most dramatic moments, which are plentiful in WILD IN THE STREETS. Ed Begley is also excellent in a smaller role as Senator Amos Allbright. His farcical facial expressions and reactions are something to be savored. Several other actors merit mention for their contributions to the film.

As Jimmy Fergus, Senator Fergus' eldest son, Michael Margotta gives another superior performance, several years before his explosive Gabriel in DRIVE, HE SAID. In WILD IN THE STREETS Mr Margotta holds back his emotions, using his voice and face to express a variety of emotions. When one sees Mr Margotta's stony-faced, cold-eyed expression in the movies, it usually means something nasty is going to happen, and this is delivered in spades in this movie. The beautiful Millie Perkins, as Johnny Fergus' wife, and Jimmy's mother, does a good job in the movie, but her part has not been as developed as those of other actors. An actress who could have played Jean Simmons' younger sister in the movies, the film does not allow her to be anything but decorative, which is a shame. On the other hand, Diane Varsi, as Max Frost's strung-out lover Sally, gives an interesting, humorous performance in WILD IN THE STREETS. Her melodic voice, and fluid, assured movements give her character a spice and originality that is distinctive.

Soundtrack: WILD IN THE STREETS has a great pop soundtrack, mainly consisting of the songs Max Frost performs in concert. 'Shape of Things To Come' and 'Fourteen Or Fight' both performed by The 13th Power, are among the best of the tunes. The film also contains incidental music at pivotal points, such as the camp scenes with Daphne Frost in hysteria, that work in an effective manner.

Mise-en-scene: The colour cinematography by Richard Moore is beautiful, thankfully not garish or gaudy, despite the film containing several frenetic pop star concert scenes. The outdoor location sequences such as the riots, the public mobbing of Max Frost, protests, and the other outdoor scenes are all well conducted. Indoor sets such as Max Frost's splashy bachelor pad, the comfortable Fergus family home, and the Washington sets are also excellent. The opening and closing credits are similar, with images of the actors superimposed over an orange background, very 1960s in orientation. Costuming is first-rate, with all actors outfitted in appropriate attire for their characters, with special mention to Christopher Jones and Michael Margotta's carefully selected garments.

Award-worthy performances in my opinion: Christopher Jones, Shelley Winters, Hal Holbrook, Ed Begley, Michael Margotta, Diane Varsi.

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

Overall Grade: C

Link: IMDB Page

INTERVIEW WITH FILM EDITOR GEORGE FOLSEY JR.

George Folsey Jr.

Today I have the happy pleasure of welcoming a very special guest, film editor George Folsey Jr., to CINEMATIC REVELATIONS for an interview. George has edited a great many movies over the years, some of these including HAMMER, BLACK CAESAR, GLASS HOUSES [my review of the film can be found here] and J.D.’s REVENGE, considered one of the best Blaxploitation genre films, the high grossing NATIONAL LAMPOON’S ANIMAL HOUSE, international box office success COMING TO AMERICA, and CHEAPER BY THE DOZEN, one of Steve Martin’s biggest hits. 

George Folsey Jr., John Landis in Rick Baker's monster makeup, and George J. Folsey 
on location shooting John Landis' first movie SCHLOCK

George is the son of famed cinematographer George J. Folsey, who photographed such classics as ANIMAL CRACKERS, THE GREAT ZIEGFELD with William Powell and Myrna Loy, MEET ME IN ST. LOUIS and THE HARVEY GIRLS, both Judy Garland hits, Spencer Tracy and Katharine Hepburn vehicle ADAM’S RIB, SEVEN BRIDES FOR SEVEN BROTHERS, for which George Sr. received one of his Academy Award nominations, and setting the record for Radio City box office for decades, STATE OF THE UNION, and TILL THE CLOUDS ROLL BY, a popular all-star musical, again with Judy Garland. 

George Folsey Jr. with son Ryan Folsey

George Jr.’s son Ryan is also an editor, with successful horror comedy CABIN FEVER, hit Kristen Bell comedy WHEN IN ROME, the animated ALVIN AND THE CHIPMUNKS: THE ROAD CHIP, and SCOOB some of his editing credits.

George also had a notable collaboration with John Landis, editing solo, or co-editing several of his movies including horror film SCHLOCK, THE BLUES BROTHERS, another enormous hit, and COMING TO AMERICA. He also produced nine of Mr Landis’ films such as comedies THREE AMIGOS, TRADING PLACES, both financial successes, and black comedy INTO THE NIGHT. One of their most famous teamings was for the spectacularly successful Michael Jackson ‘Thriller’ music video directed by John Landis, which George co-edited with Malcolm Campbell. In this post, George will be discussing his multiple roles in the making of GLASS HOUSES, which marked his debut in films, and providing other information about this fascinating, but little-seen motion picture. Welcome to CINEMATIC REVELATIONS George!

George Folsey Jr.

Athan: How did the concept of GLASS HOUSES eventuate, and how did you become involved in this project?

George: My dad was teaching at AFI and I think he met Alex Singer there. They had never worked together. Alex discussed a script that he and his wife, Judy had written and they came to me. Alex thought we could make the movie cheaply so we used our contacts to put together a crew of young upcoming guys and girls and got the IATSE to let us all work non Union. My dad put up some money and I raised the rest of the $100K budget from friends at our Golf Club. 
 

*

Athan: In GLASS HOUSES you not only were responsible for the editing but also, was the film’s producer, and camera operator, shooting one-quarter of the movie handheld with the Éclair camera. How did it feel at the time taking on so many duties for this production?

George: I went to Pomona College and graduated with a degree in English Lit. There was no Film School at Pomona so GLASS HOUSES was my Film School project. I had worked at KABC-TV cutting the news and documentaries but never a feature. I did spend 6 months at MGM working as an assistant editor to Henry Berman, a famous editor who had worked with my dad. Together we worked on GRAND PRIX and Henry won an Academy Award for his work on it. He taught me his editing system which I've used throughout my career. We decided to shoot with an Eclair 35mm camera in a blimp for the dialogue scenes. My dad got a Worrell gear head from MGM and I would practice by having my wife, Belinda walk around our living room and I would try to follow her. I got better with practice. I did shoot about 25% of the movie hand held. The Eclair, without the blimp, was great for this. I definitely felt the pressure watching the money and it was a long shoot, 10 weeks. We ran the dailies silent at MGM as it was too hard to sync them each day. I learned a lot about my operating as there was no sound to distract from my camera work.
 

*

Athan: What did you most enjoy about the experience of making GLASS HOUSES?

George: The best part of making the movie was getting to work with my dad who was very helpful. We shot another movie, BONE, in the same fashion.

*

Athan: Which for you were the most demanding, but emotionally satisfying moments of filming GLASS HOUSES?

George: We shot maybe 50% of the movie in the house my wife and I were renting. We had a 2 month old daughter and Jennifer O'Neill was staying with us as we had no money for hotels. She was a pleasure and very helpful. I liked it when my dad said I'd done a good job after running the dailies.
 

*

Athan: I was always struck by Ann Summers, who played Adele in the picture, Victor’s wife and Kim’s mother, and the moving nature of her performance. There is very little written about her, and she remains to this day an intriguing, mysterious presence. What was the experience of working with Miss Summers in GLASS HOUSES?

George: As a Producer, you couldn't ask for a better cast member than Ann Summers! She completely got the part and was such a pleasure. We became close friends and I so saddened by her early death in 1974.
 

*

Athan: The casting of GLASS HOUSES was first-rate, especially with the afore-mentioned Ann Summers, Deirdre Lenihan, Clarke Gordon, and Mary Carver, for me, being the most striking choices. Was it a difficult process to cast for this movie, or did certain performers make their presence felt from the start?

George: Most of the casting was done in New York by Singer and Joel Steinberger. Deirdre Lenihan and Clarke Gordon clearly stood out.
 

*

Athan: The editing in this film is of a superlative nature, with special mention being for the final few minutes of GLASS HOUSES featuring Deirdre Lenihan and Bernard Barrow. In this short space of time, a complicated montage of shots was assembled, whereby the viewer was thrown off balance by space and time, and exactly what was taking place, and which character’s point of view is being expressed. How did it feel editing these intricately detailed sequences?

George: I haven't seen the final sequence in many years but I made a pass at it and Alex and I refined it. He was a pro and I had little trouble in editing the movie as I was able to use the Henry Berman system to great advantage.
 

*

Athan: GLASS HOUSES was shot in many real-life locations, such as the Beverly Hills home in which you and your family lived in at that time, and the Topanga Center for Human Awareness. What were some of the logistical challenges posed by shooting the film in this manner?

George: We couldn't afford to shoot anything on a sound stage so everything was shot in practical locations. I remember shooting Bernie Barrow and Jennifer [O'Neill] driving down Melrose Ave. I was strapped in and surprised to see a Policeman in my finder at the end of the shot. Got cited...
 

*

Athan: Have you kept in contact with any cast members and crew from GLASS HOUSES?

George: Sidney Baldwin who shot stills on the production worked on a couple of movies I produced with Landis. Jason Starkes who worked as a grip wrote JD'S REVENGE which I edited. Eric Roth who wrote FORREST GUMP, was our Lighting Gaffer. Esperanza Vasquez was our script girl. She and her husband were producers on a movie I edited in the 70's. It was such a pleasure to work with all these young people many of whom went on to successful careers in the Industry.
 

*

Athan: A cast member of the movie, T.J. Halligan, was credited as passing away the same year GLASS HOUSES was shot, being in 1970. Could you enlighten us on what effect this event had on the making of the movie?

George: We were all sad to hear of the passing of T.J. Halligan but it didn't have an effect on the movie. Actually I think GLASS HOUSES was filmed in 1969.
 

*

Athan: GLASS HOUSES has unfortunately largely faded into obscurity, and has never been released on either VHS or DVD. What do you think is the reason for this?

George: Considering we sold the movie to Columbia its hard to understand why there are no 35mm prints, no VHS or DVDs and where is the cut negative? I've spoken to a close friend at Columbia to try to find some element to make something but to no avail. It isn't a great movie but it's well made. Not sexy enough to qualify as an "Art" film and too sophisticated for popular release. Also, there was no Star in the cast to help the Box Office.
 

*

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

George: I'm producing a Faith/Based movie called GOD'S GONE FISHING which I hope to shoot in the late summer of 2021.
 

*

Thank you so much today for your time George, and for the valuable insights you have provided into film editing, GLASS HOUSES, film editing, and production. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Thank You Athan for letting me be a part of CINEMATIC REVELATIONS!!!
 

*

George Folsey Jr. links

+George Folsey Jr. IMDb Page

+GLASS HOUSES IMDb page

RIOT (1969)

Title: RIOT

Year of Release: 1969

Director: Buzz Kulik

Genre: Drama

Synopsis: In an Arizona prison, inmates attempt to break out of jail by initiating a riot, which has violent results.

Within a film history context: Films about prison riots, or in similar correctional facilities, have been present in cinema since the 1930s. One of the first to deal with the topic was George W. Hill's THE BIG HOUSE (1930). Romance and emotions boil over in the story about how a jailed man falls for his cellmate's sister, and becomes involved in a prison riot. In a much more comical vein was PARDON US (1931), directed by James Parrott, with Stan Lauren and Oliver Hardy placed in the Big House after selling liquor to a policeman during Prohibition. This Laurel and Hardy vehicle has a mild prison riot in keeping with the nature of the material, and the comedians' past work, but is notable for both the theme, and their participation. Different in nature was Lew Landers' CONDEMNED WOMEN (1938). A young shoplifter begins a romantic relationship with her prison psychiatrist, but when told to end this, she becomes part of a jail riot in retaliation. The film is interesting as it featured a female prisoner as the lead character, ably portrayed by Sally Eilers, with Louis Hayward as the presentable doctor. 

REFORMATORY (1938), directed by Lewis D. Collins, took matters in another direction. The death of a young boy is the impetus for a change in a reformatory's management, with a new man taking the reins. Poor conditions at the reformatory cause the inmates to riot, and the new man institutes changes to bring about peace in the facility. The kindness of this man comes under fire when a number of unexpected incidents occur, placing his management of the reformatory under the spotlight. On the other hand, Jules Dassin's BRUTE FORCE (1947) followed the power struggle between a prisoner and the ruthless chief guard. Tensions rise which result in a violent prison riot with deadly consequences. Starring Burt Lancaster, with a cast including Hume Cronyn, Charles Bickford and Yvonne De Carlo, it was an example of this director's great works. The 1950s had further varied depictions of prison riots for audiences to ponder.

CAGED (1950), directed by John Cromwell, was a woman in prison film which were periodically featured in the 1950s, particularly in exploitation cinema, but was, in this instance, a Warner Brothers production. It was about a young woman involved in a shoplifting incident which goes very wrong, but has a prison riot related to a kitten that causes anguish for the main character. Don Siegel's RIOT IN CELL BLOCK 11 (1954) was most in sync with the prison riot theme, with poor living conditions at a jail inciting a riot amongst inmates, and issues with the prison hierarchy. Helmed by Don Siegel, famous for DIRTY HARRY (1971, it was another example of his daring movies. THE GREEN-EYED BLONDE (1957), directed by BERNARD GIRARD, shared similarities to REFORMATORY by manner of its reformatory setting, and CAGED, in that a female character was involved. Where the film moved away from others was in that it focused upon intrigue in the facility, especially how a kidnapped baby causes a riot in the institution, with tragic repercussions. R.G. Springsteen's REVOLT IN THE BIG HOUSE (1958) delved into the planning of a prison riot and consequent escape, but differed in that one of the participants harboured reservations about the plan. It was similar to both BRUTE FORCE, and RIOT IN CELL BLOCK 11, in the behind the scenes view of a prison riot. The 1960s also had several movies which explored the prison riot theme.

SO EVIL, SO YOUNG (1961), directed by Godfrey Grayson, was the story of a young girl in a reform school framed for a crime with which she had absolutely no involvement, and included a short prison riot sequence. The separation of a mother and her child was the main element in Crane Wilbur's HOUSE OF WOMEN (1962). In this movie, a falsely accused woman is in jail, and gives birth to her child, but the cruel prison rules enforce the baby to be taken away from her, which provokes a riot on the part of her fellow inmates. With a cast including Shirley Knight in the lead role, supported by Constance Ford, Jeanne Cooper and many others, it was a showcase for these talented actresses. THE LONELINESS OF THE LONG DISTANCE RUNNER (1962), directed by Tony Richardson, also showed a brief riot scene, this time set inside a reformatory for young men. RIOT, in comparison to these movies, was a film where the prison riot took up a great deal of screen time, the director exploring this incident in detail.

As in RIOT IN CELL BLOCK 11, RIOT's characters rail against poor conditions in the jail, and, similar with the latter movie, the expected prison riot occurs. There are also shades of BRUTE FORCE present in RIOT such as the standoff between prisoners and jail workers. In many of the above films, prison officials were painted as either being black or white, without shades of gray in between. In RIOT the prison hierarchy was not presented as totally evil as such, there were some caring individuals in the prison who were sympathetic to the prisoners, which gives the film another dimension instead of falling into the trap of goodies versus baddies. Where RIOT also diverts from other movies, though, is in its violent content. While not exploitative, the violence is difficult to watch at times, but is realistic in tone and nature. The clashes between both prisoners, and prison officers is handled in an eye-opening manner, but not with a view to glamorise violence. This was allowable with the breakdown of film censorship at this time in film history, with this film deservedly rated 'R' for its content. The film was also interesting for other points which are outlined below.

RIOT was noteworthy as it did not feature a romance angle in the film to soften its often tough context. There were no women present in RIOT's jail setting, as in the later FORTUNE AND MEN'S EYES, which would have detracted from the action in the movie, with its concentration on the prisoners and their escape plan. RIOT does show something which is both surprising but also, makes sense for the movie. In RIOT there was a privileged view into Cully's life before imprisonment, particularly his love life. This provided the main character with an understandable reason for wanting to escape, but also, gives added nuance to Cully's psychological makeup for the viewer. Apart from this point, RIOT was also notable for another reason.

Homosexuality was on view in RIOT, to the extent that there was several gay characters, and a striptease sequence performed by a male character in drag. It was interesting as there were several characters present during this segment who appeared to be heterosexual, with a play on this issue which has been explored much more in later films such as FORTUNE AND MEN'S EYES. This particular film took matters much further with an openly gay character in a lead role, not in a supporting capacity as in RIOT. It is also interesting that FORTUNE AND MEN'S EYES also features a male in drag masquerading as a woman, in its case, for the prison show, but has glimpses of full male nudity that RIOT did not present. While FORTUNE AND MEN'S EYES had homosexuality as a driving force in the narrative, including openly suggestive situations, dialogue, and male rape within  its diegetic world, in RIOT it was more of a sideline rather than the main issue. The prisoners' escape was always the burning issue, and what consumed both the characters, and the film itself. One of the best films made in a prison milieu, RIOT is a movie that compels with its measured presentation, and attention to detail in all aspects.

Overview: Buzz Kulik was a director with a deep number of television series and telemovies to his credit, with nine motion pictures bearing his name. His first movie, THE EXPLOSIVE GENERATION (1961) was a risqué, for the time, story about a high school teacher attempting to teach sex education classes to his pupils. With a cast including a young William Shatner and Beau Bridges, and veterans such as Virginia Field and Phillip Terry, it was an interesting experiment for the first time director. Next came THE YELLOW CANARY (1963). Starring Pat Boone as a rock singer whose child is kidnapped, with the kidnappers playing games with the police officer assigned to the case, it is mainly notable for featuring Mr Boone in a less than sympathetic role. 1967 brought Mr Kulik the suspenseful WARNING SHOT. An illustrious cast including David Janssen as the policeman whose fate lies in the balance without an incriminating weapon, supported by Ed Begley, Lillian Gish, and Eleanor Parker, the film was a move upwards for the director. SERGEANT RYKER (1968) was an espionage and suspense war film set during the Korean War, and a further example of Mr Kulik's comfort with thriller themes. 

Next came VILLA RIDES (1968) a western set in Mexico, with Yul Brynner as Pancho Villa, the Mexican revolutionary figure. A chance to do comedy made itself available in TO FIND A MAN (1972) with some nods to topical issues. A young man tries his best to help his young acquaintance with an abortion, the two making a warm, but sometimes tenuous connection. With Pamela Sue Martin as the torn young woman, and Darren O'Connor as her well-meaning friend, it was a change of pace for the director. It was back to action and excitement in SHAMUS (1973). One of Mr Kulik's best known vehicles, it centred around the eponymous private detective who is assigned on a special case; for the owner, either find the stolen diamonds, or the killer of the burglar. It was a fast-moving, humorous ride that provided Burt Reynolds, and Dyan Cannon, with excellent roles. Mr Kulik's final film, THE HUNTER (1980). was also Steve McQueen's last role, in a action movie about a man being threatened by a criminal he handed over to justice, with his personal life also on view. RIOT was in keeping with Buzz Kulik's action directorial slant, but this time, set in a maximum security jail.

It was a film, as with his others such as THE EXPLOSIVE GENERATION and SERGEANT RYKER, which had the courage of its convictions, not shying away from difficult or controversial subjects. There was no toying with matters in Mr Kulik's films, he always got down to business, which made his films both forthright, and refreshing to watch. RIOT also shared the suspenseful framework that made his films so compelling, most akin to WARNING SHOT in its careful execution. There is a painstaking attention to detail and plot events which add up to a cohesive whole, and a satisfying product for the viewer. What also made RIOT so successful, though, and something which differentiated it from other movies of its type, was its lack of melodrama. While there were many scenes of mayhem and violence in the film, these were borne out of pre-existing events and character actions, and not trumped up just for the sake of spectacle. Additionally, other facets of RIOT made it stand out in comparison to other films with a jail riot theme. 

The interactions between the characters are another highlight, the director and writers making their motivations clear for the audience to interpret, and understand. It is not a case of stereotypes just going through the motions, the characters have a depth to them, with particular mention to the two lead protagonists. While they control the majority of the action, they are also supported by peripheral characters who have a place in the film. Having a black, and white character as best friends, seeing each other as equals, is another striking element to RIOT. The race angle, whereby black versus white, and the difficulties that emerge out of this, has not been utilized in the movie, and all the better. The two characters share a moving, credible partnership that is all the more memorable as the last few scenes unravel. For these reasons, RIOT is one of Buzz Kulik's most interesting films, also one of the best films with a prison setting to come out of Hollywood, and a credit to the director as a whole.

Acting: The performances is one of the reasons why RIOT works so well as a convincing motion picture. Jim Brown is splendid as the thoughtful Cully, a man of action but also, integrity, whose passion carries the film. A man with not only a physical but also, a charismatic presence on screen, Mr Brown brings his Cully to life with his distinctive earthy persona. Gene Hackman is also great as Red Fraker, Cully's associate, with whom they share a friendly, but at times fraught relationship. The combination of Mr Brown and Mr Hackman works exceedingly well in RIOT, their unexpected chemistry giving the film vitality and depth. The final actor of note is Ben Carruthers, as the unhinged, unpredictable Surefoot. An actor for whom RIOT, unfortunately, was one of his last films, here he gives it his all, making viewers wonder what went so wrong for Surefoot, making him so extreme in his actions.

Soundtrack: RIOT's theme music is played at both the beginning, and the end of the film, with some pieces of the tune featured throughout the movie at key intervals. Composed by Christopher Comeda and sung by Bill Medley, it is a haunting song which perfectly encapsulates the film's solemn, pensive mood.

Mise-en-scene: RIOT has much outdoor location shooting at a real prison in Arizona which gives the film punch. Scenes such as the many confrontations between prisoners and prison officials, perched above with guns ready to fire, sequences of inmates working in the searing heat, to name a few examples, could not have been as realistically depicted in a studio. Indoor scenes are also excellent, the action moving from cells to mess hall, offices and tunnels with ease. The colour cinematography by Robert Hauser is subdued in tone, appropriate to a film whose subject is lacking in glamour, giving a calming effect, thereby emphasizing the sharpness of the jail, and the outdoor locations.

Award-worthy performances in my opinion: Jim Brown, Gene Hackman, Ben Carruthers.

Suitability for young viewers: No. Male nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

LOST HORIZON (1973)

Title: LOST HORIZON

Year of Release: 1973

Director: Charles Jarrott

Genre: Fantasy, Drama

Synopsis: When a plane crashes in the Himalayan mountains holding several American and European passengers, they are led to safety into a mystical Eastern sanctuary named Shangri-La.

Within a film history context: Movies exploring people in a foreign place, many times not being there of their own volition, with consequent difficulties, acceptance, or disavowal of this predicament, have been periodically featured in cinematic history. One of the first to deal with the subject was W.S. Van Dyke's WHITE SHADOWS IN THE SOUTH SEAS (1928). In this movie, a doctor stranded on a tropical island takes issue with the treatment of the natives by white inhabitants. A battle of the sexes ensued in DANGEROUS PARADISE (1930) directed by William Wellman. Here, a man and a woman lock horns on a tropical island, with many perilous and suspenseful moments abounding. With Bert Glennon's PARADISE ISLAND (1930) matters were of a different nature, this time set in Tonga. A young woman discovers her fiancé is a dipsomaniac, and the interest in her of three other men sets in motion a complicated love quadrangle. The first version of LOST HORIZON (1937), directed by Frank Capra, looked at the premise of varied personalities on an airplane which crashed in Tibet, and how they are escorted to a paradise called Shangri-La. The drama surrounded how they handled their stay in Shangri-La, and that while some took the place of serenity and kindness into their hearts, others resented it. Apart from LOST HORIZON, one of the most famous entries in the genre arrived at the end of the decade.

THE WIZARD OF OZ (1939) is perhaps the most loved of these movies, with Judy Garland at her finest. A young girl in Kansas is transplanted into a magical land called Oz where she meets with a number of both lovable, and some not so lovable characters. With directing duties handled by such legends as Victor Fleming, King Vidor, George Cukor and several others, it is a spirited, touching film that has an enduring appeal to viewers of all ages. SWISS FAMILY ROBINSON (1940), directed by Edward Ludwig, was the story of a family who have been shipwrecked on a desolate island, trying to piece together their lives with this unexpected event. Starring Thomas Mitchell, with Freddie Bartholomew as the juvenile lead, it was later remade in 1960 with Dorothy McGuire and John Mills.  SOUTH OF TAHITI (1941), directed by George Waggner, as with LOST HORIZON, began with a plane crash, but this time, in Tahiti. Romance and intrigue follow as a survivor falls for an island girl, with his fellow passengers seeking to claim the island tribe's treasure. Towards the end of the decade, Frank Launder's BLUE LAGOON (1949) arrived for audiences. This tale of two adolescents shipwrecked on an island, and subsequently falling in love, was later remade in 1980 with nudity and sexual elements, but healthy box-office results. Into the 1950s, several major films were released on the theme.

Romance was again the main crux of THE ADVENTURES OF SADIE (1953), directed by Noel Langley, with Joan Collins starring as a young woman stranded on an island, with three men vying for her attentions. Again with Joan Collins was Bob McNaught's SEA WIFE (1957). In this film, a ship with British subjects aboard is sunken by the Japanese, with three male passengers and one woman, being Miss Collins - who is a nun. In a similar style THE LITTLE HUT (1957), directed by Mark Robson, looked at three shipwrecked people, one woman, and two men, with a love triangle forming out of this situation. Much more comical was Lewis Gilbert's PARADISE LAGOON (1957), also known as THE ADMIRABLE CRICHTON. With the spunky Diane Cilento in the lead female role, it centred around a Lord and his family who are shipwrecked on an island, where class conflict emerges, and people put to the test. The second filming of a property first filmed in 1918, THE ADMIRABLE CRICHTON was also screened in other versions through the years such as a telemovie in 1968. Another story with a humorous twist was DON'T PANIC CHAPS! (1959), directed by George Pollock. In an Adriatic island during World War II, English and German soldiers cohabit well until a young woman's arrival disrupts the relative calm. Another British farce with comedy on its mind, it rounded out the films from the 1950s with the subject, the difference being that the soldiers were on assignment, and not there as a result of an accident.

Into the 1960s, more distinctive films, mainly with shipwreck dilemmas, were released. Cy Endfield's MYSTERIOUS ISLAND (1961) was set during the American Civil War, and followed the story of several soldiers and confederates avoiding problems by fleeing in a balloon, but facing mayhem on an island. LORD OF THE FLIES (1963), directed by Peter Brook, took matters in another direction. Young boys stranded on an island, and forced to age before their time was the narrative pull for this movie, shot in stark black and white, and featuring a talented group of teenage actors. Things were much lighter in tone in Ralph Nelson's FATHER GOOSE (1964). In this film, Cary Grant lives on a remote island during the second world war, and a key part of his duties is looking out for a teacher and students, thus bringing the comedy, and romantic, elements into view. More thoughtful was ROBBY (1968), directed by Ralph Bluemke. A shipwreck is the impetus for a burgeoning friendship between two young boys, one white and one from the island, where a number of issues play out for the youngsters. 

War themes were again presented, as with DON'T PANIC CHAPS!, in John Boorman's HELL IN THE PACIFIC (1968). Starring Lee Marvin and Toshiro Mifune as an American pilot and Japanese naval officer stranded together on a island, it was a tense, well-acted portrait of two men coming to terms with each other, and their situation. In a more exploitative vein was THE SIN OF ADAM AND EVE (1969), directed by Miguel Zacarias. The classic fable was updated for a late 1960s audience with lashings of nudity, but of no real enduring, or edifying meaning. LOST HORIZON, in contrast with these films, explored its story of strangers in a foreign place with sensitivity over its two plus hours on screen.

Without doubt, the LOST HORIZON of 1973 has the most in common with the LOST HORIZON of 1937 in that both are multi-character narratives, and show in detail the reactions of the plane crash survivors to their stay in Shangri-La. This is the beauty of both versions, making clear why the characters feel and act the way they do, without ever becoming maudlin, or heavy-handed. While it may be argued that the characters were stereotypes, the strength of the acting did away with this assumption, and a reminder that this film was intended as escapism. LOST HORIZON, with its multi-character structure, is also unique with its attitude to love and romance. While several of the above films were about love triangles or quadrangles, with participants vying for the attention of either a man or woman, LOST HORIZON showcased various love stories. In these stories, there was no third party making their presence felt; what brought out the conflict for the characters were their actions, and views on life. Other aspects of the film are worthy of examination.

There was also the targeting of specific age groups with the love stories, with two more mature couples, and a younger duo to cover different audience segments. While this might seem a trifle, it was a nice contrast between the action that worked in the film. LOST HORIZON was also distinctive in that it had a more spiritual slant than other examples, THE WIZARD OF OZ possessing that same emotional power. Again as with THE WIZARD OF OZ, which was also a musical, LOST HORIZON's musical numbers shared information about the characters which added to the film as a whole. While the original LOST HORIZON was a straight drama, the second version's inclusion of musical numbers gave it a more relaxed aura, and a break between heavier scenes. A film that makes no aspirations to be high art, but instead aims to entertain, something which it achieves, LOST HORIZON is a very charming way to pass the time.

Overview: In his career, British director Charles Jarrott helmed thirteen feature films, with many telemovies and episodes of television series between these. His first film, A TIME TO REMEMBER (1962) was a suspense drama about a robbery and how the burglars conceal the jewels. It was a film that came in at just under an hour in length, and Mr Jarrott did not make another film until later in the decade, concentrating on his television output. In 1969, Mr Jarrott made what is possibly one of his most famous films, and the first to display his ease with historical films and settings - ANNE OF THE THOUSAND DAYS. Starring Richard Burton as King Henry VIII, it followed his anger at wife Catherine of Aragon's failure to produce him a son, abandoning her for Anne Boleyn. Mr Jarrott followed this film with another based on historical events, being MARY, QUEEN OF SCOTS (1971). Centring upon the relationship of Queen Mary with her cousin, Queen Elizabeth I of England, it gave both Vanessa Redgrave, and Glenda Jackson, the opportunity for meaty roles, and Charles Jarrott a higher profile in cinema. The 1970s was a decade in which Mr Jarrott made the majority of his films, with varied themes and content. 

THE DOVE (1974) was a change of pace for Mr Jarrott, in a contemporary story of a teenager who sails solo around the world in a boat, the dove of the film's title, finding romance with a young woman on the way. THE LITTLEST HORSE THIEVES (1976) was a family movie about a coal-mine, and how three children scheme to save the pit ponies which are slated to be killed, in light of the mine's move to mechanization. Next came one of Mr Jarrott's most commercially successful, if critically lamented movies, THE OTHER SIDE OF MIDNIGHT (1977). Based upon a novel by Sidney Sheldon, it was about a young French woman torn between her first love, a soldier in World War II, and her Greek billionaire lover. With a long running time the film was somewhat laden at times, but the popularity of its source novel, and the presence of spicy sexual content and nudity, ensured success, as well as the spirited performance of Susan Sarandon. 

At the other end of the spectrum, it was back to family films with THE LAST FLIGHT OF NOAH'S ARK (1980). An airplane transporting animals has to land on an island, but the plane has to be altered into a boat to ensure the animals, and everyone on board is safe. THE AMATEUR (1981), was a thriller involving intrigue, murder, and the CIA that was handled by Mr Jarrott in a dignified manner. There was a return to real-life stories in THE BOY IN BLUE (1986). This film was about Canadian athlete Ned Hanlan, who was a champion sculler, set in the late 1800s. CONDORMAN (1981) starred Michael Crawford in a comic film about how a cartoonist assumed the mantle of his fictional character, with forays into espionage. Mr Jarrott's final film, TURN OF FAITH (2002) was a crime drama about three men and their friendship over the years, with a stunning realization arriving for them when they least expected it. LOST HORIZON was one of Charles Jarrott's best films, but, unfortunately, has been sidelined somewhat by its critical reception, which has largely overshadowed the picture's many virtues.

Mr Jarrott has taken James Hilton's classic story and given it a graceful, fluid treatment in LOST HORIZON. While the film has been compared on multiple occasions to the 1937 version directed by Frank Capra, Mr Jarrott's version is one remake that has not tarnished the memory of the original film. Several things, though, have to be made clear from the onset. The first film was shot in black and white, and made during Hollywood's golden era by a renowned director, with many classics movies to his credit. Charles Jarrott would always be seen as filling tall shoes by attempting to make lightning strike twice with his version of LOST HORIZON, but, despite some lapses, it is a very good film on its own terms. This colour, widescreen remake of the film is beautiful to witness and listen to, with much more realistic special effects than the original picture which add verisimilitude, and punch, to the proceedings. The sets and costuming are all authentic, and appear to have had serious money spent on them, which also gives LOST HORIZON a depth beyond the story itself. 

Much has also been made of the inclusion of musical interludes, thus converting LOST HORIZON into a musical. While some of the musical pieces do not gel with what is taking place onscreen, those that do add an ethereal aura which is in keeping with the film's theme of people seeking, railing against, or finding their slice of paradise. With its leisurely pace and beautiful presentation, LOST HORIZON has more in common with Charles Jarrott's historical films such as ANNE OF THE THOUSAND DAYS and MARY, QUEEN OF SCOTS, with an especial connection to his picture THE DOVE, in that it is a reflective work of people being tested, and finding what they want in life. One of Charles Jarrott's most distinctive films, and one of the best remakes of a classic film ever shown to audiences, LOST HORIZON is a thoughtful, relaxing movie that deserves a higher reputation than what it has had until now.

Acting: The acting in LOST HORIZON is of a very good standard, but several performances stand out in particular. Peter Finch, as Richard Conway, is authoritative and commanding, the perfect lead actor for the film. His thoughtful and elegant manner adds just the right touch to the movie, a logical choice as a modern-day take on Ronald Colman from the original. It is interesting to note his chemistry with Michael York, who portrayed his brother George in LOST HORIZON, with both actors seeming to gel very well on screen. Michael York also does an excellent job in the movie as the ambitious younger brother of Peter Finch. His deep voice and raw passion work exceptionally well in the movie, presenting a contrast between the two brothers. Three other players are also excellent in their portrayals in the film.

Song and dance man Bobby Van is wonderful as Harry Lovett, bringing a feeling of sprightly fun to LOST HORIZON. His musical number is infectious, and one that sets the toes tapping with his energy, and enthusiasm. John Gielgud is majestic as Chang, delivering his dialogue with his crisp diction, and adding class to LOST HORIZON. The final player of note was Olivia Hussey as Maria, the young woman who captures George's imagination. With a combination of innocence and wisdom, Miss Hussey brings her wistful character to life, and makes the outcome for Maria all the more striking towards the film's conclusion. 

Soundtrack: The songs composed by Burt Bacharach and Hal David are pleasant to listen to, but some songs are more memorable in looking back over the film as a whole. 'Share the Joy' performed by Olivia Hussey, is striking, with a melancholy, somber tone. 'Question Me an Answer' sung by Bobby Van, is entirely different, reminiscent of classic Hollywood musicals of the 1940s and 1950s with its effervescent delivery and joie de vivre. The LOST HORIZON theme song performed by Shawn Phillips played at both the beginning, and at end of the film, sums up the movie's objectives, and when repeated at the conclusion, ties up the movie neatly.

Mise-en-scene: As with other films produced by Ross Hunter, LOST HORIZON has excellent production values. The special effects are excellent, with the plane crash and mountain scenes captured with realism. Costuming and sets are also first-rate, the clothing appropriate for the performers, courtesy of Jean-Louis, and the production design seeming as if everyone really is in a fantastical, faraway land. Metrocolor has also been carefully used in LOST HORIZON, with scenes such as the Shangri-La musical and dance segments, with dancers twirling red ribbons flying in the wind, standing out. The photography by Robert Surtees captures everything beautifully, and another great example of this fine cinematographer's work. The film overall is colorful but never garish to watch, and sensibly measured in this respect.

Award-worthy performances in my opinion: Peter Finch, Michael York, Bobby Van, John Gielgud, Olivia Hussey.

Suitability for young viewers: Suitable for children. Mild adult themes.

Overall Grade: B

Link: IMDB Page

Trailer