THE YOUNG ANIMALS (1968)

 

 

Title: THE YOUNG ANIMALS (Alternate title BORN WILD)

Year of Release: 1968

Director: Maury Dexter

Genre: Drama, Action, Revenge

Synopsis: When a Mexican student arrives at a predominately white high school, discovering racism prolific in nature, he sets about to correct this inequity, but, encounters difficulties in his quest.

Within a film history context: Movies centred around racial problems among high school students are periodically featured in film history. One of the first motion pictures to deal with racism in a multi-racial school was Richard Brooks' THE BLACKBOARD JUNGLE (1955). Seminal in its use of rock music and portrayal of violence, it set a benchmark for more authentic depictions of high school in cinema in that time. TO SIR, WITH LOVE (1967), directed by James Clavell, was another film that dealt with a tenuous high school situation, with a Black African teacher assigned to head a class of disparate students. Paul Bogart's HALLS OF ANGER (1970) was interesting in that the racial scales were tipped on this occasion; in this film the majority of students were African-American, with a Caucasian student minority. Similar to TO SIR, WITH LOVE, in HALLS OF ANGER there was a Black teacher who also encountered difficulties with the students and staff at the school but on this occasion, there were also other black members of staff serving as romantic interest.

In comparison to these, THE YOUNG ANIMALS was reminiscent of HALLS OF ANGER in that the majority of students, in its case, were white, while the Mexican students were the focus of racism this time. It also diverted from the other films in that it did not have a teacher in a main role, instead students were the protagonists who drove the action in the narrative. Another difference is that THE YOUNG ANIMALS had an arch-villain who was a student, making the film more along the lines of a revenge story than a thorough-going exploration of high school issues. What also marked THE YOUNG ANIMALS from the other movies was its focus on action, which made it a more escapist, adventure-oriented entry than the others, which had a higher concentration on character-driven drama.

Overview: Maury Dexter directed twenty-two films in his ten year career in motion pictures, with a heavy emphasis on action and adventure genres. Beginning with WALK TALL in 1960 and his final film, A BULLET FOR PRETTY BOY in 1970, Mr Dexter also explored such themes as obsession, racism, narcotics, and gang violence in his movies. In THE YOUNG ANIMALS Mr Dexter has assembled a film that is sound overall, particularly strong in the confrontation and action sequences but, with some deficiencies. The film moves at a fast rate, which is an asset in that it never becomes stagnant, with something always taking place. The fast pace is a liability when it comes to certain plot points that could have been explored more intensely, and improved the film as a whole. One example stands out in the film for its omission.

The rape in the film is dealt with, and has consequences, but the character of Raquel, with the exception of one scene, is not allowed to express deeper feelings about it. She is shown to be around other male characters in the movie who, while not violent in any manner, still would have reasonably caused the character discomfort and anxiety. While it is a major plot point that the revelation of the rape has repercussions later in the movie, there is no sense that this event has caused a change in the relationship of Paco and Raquel, something which would have given the film even more impetus. Another point is the presence of female and male characters in the movie, and the importance given to its female cast. The female characters are largely secondary in nature to the male characters, and this is another drawback to the film. The actresses in THE YOUNG ANIMALS deserved further showcasing than they received, and this would have resulted in a more balanced film than what eventuated. Despite these flaws, Mr Dexter has done a very good job in other areas.

The riot scenes in front of the school are well-directed, Mr Dexter keeping these effective with a lack of overt bloodshed and gore. Raquel's rape, and Paco being overtaken by the four thugs is also dramatic, with what not being depicted in terms of the inevitable violence making the segment stronger. Action scenes such as Din-Din on the front of the car, and the chase through a caryard are also compelling, and further the plot in suitable ways. In summing up THE YOUNG ANIMALS, Mr Dexter has done sound work with the film overall, but, it needed certain scenes of intimate revelations, and interactions between the characters which would have deepened the film's impact.

Acting: THE YOUNG ANIMALS is a film where the acting is one of its strongest aspects. The movie is also notable in that the male characters are differentiated from each other, which provides colour and drama to the proceedings. As Tony, the pacifist high school student who believes in peace, and attempting for all sides to find conciliation in conflicts, the role is played with believability and charm by Tom Nardini. An agreeable and calming presence as a performer, his charisma works well to centre the film, and expound its theme of violence begets violence. The lively Keith Taylor has some scene-stealing work as the most vulnerable of the quartet of aggressors. Even though his actions are reprehensible in the movie, Mr Taylor manages to give the character a pathos, and humour, that makes him a watchable figure.

David Macklin as the clean-cut, good-looking but heartless Bruce Tabor, who sets the film's events in motion, and head instigator of the racism in the film, offers a chilling portrayal of entitlement and privilege gone wrong. The scenes in which he commits the most heinous of acts are carried off excellently by Mr Macklin, his reactions to the aftermath of his crimes making him one of the best villains of 1960s cinema. As Paco in THE YOUNG ANIMALS, David Zooey Hall offers a wonderful performance as the angry, vengeful but passionate young man who is the film's study in contrasts to Tony. Hearing Mr Hall speaking Spanish with such verve is just one of the reasons that this is a singular experience to treasure, and also why it is the film's best, most complex, and exciting performance. On the other hand, the female characters, specifically Patty McCormack and Joanna Frank, whilst good players, are not given enough scope in the film. I would have liked to have seen more of both, Joanna Frank in particular, as I feel there was more that could have been done to showcase her acting abilities further in the film.

Soundtrack: The movie's soundtrack is a jazzy score that is utilized both at the film's introduction, ending, with variations through its running time. It is particularly effective during the movie's most dramatic moments, highlighting these in a suitably tense manner. Apart from this, the film also features two scenes with rock music, one in a club performed by the American Revolution group, and another during a pool party by Orphan Egg, that work to provide the film with a funky, vibrant 1960s aura.

Mise-en-scene: THE YOUNG ANIMALS is well-produced in terms of its sets and locations. The vast majority of scenes are performed outdoors, and this gives the happenings a freshness and realism that works for the film as a whole. Scenes such as the riot episodes, the chase through the caryard, and Din-Din's torturous ride on the car bonnet, to name several examples, could not be shot as successfully in a studio setting, and would have seemed false. Use of colour in the film is not gaudy but appropriate to what is taking place on screen, the colour tones just right.

Award-worthy performances in my opinion: David Zooey Hall, David Macklin, Tom Nardini, Keith Taylor.

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

Overall Grade: C

Link: IMDB Page

BLUME IN LOVE (1973)

Title: BLUME IN LOVE

Year of Release: 1973

Director: Paul Mazursky

Genre: Drama

Synopsis: After his wife Nina catches him in a compromising position with another woman and leaves him, divorce lawyer Stephen Blume engages in a relentless quest to win her back.

Within a film history context: Films which revolve around womanizers, being either single or married, have been featured throughout cinema history. One of the first to deal with the theme is 1928's BEWARE OF MARRIED MEN, directed by Archie Mayo, and starring Richard Tucker as a charming womanizer. In Alfred Santell's amusing BREAKFAST FOR TWO (1937), Barbara Stanwyck tussles with playboy Herbert Marshall, and wins him over in her own distinctive way. In Michael Curtiz's MILDRED PIERCE (1945) a man takes advantage of a mother and daughter, loving and manipulating each until he meets his demise. Charles Walters' THE TENDER TRAP (1955) featured womanizer Frank Sinatra and his liaisons, the same premise for Mr Sinatra examined in George Sidney's PAL JOEY (1957). Fielder Cook's HOW TO SAVE A MARRIAGE AND RUIN YOUR LIFE (1968) was a farce with Dean Martin as a bachelor running into love dilemmas.

Other notable films with a womanizing protagonist include Richard Quine's STRANGERS WHEN WE MEET (1960), with its glamorous locales and discreet views of adultery, Tony Richardson's TOM JONES (1963) a raucous film about an 18th century Libertine, and Lewis Gilbert's ALFIE (1966) about a Cockney heel with a penchant for loving and leaving women at his whim. The 1970s brought Ivrin Kershner's fine LOVING (1970) with George Segal as a married commercial artist with a roving eye. Jack Haley Jr.'s THE LOVE MACHINE (1971) was a drama with John Phillip Law as the bed-hopping Robin Stone, television executive on the road to ruin. THE CHRISTIAN LICORICE STORE, directed by James Frawley, also from 1971, was about a tennis player who had issues with fidelity.

SHAMPOO (1975) was a comedy-drama with Warren Beatty as a Beverly Hills hairdresser with a big impartiality for the ladies, with varying results. BLUME IN LOVE differed from these movies in that the character was on a mission to win back the love of his wife, no matter the cost to anyone else. The other films took a more relaxed view of infidelity, and fidelity than this movie, but here the lead character appeared to believe that true love is his calling, despite his drastic methods at winning back his ex-wife.

Overview: Paul Mazursky directed fifteen features in his career, beginning with the well-received BOB & CAROL & TED & ALICE (1969), and finishing with 1996's FAITHFUL. In between these films, he also guided motion pictures such as HARRY AND TONTO (1974), AN UNMARRIED WOMAN (1978), DOWN AND OUT IN BEVERLY HILLS (1986), and, SCENES FROM A MALL (1991). Mr Mazursky's work was generally comedic in nature with some drama as a balance, and BLUME IN LOVE is no different, if slightly higher in the dramatic element.

BLUME IN LOVE begins brightly, with Stephen Blume reminiscing about his marriage whilst in Venice but from then onwards, quickly becomes tedious. The writing of the main character, Stephen Blume, with his aggravating mindset and attitudes does not make for particularly entertaining viewing. His treatment of women as chattel is also a turn-off, and the film itself does not present its female characters as strong protagonists, generally to be used and abused before being left out in the cold. This also pertains to Marsha Mason's character Arlene who is wasted, and mainly utilized for unnecessary topless nude scenes, as are two other actresses. The movie has many scenes which could have been edited out such as the party scene where Nina finds Stephen with Arlene, and quite a few others that take up screen time to an inordinate degree.

Having two men battling over a woman friendly, while a good idea, did not provide the film with more drama. It also did not help that the characters did not have any chemistry, particularly Nina and Stephen, Nina and Elmo, and Elmo and Stephen. The conflict is muted between the characters, and nothing exceptionally striking takes place until the rape scene, but even this is glossed over. While BLUME IN LOVE does contain some watchable moments, it is hampered by a slow pace. A tightening of the film, and the writing of a more sympathetic lead would have assisted it immensely, making it more palatable.

Acting: The main roles in the film are inhabited by seasoned actors who, unfortunately, are miscast, but with one notable exception. As BLUME IN LOVE's protagonist Stephen Blume, George Segal was not allowed by the script to fully display his gifted acting attributes on display in his other films. In this movie Mr Segal was saddled with a character who was largely without a conscience, and somewhat one note. His one-sided pursuit of his ex-wife Nina in the movie was without much opposition from other characters, something which in his other films did not occur. In these films Mr Segal not only pushed against other characters, but they pushed back, and this brought out his unique defensiveness and nasal snarling, always a delight to witness. Here he really has no one to take him on, and this creates a flatter portrayal than expected.

As Stephen Blume's ex-wife Nina, and the object of his undaunted obsession, Susan Anspach is also stuck with a colorless character. The script does not allow Miss Anspach, like George Segal, to exhibit a proper performance, painting her character as a whiny and unappealing. After seeing Susan Anspach in THE LANDLORD as Beau Bridges' wacky sister, and her turn as Jack Nicholson's amour in FIVE EASY PIECES, her performance in BLUME IN LOVE is disappointing. The film's best acting is by Kris Kristofferson as Stephen Blume's rival, and Nina's new partner, Elmo. With his subtle mannerisms, inquisitive eyes, and laid-back, charismatic aura, Mr Kristofferson offers the film's standout, most sympathetic performance.

Soundtrack: The classical music which is featured at various points in the film, particularly at the movie's start and finish, provides it with an amusing atmosphere, and as a link for the action in the film as a whole. Aside from this, there are other music pieces employed throughout the movie which act as a commentary on the characters, and what is taking place in the story.

Mise-en-scene: The views of Venice which are highlighted at various moments throughout BLUME IN LOVE are visually beautiful, and can be contrasted with Stephen Blume's character, and his unorthodox motivations. The other settings are serviceable, with Stephen Blume's office, and the office of his psychiatrist, quite elegant and tasteful. The Blumes' kitchen is not the most attractive set in the film, filled with a dark red hue that gives it an ugly ambience. The living room of Nina and Stephen is, thankfully, slightly easier on the eyes, a set that is a tad scruffy, but realistic, reflecting as a sub-text the mixed-up lives of Nina and Stephen Blume.

Award-worthy performances in my opinion: Kris Kristofferson.

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

Overall Grade: C

Link: IMDB Page

Trailer

STATE FAIR (1962)

Title: STATE FAIR

Year of Release: 1962

Director: Jose Ferrer

Genre: Comedy, Drama, Musical

Synopsis: A Texas farm family make the trek to the Dallas State Fair, where the son and daughter seek romance, with differing results.

Within a film history context: Many musicals with scores composed by Rodgers and Hammerstein, the majority originating as theatrical productions, were showcased to cinema audiences from the 1940s to the 1960s. In 1955 the first of their productions was adapted into a film, being Fred Zinnemann's OKLAHOMA! In 1956 two more Rodgers and Hammerstein theatrical shows arrived on screen, with Henry King's CAROUSEL and Walter Lang's THE KING AND I successfully released. These were followed by Joshua Logan's SOUTH PACFIC in 1958, another box office hit for the team. Henry Koster's FLOWER DRUM SONG was their next film adaptation in 1961, followed by one of their most successful films, Robert Wise's THE SOUND OF MUSIC (1965). Not only a box office sensation at the time of its release, it has also ranked as one of the highest-grossing films ever.

STATE FAIR was different from these films as it did not originate as a Rodgers and Hammerstein production. In its first incarnation in 1933, it was a non-musical film about a farm family venturing out to the Iowa State Fair, slightly changed to Texas in the 1962 version. The 1945 edition of STATE FAIR was the first to include Rodgers and Hammerstein music, the characters again visiting the Iowa State Fair. The 1962 film also featured the Rogers and Hammerstein tunes from 1945, with some new songs composed for the film. The STATE FAIR of 1962 was not a box-office success, and is notable as the final film version of the Frake family story. The changing winds of audiences and the world itself may have contributed to its lack of box-office clout, but musicals themselves were not as popular as they once were in decades such as the 1930s, 1940s and 1950s, but only in exceptional circumstances such as THE SOUND OF MUSIC.

Overview: Jose Ferrer was an actor who branched out into directing, with seven features to his credit. Beginning with THE SHRIKE (1957) he also helmed such varied films as I ACCUSE! (1958), THE HIGH COST OF LIVING (1958), and, RETURN TO PEYTON PLACE (1961) the sequel to Mark Robson's successful small town drama PEYTON PLACE (1957). STATE FAIR was Mr Ferrer's cinematic directorial swan song, and his sole musical. A remake of the 1945 version of STATE FAIR directed by Walter Lang, Mr Ferrer's vision of the film is an energetic, entertaining musical, if lacking some of the gentle charm of the 1945 movie.

The updated mentalities and sensibilities of the 1962 version do make some of the characters a little more rough-hewn than the 1945 film, but possibly this was to be expected at this time of boundary-pushing in 1960s cinema. There are some parts of the movie that do not work well, such as the romance of Margy and Jerry, which pales in comparison to Emily and Wayne's story. This does slow down the movie, but a greater concentration on Ann-Margret and Pat Boone would have strengthened STATE FAIR considerably. While a watchable motion picture, the 1962 STATE FAIR is the lesser of the three films, the 1945 version standing out as the most even in all aspects.

Acting: The performances in this film are mostly above-average, with four actors standing out for their contributions. Alice Faye does well as the Frake family matriarch Melissa, wife of farmer Tom Ewell, and mother of Pat Boone and Pamela Tiffin in STATE FAIR. Her sense of comic timing, especially with Tom Ewell, and dead-pan, world-weary but warm dialogue delivery works, making her a realistic character. She is well-matched with Tom Ewell's Abel, and they actually seem like a married couple who could be in the predicament they are. Mr Ewell's quietly buoyant and practical nature contrasts with Alice Faye's more ironic character, giving them a dynamic which works onscreen.

Ann-Margret and Pat Boone are also a great combination in the film, looking good together physically but with a nice chemistry. Ann-Margret performs her dance routines with gusto, aided by attractive backgrounds and costumes that are suitable to what is being presented onscreen. Pat Boone portrays his character Wayne with a great mix of wholesomeness, devil-may-care, and, a subtle sensuality in his scenes with Ann-Margret. Their dramatic scenes together give their relationship a credence and a palpable, tragic undertone despite the film's overall glossiness and upbeat nature.

While Pamela Tiffin and Bobby Darin perform acceptably in their roles as Margy and Jerry, in comparison to Ann-Margret and Pat Boone, unfortunately come up as being slightly dull, their romance never catching fire. This may have had to do with the material not being compelling for the actors, but their performances are largely overshadowed by the other players. When held up to compare to the 1945 version with Jeanne Crain and Dana Andrews, the romance of Margy and Jerry lacks the poignancy of the earlier movie. 

Soundtrack: The songs are quite good in STATE FAIR, ably performed, and easy on the ears. The best of these is Ann-Margret and Pat Boone's version of "It's A Grand Night For Singing", with both actors in fine form.

Mise-en-scene: The film has not spared any expense in the outdoor location filming, with scenes at the Frake family farm, and at the State Fair itself, providing a visual feast for viewers. Images of the rides at the fair, and Ann-Margret's showstopping performance on stage are filled with colour and spectacle, assisted also by the film's CinemaScope widescreen format. The indoor locations such as the Frake family home, and the trailer they inhabit at the caravan park, are naturalistic, and fluent. The outside of the trailer home, on the other hand, is slightly artificial, obviously shot in a studio, but this is a minor negative as the majority of the movie has been filmed outdoors, providing it with a freshness and realism.

Award-worthy performances in my opinion: Alice Faye, Tom Ewell, Ann-Margret, Pat Boone.

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

Overall Grade: C

Link: IMDB Page

Trailer

THE TOUCHABLES (1968)

Title: THE TOUCHABLES

Year of Release: 1968

Director: Robert Freeman

Genre: Drama

Synopsis: A pop star is kidnapped by four young women and held hostage as a sexual slave in a pleasure dome, but is eventually rescued.

Within a film history context: Films about the Swinging London of the 1960s and early 1970s were a common occurrence in the cinema of these eras. John Schlesinger's DARLING (1965) with Julie Christie, focused upon the life of a young fashion model in London. Silvio Narizzano's GEORGY GIRL (1966) and Lewis Gilbert's ALFIE (1966) were both comedic in tone, and examined a young woman in love with a young man, but marrying an older gentleman, while the latter film examined a young Cockney's love exploits in London. Michelangelo Antonioni's BLOW-UP (1966) was a jazzy thriller about a photographer and his love life, and his involvement in a murder.

Nicolas Roeg's PERFORMANCE (1970) was one of the most audacious of the films set in Swinging London, replete with sexual content and violence as a criminal takes refuge in the home of a rock star. In contrast to these films, THE TOUCHABLES lacked romance and drama, but was much more fantastical and escapist in outlook. While it had a certain jazziness and sense of humour in common with the other films, its focus was less on story than those but instead, on surface appearance. The quartet of attractive actresses could be said to hark forward to television series such as CHARLIE'S ANGELS with its trio of private investigators, but comparisons to this program can only be made on the level of female pulchritude than story.

Overview: Robert Freeman was a photographer for the Beatles, but also a film director in the late 1960s. Of his two films was the romance drama SECRET WORLD (1969) starring Jacqueline Bisset, his first being THE TOUCHABLES. While it is a film which is likeable, the overriding emphasis of the movie is not on its story but, instead, its visuals. This can be a good quality when the story is as strong as the imagery, complementing it, but in THE TOUCHABLES, while not working against it, does not produce a balanced film.

The kidnapping of a pop singing idol could have been handled in a much more emotional, and suspenseful manner, but in the film it is just an excuse to have this character tied to a bed, and subsequently taken advantage of sexually by a bevy of attractive young women. There is no explanation as to why these young women, the eponymous touchables, kidnap the pop idol, and, if they were put up to this by someone else. There is also no indication as to why the African-American wrestler finds pop idol Christian so fascinating, and wants him sexually. The film leaves these, and plenty of other plot holes throughout its running time, which make the film very frustrating to watch.

If the director's aim was to produce a film where visuals are more important than a consistent plot he has succeeded in this vein, with the resulting effect that the story has taken a back seat to the spectacle, hindering what could have been a much better film. Remakes of excellent films are often hit or miss, not always improving upon the original, and many times unnecessary in the first place. I believe THE TOUCHABLES would well do with a remake, but this time, hopefully, with a more compelling story to match the stunning visual feast for viewers so that they can be nourished on both levels.

Acting: THE TOUCHABLES is definitely a film where the spectacle on screen takes a definite back seat to the acting, this being detrimental to its overall impact. This is also linked to the story, and how the lack of a strong storyline possibly did not assist the actors to perform in a more passionate and convincing manner. The agreeable David Anthony has the look and aura of a pop idol, but his kidnapping does not elicit an overly heated reaction from him in the film. While he does resist somewhat at first, he seems to submit too quickly, and this makes the character somewhat wishy-washy. The film also seems to relish presenting him scantily clad, which is a tenet of this film in other ways.

Similar to David Anthony, wrestler Ricky Starr only seems to be in the film to show off his physique in extremely skimpy costumes and towels, but there is no dramatic impact from his presence - he is only present as a symbol of phallic masculinity. Possibly he is posited as a macho contrast to the less muscular David Anthony, but that is the extent of the contrasts of the male characters. The young ladies in the film, while different in looks, are not particularly well-defined. The only actress given some dramatic meat to chew, and who performs it well, is Judy Huxtable. Her educated air, flawless diction, and businesslike manner, good looks, and iciness work well in THE TOUCHABLES, and hers stands out as the film's best performance, effectively differentiating her from the other actresses in the film.

Soundtrack: THE TOUCHABLES has quite a catchy 1960s theme song that is played both at the film's beginning, and at its conclusion. There are some incidental uses of the song through the film in several scenes, the vocals adding a melodic touch to the proceedings. Apart from this piece, there are several other songs played during the more dramatic moments in the film which do complement the visuals, and add interest without being too overpowering.

Mise-en-scene: This is the strongest element of the film, standing way above the film's other features. From its beginning to the very end, THE TOUCHABLES is visually beautiful without being garish. The film's opening credits introduce the four young ladies who have the main roles in the movie, and the effect is somewhat akin to a shampoo commercial, with their flowing hair and faces highlighted, but this sets the tone for the remainder of the film. The pleasure dome where the touchables kidnap, and ravish their victim is one of the most inventive sets ever captured on film, and a major reason it is worth seeing the film out of curiosity. Other sets such as the stadium where Ricky Starr performs his acrobatic stunts, the Wax Musuem, the funky city abode the touchables inhabit, with its 1960s kitsch paraphernalia, and the Sporting Club featured are all well-designed, giving the movie a depth in this sphere.

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

Overall Grade: D

Link: IMDB Page

Trailer