LOOKING FOR MR. GOODBAR (1977)

Title: LOOKING FOR MR. GOODBAR

Year of Release: 1977

Director: Richard Brooks

Genre: Drama

Synopsis: A sign language teacher for deaf children has a contrary nightlife of sexuality and drugs which leads to her downfall.

Within a film history context: Character studies which feature a female character indulging in promiscuous sexual behaviour have been spotlighted many times in cinema history. One of the first was the theatrical, moralistic classic MADAME X. Filmed for the first time on American shores in 1916, it was remade many times in 1920, 1929, 1937 and, the most glamorous version being David Lowell Rich's in 1966. Depicting a woman's rise and fall from grace into despair and poverty, it shared a cautionary tone that later films also possessed. Movies in the 1930s also depicted female sexual promiscuity in a similar manner, some released before the American Hays Code for films had fully come into effect.

George Fitzmaurice's STRANGERS MAY KISS (1931) had Norma Shearer as a woman electing to live with her lover despite disapproval from friends. BABY FACE (1933), directed by Alfred Green, was another racy drama racy for its day, with a woman using her feminine wiles to rise to the top of the heap at a bank by using its male employees. The Hays Code era drama OF HUMAN BONDAGE (1934), directed by John Cromwell and starring Bette Davis, was a telling exploration of a waitress who causes emotional damage to the life of a young man. Moving into the 1940s, the big budget FOREVER AMBER (1947), helmed by Otto Preminger and John M. Stahl, was the story of a young woman who uses her considerable charms to rise in society, but with the consequent loss of true love. It was controversial upon its release for the actions of its main character, and the implications of these, but was highly bowdlerized on screen in retrospect. As cinema progressed into the 1950s, increasingly daring portraits of female sexual promiscuity appeared on screen.

Dorothy Malone's role as a woman of many unspeakable passions was another excellent performance, giving Douglas Sirk's WRITTEN ON THE WIND (1956) spice and allure. The 1960s brought franker portrayals of promiscuity and its pitfalls examined by filmmakers. A most notable, but also successful entry in the genre was Elizabeth Taylor's Oscar-winning turn as a prostitute in Daniel Mann's BUTTERFIELD 8 (1960). Julie Christie in John Schlesinger's DARLING (1965), and Michael Sarne's JOANNA (1968) had young women of varying character in Swinging London exploring themselves, and their desires, in a more open manner than previous films. The breakdown of censorship in the US, and elsewhere in the world, had a major effect on depictions of sexuality on screen. Heretofore taboo subjects were now largely able to be presented on screen in both Hollywood, and exploitation movies. 

EMMANUELLE (1974), directed by Just Jaeckin,  was a soft-core porn film entry by a major studio that spawned many sequels and imitators. It was a young woman's initiation into sexuality in Bangkok, and a financial, if not a critical success. Unlike the other films which took a moral or emotional ground, EMMANUELLE was mainly concerned with sex, but not its consequences on people and relationships. While there were many films in the 1970s which dealt with female sexual promiscuity in a haphazard or comical manner, mainly without depth, LOOKING FOR MR. GOODBAR greatly differed from these movies. It is possibly the most trenchant, honest examination of female sexual promiscuity ever captured on film, pulling no punches. While the movie does contain some idiosyncratic moments of fantasy and telegraphing of narrative events, these do not detract from the film's power, only giving greater access to the protagonist's state of mind. While it could be argued that LOOKING FOR MR. GOODBAR shares the exploitation elements of nudity and violence that lesser motion pictures of its kind possess, it utilizes these elements in a way more effective manner to illustrate its character's life, and not as shallow, tacky spectacles.

Overview: Richard Brooks had a reputation as a tough director, and this was exemplified in the choice of works he helmed on screen. A generalist, he took on varied projects over the course of his thirty-five year career, and directed twenty-four movies. He made his debut with 1950's CRISIS,  a crime drama with Cary Grant, and made notable films such as THE LAST TIME I SAW PARIS (1954), a romance, and 1955's acclaimed THE BLACKBOARD JUNGLE, an exploration of racism in a high school. He also tackled romance in THE BROTHERS KARAMAZOV (1958), with its Russian 1870s setting, and also the steamy melodrama CAT ON A HOT TIN ROOF (1958) with Elizabeth Taylor. More successful films followed such as ELMER GANTRY (1960), and action in THE PROFESSIONALS (1966). Mr Brooks again produced crime drama with IN COLD BLOOD (1967), and a woman's picture with wife Jean Simmons, THE HAPPY ENDING (1969). 

LOOKING FOR MR GOODBAR was Mr Brooks' twenty-second film, coming at the end of his career, but also, one of his best, most distinctive motion pictures. Richard Brooks had previously directed strong female characters in many of his other movies, namely Elizabeth Taylor in both THE LAST TIME I SAW PARIS and CAT ON A HOT TIN ROOF, Jean Simmons in THE HAPPY ENDING, and Geraldine Page in SWEET BIRD OF YOUTH (1962). Things were no different with LOOKING FOR MR. GOODBAR, where Mr Brooks again tackled a film with a complicated, multifaceted female protagonist, this time played by Diane Keaton.

Mr Brooks has adapted author Judith Rossner's novel to the screen, based on a true story, of a sign language teacher who has a florid nightlife, consisting of sex with strangers and drug use, but, who has a terrible end. The director has made a film which is uncompromising in the treatment of its story and characters, and to some viewers this may be a turn-off, while to others a realistic move by the director. LOOKING FOR MR. GOODBAR is an explicit movie in terms of its sexual content, language, and drug use by the characters. It does not hold back in these areas, with nudity often showcased in many scenes. The director, though, has utilized these features in a specific manner to vividly bring to life the life, loves, and death of Theresa Quinn. It is every bit an adult film in its intentions and delivery, not for light viewing.

The director has made definite contrasts between the lives, in the plural sense, of its protagonist Theresa. On the one hand there is her family life, with a religious father who does not agree with Theresa on the value of her 'liberation', on the other is her nightlife filled with handsome but dangerous men, drug use, and other forms of licence. There is another opposition present in the film between these incarnations, and her life as a sign language teacher. The scenes in the school, and Theresa's interest in a young girl from her class, are the most beautiful in LOOKING FOR MR. GOODBAR. They paint a portrait of a gifted young woman caught in a life which she does not fully understand, despite seeming aware of the pitfalls in some of her most lucid moments. Mr Brooks capably presents all of these without being preachy, allowing the camera to capture the characters, freely allowing the viewer to make up their minds about Theresa's life. In many times in the movie, though, and especially in the final reel, spectators are helpless to change the course of Theresa's fate.

The director has succeeded in fashioning a film that was relevant at the time of its release, especially with the sexual revolution taking place in the 1970s, and, the notoriety of being based upon a tragic real-life event. It was a harrowing and thoughtful experience when it first appeared on screen, and it has retained punch and impact many years after its release. While it is mainly remembered for the ferocity of its final scenes, this is effectively downgrading the film as a whole. These scenes have more power than any slasher exploitation movie could muster with their low intentions and presentation. LOOKING FOR MR. GOODBAR should also be noted for its unflinching honesty, and the director's courage in bringing it to the screen in the first place.

Acting: The acting in LOOKING FOR MR. GOODBAR bolsters the movie to a significant degree. In the lead role of Theresa Dunn, Diane Keaton does an exceptional job in an extremely difficult role. Moving way beyond her usual genial film persona with this character, Miss Keaton makes Theresa Dunn one of the most complex female characters ever presented on celluloid; a tragic, but fascinating figure at the same time. She makes Theresa's utterly contrasting day, and night lifestyles/transformations believable and utterly compelling. Miss Keaton is ably supported by the remaining actors who also paint realistic characters in LOOKING FOR MR. GOODBAR.

Tuesday Weld, as Theresa's older sister Katherine, does a marvellous job in the movie. Miss Weld's distinctive, squeaky voice is used to great effect here, showing her confusion with her life, being in a similar predicament to Theresa, but expressing this in a different, more comical, manner. Both of these actors are three-dimensional in their portrayals, the same applying for other actors in LOOKING FOR MR. GOODBAR. In his role as Theresa and Katherine's father, Richard Kiley shares some strong scenes with Diane Keaton, his the sole voice raising concerns about his daughter's lifestyle. Never allowing his character to become tiring for the viewer, Mr Kiley does wonders with his religious, fervent, alpha male father figure. The other male characters in the film can be examined for how different they are to Mr Dunn in the film.

Richard Gere, as Theresa's come and go lover Tony Lo Pinto, offers an energetic and eclectic performance in LOOKING FOR MR.GOODBAR. His entertainingly hyper personality brings a note of humour to the film in the most unexpected of moments. Mr Gere's electric persona makes him the perfect morally ambiguous rogue to Diane Keaton's Theresa in her most sensual, but also, sensible moments. On the other hand LeVar Burton, with a dearth of dialogue, makes an impact with his supporting character Cap Jackson, the brother of a young deaf girl Theresa teaches at her school. Using mainly his eyes and uttering only a few several sentences, Mr Burton does a fine job as the intuitive, protective Cap. Cap is the only male character in the film to see Theresa in a more giving, dignified light, without concentrating upon her sexuality, which is something the remaining male characters share as a trait.

Tom Berenger, as Theresa's final lover Gary, is the most striking male performance in the movie. It is interesting to note Mr Berenger's non-verbal cues in the film, especially at the end of the Parade scene, sulky voice, and sad pout. His body is akin to a tight elastic band swaying in the wind that will snap at any moment, and his voice suggests deep emotional scars. Mr Berenger's excellent acting informs the audience that his character is suffering deeply, and that Gary's actions at the very end, while horrific and drug-induced, are borne out of confusion with his sexuality, being both his homosexual, and heterosexual desires.

Soundtrack: The use of a saxaphone tune in the opening credits of LOOKING FOR MR. GOODBAR suggests sensuality and illicitness, teamed with the visuals of Theresa Dunn in various adult entertainment venue locations. The tone then shifts slightly in the credits with disco music of the era, most significantly Thelma Houston's 'Don't Leave Me This Way', which add dimension, and a flavourful sense of the 1970s to the film. The film overall has music in its most quiet moments, especially when Theresa is at her most thoughtful, and in the end credits, this complementing the visuals in an apt manner.

Mise-en-scene: The outdoor location filming and sets featured in LOOKING FOR MR. GOODBAR are well-chosen, adding an appropriate backdrop to the proceedings on screen. Many examples of the vivid nature of the mise-en-scene can be mentioned. First of all, the opening credits introduce the viewer to Theresa's nightlife in all its uninhibited glory, this repeated throughout the movie. The smoky bars that Theresa inhabits when picking up men, the gay bar she visits in a scene from the film, the outdoor New Year's Eve Parade with its assortment of characters in costume, to name a few, set the tone of the film in an excellent way. Theresa's small, dark apartment is akin to a hell's den, with its sparse furniture, and generally unkempt nature. Aside from these, the film has utilized its sets, and lighting, to make subtle comments about the central character and her lifestyle.

The nighttime scenes of Theresa trolling bars, visiting red-light districts and afore-mentioned areas, can be contrasted with the sequences of Theresa during the daytime hours. The scenes in the school are well-lit, with copious light entering through the windows of the classroom. There is the inference that Theresa is pure during the day, and in her element. This is where she also displays compassion to others, one of the film's most powerful points. Even the scenes in the black neighborhood are better illuminated than the nighttime scenes, where Theresa is still 'in the light', and fighting for her young black student. Production design is an excellent feature of LOOKING FOR MR. GOODBAR, and one of the reasons it stays in the memory after many years.

Award-worthy performances in my opinion: Diane Keaton, Tuesday Weld, Richard Kiley, Richard Gere, LeVar Burton, Tom Berenger.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

Movie Excerpt

THE LEARNING TREE (1969)

Title: THE LEARNING TREE

Year of Release: 1969

Director: Gordon Parks

Genre: Drama, Coming of Age

Synopsis: A young black man's coming of age in 1920s Kansas.

Within a film history context: Films with African-American families as protagonists have appeared in many instances in cinema over time. One of the first in this vein was Douglas Sirk's IMITATION OF LIFE (1959). Contrasting a white woman's relationship with her daughter to that of an African-American woman's with her daughter, much of the drama centred around the black daughter's refusal to admit she was African-American.  At the other end of the spectrum was Daniel Petrie's A RAISIN IN THE SUN (1961). Starring Sidney Poitier, it was about a family who was to receive an insurance payout, but this was a mixed blessing for the family due to disagreement about how it should be used. In addition to these films, the 1970s brought further interesting depictions of African-American families in film.

Martin Ritt's SOUNDER (1972) was a splendid drama examining the effects on a family of the father stealing bread, and being sent to a work gang. CLAUDINE (1974), directed by John Berry, was the romance of a garbage collector who falls for a single mother of six children, with dramatic and comic results. Another film dealing with an African-American family was Horace Jackson's TOUGH (1974). In this film, a young boy rails against his home life, particularly his mother and stepfather, seeking to find his identity. THE LEARNING TREE had some thematic elements in common with these films, SOUNDER in particular, but, deviated from these movies in certain ways.

THE LEARNING TREE, as with SOUNDER, had a young male lead as its protagonist, but, was decidedly more adult in its intentions. While SOUNDER had a more family-oriented, inspirational tone, THE LEARNING TREE dealt with issues such as death, murder, jealousy, sex, miscegenation and racism in a freer manner, the lead experiencing more angst overall than the teenager in SOUNDER. Newt in THE LEARNING TREE endures rivalries with both Marcus and Chauncey, while SOUNDER's David Lee does not have anyone who tests his mettle, only life events themselves. As with SOUNDER, there is the interaction of both white and black characters in all aspects, with the focus largely on a single black family. In all, THE LEARNING TREE was a particularly full-blooded movie compared to previous examples in terms of narrative events and scope, and, as with the other films, did have its heart in the right place.

Overview: Gordon Parks was a photojournalist for Life magazine who began directing films in the late 1960s. Among his most notable movies are two films in the Shaft franchise, SHAFT (1971) and its sequel SHAFT'S BIG SCORE! (1972). A combination of Blaxploitation, crime, and heady action, these films were successful at the box office, opening the door to further movies with African-American protagonists. Mr Parks also directed another crime/action film, THE SUPER COPS, in 1974, and presented the biography of blues singer Huddie Leadbetter, LEADBELLY, to audiences in 1976. THE LEARNING TREE, his first full-length feature film released in 1969, was his most prestigious motion picture.

An adaptation of Mr Parks' semi-autobiographical novel published in 1963, outlining his experience as a teenager in 1920s Kansas, this is a beautiful, solemn film that captures a time in the world as seen through the eyes of lead character, Newt. The narrative unfolds in a leisurely but intriguing manner, the director guiding his characters through the events in the story in an assured way. Mr Parks has explored a number of themes in an honest way, such as family, first love, and, most importantly, racism. The relationships between white and black people in THE LEARNING TREE are variously respectful, tense, and, at times, utterly wrought with difficulties. Despite these positive qualities, the handling of the story by the director has, though, both its advantages, and disadvantages.

Mr Parks has, on the one hand, delivered a story that maintains a concentration on its lead protagonist, Newt, and does not deviate from this. While this is an admirable move, having the film following this mode does take away a little from its power, marginalizing the movie as a result. It would have been fantastic to see more of the supporting characters such as the immoral Big Mabel, Silas Newhall, Judge Cavanaugh, and, in particular, Chauncey Cavanaugh, as they could have provided more dynamite action and confrontations drawn from their actions. I was expecting, for example, explosive father-son conflict between the Judge and his licentious son, in the manner of Blake and Adam Carrington's feud on DYNASTY, but, it never came to fruition. In summation overall, putting its flaws to the side, THE LEARNING TREE is a film which has substance, and is a very sound rendition of a long-ago time in American history.

Acting: THE LEARNING TREE is filled with fine performances from all its actors. In the lead role, Kyle Johnson delivers understated acting as the thoughtful Newt, a teenager with more scruples than most. A young man witnessing traumatic events which mature him as a person, his role in the film is multi-faceted. Newt is not only the son and brother but also, the rival, the victim and, the vindicator. This provides Mr Johnson with ample opportunities to display his skill, and he carries off the role beautifully. Estelle Evans is wonderful as Newt's understanding mother Sarah in THE LEARNING TREE. She underplays the role which makes her scenes with Newt, and in the movie as a whole moving, and haunting in retrospect. Alex Clarke, as Newt's rival Marcus, delivers a performance with gusto and passion, his jealousy of Newt driving him to mental instability, and criminal acts, in the film. In addition to the main actors, supporting roles have also been filled by accomplished actors who bring life to the film in their parts.

Dana Elcar is great as the calculating, gun-happy sheriff Kirky whose actions twist the plot in shocking, and unexpected directions. His apathetic, stony reactions to certain events in the film make him a chilling villain. Richard Ward did a splendid job as the morally dubious Booker Savage, Marcus's father, his large eyes conveying either terror and malice in his scenes. As Judge Cavanaugh, Russell Thorson was just right as the empathetic judge who was powerless to enforce law due to the characters' simmering emotions, and his private demons with his own wayward son. In a small role as Chauncey Cavanaugh, David Zooey Hall makes a striking impression as the magnetic, womanizing son of Judge Cavanaugh. In the space of only several minutes Mr Hall successfully delineates the attractive but reckless Chauncey, giving the keen impression that there was a lot more to this wealthy bad boy that could have been explored than what was presented in his limited screen time.

Soundtrack: The film's theme song, utilized during the opening credits, is a sweeping piece that perfectly sets a solemn, thoughtful tone for the movie. THE LEARNING TREE's other musical pieces played throughout its running time emphasise what is taking place on screen in an appropriate, stirring, but never overpowering manner.

Mise-en-scene: THE LEARNING TREE is lushly photographed by Burnett Guffey, taking full advantage of the film's predominately outdoor scenes. The stream in which the boys swim and certain other events occur, the quiet country roads, the grassy fields, and the picnic, for example, are all captured beautifully by the cinematographer. Interior sets also work well, and express in a subtle manner about the characters and their socio-economic level.

While the family home of Newt is comfortable and warm, it can be contrasted with the more elegant residence of Judge Cavanaugh, with its expensive furniture and accoutrements. Both of these can be differentiated from the gritty, dark sets that Booker Savage and son Marcus inhabit in the film, which have a total lack of warmth, and homeliness. In addition to these, other sets such as the church interiors, and the ice cream parlour, exude veracity, adding realism and dimension to the film.

Award-worthy performances in my opinion: Kyle Johnson, Estelle Evans, Alex Clarke, Dana Elcar, Richard Ward, David Zooey Hall, Russell Thorson.

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

Overall Grade: B

Link: IMDB Page

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JENNIFER ON MY MIND (1971)

Title: JENNIFER ON MY MIND

Year of Release: 1971

Director: Noel Black

Genre: Drama, Romance

Synopsis: Marcus, a young man from New York City falls in love with a young woman, Jenny from New Jersey, while they are both in Venice, and follows her back to the US, their love story ending in tragedy.

Within a film history context: Drug addiction, and its attendant consequences, have been explored many times over the course of film history. One of the first to deal with the issue was D.W. Griffith's FOR HIS SON (1912) which charts a man who develops a drug-laced drink for financial gain, until his son becomes addicted to the narcotic, and passes away. A moral tale for the times, it was one of several dealing with the issue during the silent period. THE SECRET SIN (1915), directed by Frank Reicher, featured Blanche Sweet in a dual role as twin sisters, one of whom becomes addicted to drugs. Further films during the silent screen examined the effect of drugs on lives in an intensive fashion.

1917's LOVE OR JUSTICE, directed by Walter Edwards, revolved around an lawyer who becomes hooked on drugs, this hampering his professional life to no end. One of the most notable films about the evils of drugs was HUMAN WRECKAGE (1923), co-directed by John Griffith Wray and Dorothy Davenport. This was a very personal project for actress Dorothy Davenport as her husband, silent screen star Wallace Reid, had succumbed to drug addiction in a sanatorium in 1923. Miss Davenport from herein devoted her life to the awareness of drugs, and the destructive effect they have on the life not only of the addict but also, their families. Passing from the silent into the sound era, the 1930s brought forth interesting depictions of drug addiction to the screen.

Mervyn LeRoy's THREE ON A MATCH (1932), starring Joan Blondell, was the cautionary tale of a young woman who falls into a promiscuous lifestyle and drug taking. THE MASQUERADER (1933), directed by Richard Wallace, starred Ronald Colman as a politician hooked on drugs. One of the most notorious anti-drug movies was 1936's REEFER MADNESS, with good-time teenagers holding wild parties and smoking marijuana.

Moving into the 1950s, Otto Preminger's THE MAN WITH THE GOLDEN ARM was notable for its realism at the time, with a junkie's life turned upside down not only by his addiction but also, gambling. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, was another film of a similar nature, with a Korean War veteran battling morphine addiction. Traversing into the 1960s, one of the most popular films to deal with drug addiction, in a more sensational manner, was Mark Robson's VALLEY OF THE DOLLS (1967). A huge success at the time, adapted from Jacqueline Susann's blockbuster novel, it dealt with the effects of drugs, the 'dolls' of the title, on two of the main characters. More a romance in intention than an examination of drug addiction, nevertheless, it treated its drug theme in a less serious manner than the other movies.

In comparison to the previous eras, the 1970s tackled the issue of drug addiction in a more vigorous, explicit way than that had thus been presented to audiences, the breakdown of censorship a major player in this movement. THE PANIC IN NEEDLE PARK (1971), helmed by Jerry Schatzberg, was a revealing examination of several heroin addicts in New York City, complete with scenes of injections. Floyd Mutrux's DUSTY AND SWEETS MCGEE (1971) spotlighted a couple who use drugs, with disastrous results. BORN TO WIN, directed by Ivan Passer, was another entry from 1971, with George Segal as an addict who not only turns his life upside down but also, does likewise with other people such as his girlfriend. JENNIFER ON MY MIND, as a film dealing with drug addiction, differs from these films in several major ways.

While these movies were generally realistic in their approach to this social problem, JENNIFER ON MY MIND was decidedly a black comedy in its intention, not wishing to provide a genuine depiction of drug addiction. It was an uneasy mix of black comedy, drama and romance, highly unlike the other films which largely possessed continuity and depth. Notable for its lack of success in almost every department, JENNIFER ON MY MIND will most likely be remembered as a failed experiment that could have been so much better than the final product audiences viewed at its release.

Overview: During his cinematic career, Noel Black guided seven motion pictures, ranging from black comedy to comedy, sex comedies to thrillers. Beginning with black comedy PRETTY POISON in 1968, Mr Black also directed such films as the distinctive COVER ME BABE (1970), thriller MIRRORS (1978), and sex comedy PRIVATE SCHOOL (1983), his final movie. JENNIFER ON MY MIND was his third cinematic outing, but, unfortunately, not one of his best efforts.

The movie was adapted to the screen by Erich Segal from a novel written by author Roger L. Simon in 1968. For Mr Segal, the scribe behind LOVE STORY, the super-hit from 1970, in the case of JENNIFER ON MY MIND, lightning did not strike twice. The film version of JENNIFER ON MY MIND is largely a tasteless, strange exploration of the relationship between a young man and woman which is wrecked by drug addiction. What might have seemed off-the-wall, and of the times on paper does not work as well on screen. The black comedy elements of the plot fall flat in a major manner, due to their lurid nature. While the backwards and forwards flashback nature of the plot depicting the relationship is satisfactory, what hampers the film is its overall silliness.

Unlike Mr Black's other movies, JENNIFER ON MY MIND seems to exist in a world where no rules of the universe apply to the characters. There is little, if hardly any, cause and effect in the movie. Events just occur, but they do not lead to anything major, with the exception of the final scenes between Marcus and Jenny. While many 1970s movies were non-traditional in their narratives, there was a semblance of logic to these movies, but coherence is not in evidence in JENNIFER ON MY MIND. What would have made the film infinitely better is if it followed a more mainstream approach in its storytelling than the highly unsatisfactory route that it took.

If JENNIFER ON MY MIND depicted the central relationship in more realistic terms, such as the lead character eventually finding out Jenny was on drugs in a spare manner, it would have been much more suspenseful than what panned out on screen. If Marcus was also written as himself being not involved in drugs, there would have been further sympathy for his plight. This could have been a highly moving, intelligent film if its idiosyncrasies were reined in, and the sensational aspects removed. Having the body in the piano, or in the swing chair, for example, did not assist its cause. These aspects by and large rule out, and overshadow, the final scenes between Marcus and Jenny which are powerful, and the best part of the film. One of the least satisfactory films of the 1970s, and from Noel Black, JENNIFER ON MY MIND left me with the sad impression of opportunities lost, and a director not in the best form that he possibly could have been.

Acting: This is a film where the spectacle, and bizarreness of the plot take precedence over the performances, but, in one instance, there is a notable acting contribution in the movie. Michael Brandon deserves praise for holding JENNIFER ON MY MIND together, his acting making the unbelievable palatable; without him, the film would have been even lesser of an effort than it was. While his co-star, Tippy Walker, does a sound job overall in the film, her best moments arrive at the end of her screen time. The film largely portrays her as being distant and inaccessible, which is unfortunate. Once the scenes where she proves how good she is an actress occur, it is too late for the film as a whole. Other actors also fall to the same fate in the movie, with lost chances for great acting missed.

Renee Taylor, as Michael Brandon's sister, is totally wasted in a tiny role. After seeing Miss Taylor in MADE FOR EACH OTHER, is it obvious that she is a great actress, but she is not used properly to create the suspense that should have been present. While Robert De Niro's role as a gypsy taxi driver is amusing, again, it is another performer not used to best effect. Both of these examples are symptomatic of the film as a whole; if the plot was more credible, the entire cast could have performed in a much more passionate manner, and the film would have been better overall.

Soundtrack: JENNIFER ON MY MIND has a pleasant, thoughtful 1970s soundtrack which, especially, complements the romantic scenes between Marcus and Jennifer. In a roundabout manner, the soundtrack is also suitable for the incongruous opening titles, though, which chart the journey of Marcus' ancestors to a new home in the US from abroad.

Mise-en-scene: JENNIFER ON MY MIND is efficient in its use of scenery and indoor sets. Variously shot in Venice, New York City and New Jersey, it features outdoor location scenery that is beautifully filmed. The scenes in Venice where Michael Brandon courts Tippy Walker, and at her family estate, particularly the swimming pool sequences, are well done, adding atmosphere to the film. The apartment that Marcus shares with Jenny is a typical 1970s abode with furniture of the era, but is thankfully devoid of red or dark hues which can appear as garish onscreen, preferring neutral tones.

The opening credits sequence, though, is one of the oddest segments of JENNIFER ON MY MIND. Featuring the history of the characters used to inform the audience of their background is a strange choice, and considering that the film tried to posit itself as both a romance and exploration of drug addiction, inappropriate for the film. A better introduction would have been a montage featuring the film's characters in scenes or images with the credits overlaid, making it less like a non-fiction documentary, and more the film it was.

Award-worthy performances in my opinion: Michael Brandon.

Suitability for young viewers: No. Adult themes, drug use.

Overall Grade: D

Link: IMDB Page

Movie Excerpt