JUD (1971)

Title: JUD (Alternate title JUD THE SAVAGE SOLDIER)

Year of Release: 1971

Director: Gunther Collins

Genre: Drama

Synopsis: A Vietnam veteran returns home to Los Angeles to live in his uncle's apartment complex, and finds immense trouble in getting back to a normal life.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967) was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

One of the most infamous depictions of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam, and becoming the same. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971) featured bikers similar to others in the genre, but this time around the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions spill over. Different in scope and character, John Guillermin's SKYJACKED (1972) had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, JUD had the intricate set of events that made WELCOME HOME SOLDIER BOYS so compelling, and with its sense of realism, but diverted from others in their quest for violent escapades, and sensationalism.

It was a down-to-earth character study that concentrated upon its lead character, analyzing his reactions to situations in an intensive, methodical manner. JUD was character-driven in nature, and, unlike many of the previous examples, did not depend upon action sequences, or visually flashy set pieces to make its points. While there was some violent content in the film, it was never gratuitous, and referred back to the main character, and his actions. The film also had well-developed, three-dimensional supporting characters, something the other films, with some exceptions, did not explore. The film had other attributes which set it apart from other films in the Vietnam veteran genre.

JUD was also refreshing in that the main character was sound of mind, something that deviated from the other films, which coasted upon the lack of mental stability, almost always exclusively leading to violent consequences. This film actually depicted many of the people who came into contact with Jud as themselves being emotionally insecure, with Jud as the most stable person. It seemed as if they sought Jud's solace, as he appeared to be solid in character, when all he wanted was to find a state of belonging in the world after all he had witnessed during war. For these reasons, JUD was one of the most intimate, thoughtful, well-acted films with a Vietnam veteran theme, and merits closer examination, and plaudits, for what it set out to achieve in its quiet, but unsettling manner.

Overview: Gunther Collins has the distinction of directing only one film, being JUD, whilst also serving as its screenwriter. His other credit was as a writer for A SWINGIN' AFFAIR (1963) a comedy which starred Arline Judge. It is unfortunate that he only was director for this sole film, as, judging from his work on this motion picture, it would have been very interesting seeing what else he would have produced. In saying this, one can only judge from his contribution here, and I do this with great pleasure. With reference to JUD, Mr Collins has made a movie that has held up particularly well almost fifty years after its initial release, and is one of the better Vietnam veteran-themed movies. 

A solemn film that unfolds its story in a straightforward, sincere manner, and without histrionics, JUD is about a young man who returns from Vietnam to stay at his uncle's apartment complex, struggling to adjusting to life back home. Mr Collins' screenplay casts a sympathetic, realistic light on its main protagonist, the viewer seeing events through his eyes. While it could be argued that concentrating upon one main character restricts the film, making other characters less important, it actually provides a suitable framing device for the film, keeping it on track, and deleting the need for superfluous scenes. This structure also highlights another important element of the film. Having many of the peripheral characters all possess the need, and want, for Jud's attention, would seem overdone in another film, but here it works. It allows for Jud to be at the forefront, and the natural interweaving of characters in and out of the narrative. Aside from this, there are further great aspects of JUD which are worthy of discussion.

The director, intermittently, gives the viewer an insight into Jud's mind that gives access to why he acts the way he does, which only make the character more believable. The flashbacks to Jud's experience in Vietnam at unexpected moments occur during pivotal scenes, giving extra power to what is occurring onscreen at that time. In addition to this, the flickering images of Jud's fiancée are also effective, making perfect sense for the character, and his motivations in the film. The blend of characters in the apartment complex is also convincing, and effective for the film, showing sides of Jud that may not have been depicted otherwise. Selected examples of these stand out in JUD for their notability.

The tawdry woman who tried to push herself on Jud, as well as the gay man living at the complex who tries to become closer to him, are several characters who attempt, in their own way, to connect with him, all to no avail. Likewise, his abbreviated associations with Sunny and, in particular, with Kathy, are all in character for Jud, who is finding unease in assimilating back in society. While it could be asserted that the film, with all of these sub-stories, goes nowhere, this judicious pacing and story insight are why the film works so well. Events are not closed with a bow in JUD which may seem unsatisfying at first glance, but this sense of authenticity imbues the film with a balance that distinguishes it from films with a more happy-ever-after, or tragic tone. Life at times goes nowhere with certain events and people for reasons not immediately obvious, and Gunther Collins has beautifully, and with subtlety, exemplified this in JUD.

Acting: JUD is a film where the performances propel the movie, adding to its feeling of veracity. In the lead role of Jud, Joseph Kaufmann does a great job. His internalized emoting works exceptionally well here, using his eyes, and gravelly voice to excellent effect. Mr Kaufmann resembles fellow actor Wendell Burton, the difference is that Joseph Kaufmann is the dark-haired version, with more of a harder-edged temperament. This makes him a very good choice for the role, playing someone who is not open emotionally, keeping his composure until the final reels. As with Joseph Kaufmann, Robert Deman excels in his role as Jud's antithesis, the passionate, needy Bill, a gay man who tries to unsuccessfully become part of Jud's life. A darkly handsome, intriguing actor, Mr Deman's acting is on a par with Joseph Kaufmann's, making him sympathetic, especially during the character's most tenuous sequences. In addition to Joseph Kaufmann and Robert Deman, two other actors produce splendid work in JUD.

As Shirley, a woman who throws herself at Jud, Alix Wyeth infuses her small part with vulnerability and heated anger at being spurned by Jud. She gives depth and fire to what could have been just another vulgar trollop, and makes her feelings understandable to the audience. The final performance of note in the film is by Bonnie Bittner as Kathy, another woman who attempts to become acquainted with Jud, albeit, more successfully than the other characters. As played by Miss Bittner, Kathy is sensitive, luminous, lovely and, the most grounded of all the characters in the film. Similar to Alix Wyeth, Bonnie Bittner does not appear to have made films other than JUD after 1971 which is disappointing, considering their great contributions to the film. On a side note, JUD was also the film debut of model Claudia Jennings, in a small part as Sunny, one of the women with whom Jud becomes involved. In this film she does not have a chance to display her skills, but she was better showcased the next year in 1972's THE UNHOLY ROLLERS, a roller skating movie.

Soundtrack: The movie does not feature much music, preferring to keep the mood solemn with only several minor pieces played. These are employed during important scenes such as Jud's time with Sunny on the beach, and in the car chase sequence. There is though, the inclusion of songs at key intervals, such as in the opening credits, picking up Kathy on the street, and their walk on the beach, which assist to paint a vivid picture of the main character, and explain his feelings to the audience in a thoughtful way. The memorable closing credits, without any musical accompaniment, emphasize the film's final image in a stark, powerful manner.

Mise-en-scene: JUD is naturalistic in its sets and locations, providing a suitable and appropriate background to what is taking place onscreen. The apartment complex where Jud resides is dour, befitting a serviceable but unglamorous pension. The placement and movement of disparate people in the complex, interweaving throughout the building, usually making their way to Jud's room, works to build drama, and provide a context of uneasy living conditions. The flashback scenes in Vietnam are also realistic, making Jud's reminiscences both moving, and highly effective for the viewer. The utilization of other outdoor sequences such as Jud and Sunny on the beach, his exchanges with Kathy at the playground, and at the cemetery, speak volumes of the characters, and what they are feeling at that particular moment in the narrative.

Award-worthy performances in my opinion: Joseph Kaufmann, Robert Deman, Bonnie Bittner, Alix Wyeth.

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

Overall Grade: B

Link: IMDB Page

ZABRISKIE POINT (1970)

Title: ZABRISKIE POINT

Year of Release: 1970

Director: Michelangelo Antonioni

Genre: Drama

Synopsis: A young man at the scene of a crime escapes, flying to Zabriskie Point, where he meets a young woman, their experience there marking a turning point for both.

Within a film history context: Films about youth disenchantment and its consequences were common in the cinema of the late 1960s and early 1970s. One of the most famous examples was Mike Nichols' THE GRADUATE (1967). Trend-setting at the time, and heralding a New Hollywood in its wake, this humorous box office blockbuster featured Dustin Hoffman as a disillusioned college graduate unsure of which direction to take in life, with an equally complicated love life. WHERE IT'S AT (1969), directed by Garson Kanin, examined a father-son relationship, and their clash of values, as the son was a college student. Arriving at the end of the 1960s, David Miller's HAIL, HERO! (1969) with Michael Douglas as a confused young man debating whether to serve in Vietnam, or join hippiedom. Seguing into the 1970s, films further explored the theme of youth disconnection in various films.

THE STRAWBERRY STATEMENT (1970), directed by Stuart Hagmann, concerned a young man who becomes involved in student protests at a university. Richard Rush's GETTING STRAIGHT (1970) was about a Vietnam veteran teaching at university, and becoming enmeshed in the tense atmosphere between students and the university establishment. THE REVOLUTIONARY (1970), directed by Paul Williams, starred Jon Voight as a student who goes against his college's association, with violent results. On the other hand DRIVE, HE SAID (1971), helmed by Jack Nicholson, centred around a basketball player attending university, his strung-out best friend, and showed the difference in their personal lives. ZABRISKIE POINT shared thematic traits with these films, but, diverted from them in other ways.

ZABRISKIE POINT, as with the other films, showcased a university backdrop or associated characters, and the struggle between the university and students, or the students and the police, the police called on to restore order to these establishments. It was most similar to GETTING STRAIGHT in the treatment of its main love story, and, on a lesser level, DRIVE, HE SAID's Hector and Olive duo. While not star-crossed in nature in either film, ZABRISKIE POINTS's Mark and Daria shared a more mystical, subtle connection than Jan and Harry from GETTING STRAIGHT, whose relationship was more comical in character, symptomatic of the film as a whole. In addition to these elements, ZABRISKIE POINT contained a pointed criticism of capitalism, something the other films did not explore, with the small exception of Jan's materialism, and seeking of a suburban lifestyle, in GETTING STRAIGHT.

ZABRISKIE POINT argued that capitalism, and the accompanying consumerism, has engulfed and changed the character of life in the United States. There is a mechanization of people that the film infers, with the housing estate development showing people living lives in a robotic manner. Shades of the classic film METROPOLIS come to mind with these themes and images. The use of the desert, in contrast, is a metaphor for naturalness, and simplicity of life that cannot be found in large cities. While desolation is prevalent in the desert, its beauty and hypnotic nature cannot be doubted. For these reasons, ZABRISKIE POINT is an important film for its challenge against the status quo of life, and a thought-provoking ride for those who can appreciate what Michelangelo Antonioni attempted to say in the film.

Overview: Michelangelo Antonioni was an Italian film director who had twenty films to his credit, helming fifteen of these outright, as a co-contributor on four, and, on one in a smaller capacity. He mainly made films in the Italian language, with a few English-language movies over his fifty-four year career. Mr Antonioni's first film was CRONACA DI UN AMORE (1950) a love story starring Lucia Bose. He again did romance in LE AMICHE (1955) about a woman who assembles a fashion store, and becomes involved in intrigue. With 1960 came the arrival of probably his most famous film, L'AVVENTURA. A dreamy, mysterious motion picture, it charted a woman's disappearance, and what happens in the search for her, affecting two people close to her. Also notable was BLOWUP (1966), a fashionable Swinging Sixties film about a photographer involved in murder and mayhem. It was a definite push to more liberal screen depictions of sex and glimpses of nudity, and attracted much notoriety at the time of its release. One of Mr Antonioni's last important movies was THE PASSENGER (1975) starring Jack Nicholson. It took the elusive turn that many of his other movies wove, with a war reporter assuming another man's identity, with dangerous results. ZABRISKIE POINT, released in 1970, was one of his most striking, original films, and, like many of his others, remains in the memory for several reasons.

The film is a combination of themes and genres, but Mr Antonioni ensures that it works in his distinctive way. ZABRISKIE POINT is not only an examination of youth alienation and dissatisfaction but also, a denunciation of capitalism, and, a love story. While all of these elements would, to the casual eye, render the film as incoherent and clumsy, the director has melded these together with style. Youth dissatisfaction and confusion with the world at large permeates the film, making it the strongest part of the movie. The film opens with a discussion of the world by college students in a lecture room, their unhappiness with what is taking place in the world evident. This thread is continued by Mr Antonioni through the character of Mark, one of ZABRISKIE POINT's two main protagonists.

The audience sees Mark variously being accosted by police, fleeing the college after being indirectly involved in a crime at the college, and, in many other instances. Mark is the confused, restless energy in the movie, and becomes enarmoured of Daria, who is the film's incarnation of beauty and understanding. Whereas Mark is posited as the 'old' energy which is a remnant of late 1960s sensibilities, Daria is the 'new' energy, doing away with falsities, but with low, or no tolerance for the grossest aspects of capitalism. In a now famous scene, she unleashes her fury on the cliff top residence of her boss, an exponent of capitalism, but the director leaves this up to the audience to interpret if this event actually occurred. The inclusion of the sun at sunset in the final scenes is a wish for the world to be a better place tomorrow, and hopefully, the dawn of a new age. ZABRISKIE POINT is filled with such mysterious and cryptic scenes, Mr Antonioni preferring to leave these to the audience to ponder, and reflect upon.

The exploration of the devils of capitalism is mainly portrayed in the film via the use of imagery but also, through the character of developer Lee Allen. Mr Antonioni fills many a screen with signs and symbols of capitalism, but contrasts these with the desert scenes, with their beautiful but unending landscapes. There is the implication made by the director that while capitalism, with its sheen and gaudiness, is nothing but a smokescreen for living life in an artificial manner. This is exemplified by the director in the scene at the end where Lee Allen's house explodes, and the sky is filled with artifacts of capitalism, being clothing, food, and appliances. Lee Allen is shown as being nothing but treacherous, and undaunted, in his quest to build the perfect real estate haven in all its showiness. The director employs the desert as a retreat from these evils, a place of ruggedness and beauty unequalled in its splendor, sensuality, and calm. This is one of many parallels Mr Antonioni makes in ZABRISKIE POINT.

The love story between Mark and Daria is something which is alternately beautiful, tense, dangerous, and tragic. The actors exhibit an easy chemistry with each other which Mr Antonioni capitalizes on, and this is most palpable during the scenes where they are just walking around Zabriskie Point, talking, and exploring their most intimate thoughts. I felt, though, that the notorious, dusty orgy scene in the desert did not really serve any great purpose, and, did not progress the story of Mark and Daria's connection. It would have been more preferable to have them caught in a difficult situation, such as if a great windstorm took place, comforting each other as the performers were compatible not only physically but also, in terms of their spiritual connection. Despite this minus, ZABRISKIE POINT is one of Michelangelo Antonioni's best, most intriguing, and memorable movies, that warrants discussion and analysis.

Acting: As Mark in ZABRISKIE POINT, Mark Frechette exhibits an ease in the movie for someone who had minimal acting experience. Mr Frechette is not reliant on his handsome looks, and does a very good job, his reactions and facial expressions natural. Likewise, the same can be said for the lovely Miss Halprin in the film. For an actress with no prior acting credits, she comes across as unpretentious, and her scenes in the film are great to watch. She has a thoughtful, charming presence that resonates on screen. The combination of these actors together, though, is a special one, their interactions filled with a quiet sense of understanding between them. In comparison, the casting of Rod Taylor as Lee Allen is a good idea, but, unlike Mark and Daria, there is no access to his intimate thoughts, which makes the character rather arch and cold. The film, unfortunately, did not utilize Mr Taylor's strong personality in the proper manner here, this being the only deficiency in the acting.

Soundtrack: The movie begins with a thumping, nervy tune played out during the opening credits, which sets the stage for the film, with its contemplative mood. There are various instances of incidental musical pieces played at different intervals, with some rock songs employed, but, the most important use of music arrives at the film's end. The explosion near ZABRISKIE POINT's conclusion, with the items flying in the sky in slow motion, has an effective, blaring use of rock music, which emphasizes the cruder aspects of consumerism when placed under the microscope.

Mise-en-scene: ZABRISKIE POINT is a movie where the backgrounds and locations say much in a beautiful, and entrancing way. The use of signs which depict the rampant consumer society the film wishes to express are shown in rapid montages, filled with colour, unique in their gaudy manner. In complete contrast, the scenes in the desert are aesthetically pleasing, capturing the wonder of the exquisite landscapes, which seem unending, but are breathtaking to witness. The viewer has the feeling that they are there with the characters, so vivid are the locations presented by the director that they stay with you long after the film has ended.

Award-worthy performances in my opinion: Daria Halprin, Mark Frechette.

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

Overall Grade: B

Link: IMDB Page

Trailer

I DISMEMBER MAMA (1972)

Title: I DISMEMBER MAMA (Alternate title POOR ALBERT AND LITTLE ANNIE)

Year of Release: 1972

Director: Paul Leder

Genre: Horror, Crime

Synopsis: A mentally unbalanced young man escapes from a mental health facility, intent on committing matricide, and begins a killing spree.

Within a film history context: Psychotic characters have been part and parcel of cinema for a very long time. One of the first films to present a serial killer was Robert Wiene's THE CABINET OF DR CALIGARI (1921). A German film of the silent era, it had an evil hypnotist using another man to murder people. The sound age also brought with it further depictions of sadistic and psychotic characters. Victor Halperin's 1933 SUPERNATURAL, starring Carole Lombard, featured her as a reincarnated murderess seeking revenge on a man who did her wrong. From the 1940s, THE STRANGE CASE OF DR RX (1942), directed by William Nigh, was a mystery of serial mobster murders, and how a criminal defense lawyer brought the culprit to justice. More blatant in its themes was Edgar G. Ulmer's BLACKBEARD (1946) where a Parisian artist kills his models after painting their portraits. Director Douglas Sirk's LURED (1947) was another mystery where police hunt a serial killer who finds his victims via newspaper personals. 

The 1950s was also a decade where the serial killer theme received another workout, many times in exploitation films. The films became increasingly violent in context, but not explicitly onscreen, in keeping with post-war pessimism in cinema. 1952's WITHOUT WARNING, an Arnold Laven production, centred around a man killing women resembling his wife with garden shears. More subtle was Edward Dmytryk's SNIPER (1952), with police trying to find the killer of young women. More overt in its sinister themes was VIOLATED (1953), directed by Walter Strate. A dark exploitation film, it had a man who scalped his hapless victims. JACK THE RIPPER (1959), a film co-directed by Robert S. Baker and Monty Berman, was another film retelling of this real life incident, with an American assisting in the case. The early 1960s produced what are now some of the most well-known, and influential, serial killer/psychopath feature films.

Alfred Hitchcock's PYSCHO (1960) was a seminal film that featured a psychopathic protagonist who dealt variously in murder and mayhem. The same year, Michael Powell's PEEPING TOM was unleashed to audiences. The story of a man who photographs the reactions of women as they realize their impending deaths, it was seen as tasteless upon first release, but has gained a cult reputation with the years. FOG FOR A KILLER (1962), directed by Montgomery Tully, was about a man believed to kill young blonde women. Frank Tashlin's THE ALPHABET MURDERS (1965) presented Tony Randall as Hercule Poirot, hunting for a killer choosing his victims by their initials. Later in the decade, Herschell Gordon Lewis' THE GRUESOME TWOSOME (1967) was about a man who scalped women for his family's wig store, similar to VIOLATED. As evidenced by the above synopses, films began to showcase increasingly bizarre, and violent examinations of psychotic characters, the loosening of censorship facilitating this. 

Stuart E. McGowan's THE ICE HOUSE (1970) revolved around a man who murders women and stores them in the ice house, and commits more heinous crimes. 10 RILLINGTON PLACE (1971), directed by Richard Fleischer, with Richard Attenborough in an excellent performance as real-life serial killer John Christie. Mario Bava's A BAY OF BLOOD (1971) was a bloodthirsty film about the death of a countess, and how it led to murders. In turn, Roger Vadim's PRETTY MAIDS ALL IN A ROW (1971) was another film of young women being dispatched, and all attending a Californian high school. These are just several examples of what audiences were seeing in cinemas at the time, with many studio, and exploitation features being produced. I DISMEMBER MAMA was both similar to the content of these films but also, diverged from them in several ways.

The first similarity is that the lead character of I DISMEMBER MAMA was a psychotic character who craved sadistic and inhumane methods of treating his victims. Albert Robertson has much in common with Norman Bates from PSYCHO in terms of having a mother complex, and PEEPING TOM with how his victims die. There is also the woman-hating theme that pervades pretty much all the films in the genre, but in I DISMEMBER MAMA it stems from an intense dislike of a mother figure that colours the character's perception of women. While this is explicitly stated in the film, it is never explained as to why this is so, but it appears that this has also skewed Albert's views of women's sexuality. Underneath this is a closeted fear of women, and a concurrent view of female sexuality as dangerous. I DISMEMBER MAMA, though, diverts from other films in certain important ways.

While the film has several hair-raising moments, particularly with regards to the killing scenes, it is much more restrained than films of its era in terms of depicting these events. The film is more a psychological exploration of a diseased mind, and its effect on other people, than an all-out slasher movie. The director has carefully mapped a series of narrative events with an emphasis on the acting, rather than the overt spectacle of gore. While the film does contain a minute amount of gore, the action, by and large, cuts away from the actual incidents, preferring to show the aftermath of the act rather than when it was taking place. In comparison to other films of the genre, there is also a low body count, which is attributable to the director's tight focus that eliminates unnecessary characters, and action, from the movie. It utilizes its small cast to maximum advantage, with one main exception. The mother figure is fleetingly shown which is disappointing, but possibly to keep the focus more on Albert, and the other characters. Nevertheless, all of these qualities raise I DISMEMBER MAMA several notches above in stature from other exploitation films, to being more of an actors' piece.

Overview: Paul Leder was known predominately for his quirky exploitation movies, many times revolving around psychopaths, and their murderous intent over his twenty-five year directorial career. His first feature film, MARIGOLD MAN (1970) was a comedy about two roommates who yearn to plant a huge garden of marigold flowers. Other offbeat films were APE (1976) about a ghorilla who kidnaps an actress, and the mayhem that ensues. RED LIGHT IN THE WHITE HOUSE (1977) was a drama about a reporter investigating someone running for the Senate, and finding much fodder in the process. Murder was on the menu in SKETCHES OF A STRANGLER (1978) with a man strangling women, with one of his victims seeking him out for revenge. Mr Leder's final film, THE KILLERS WITHIN (1995), was a mystery about a man delving into the details of his brother's death, and finding more than he bargained for. I DISMEMBER MAMA, released in 1972, was Mr Leder's second film, and one of his most well-known efforts.

The movie is a horror drama of a disturbed young man who escapes from a mental health facility, intent on killing his mother, but kills other women in his path, with the exception of a young girl, daughter of his mother's housekeeper. Mr Leder had directed a tightly made, well-cast movie, produced on a small budget, but containing much suspense. Unlike other movies in the genre, he has made a movie that is spare on the gore, preferring instead to focus upon the psychological whims of its main character, and those with whom he comes into contact. It is an appropriately lit, moody film, that could be characterized as being misogynistic in nature, but, there is, in fact, one male victim in the film. These qualities, though, are not to say that the film is without its flaws.

While the film is technically well-made, otherwise, it has certain lapses which do hinder its impact. Its title, first of all, misrepresents the film to a great degree. I DISMEMBER MAMA gives the impression that this is an explicit slasher movie, but, this could not be further from the truth. The film is in fact more of a psychological thriller than a full-on serial killer movie, the acting more paramount than overt spectacles of killing or maiming. The original title, POOR ALBERT AND LITTLE ANNIE would have been more appropriate under the circumstances, or something to the effect of ALBERT ROBERTSON, PSYCHOPATH may have worked better. Apart from this, the story also has some omissions which deserve discussion.

While the main character, Albert Robertson, has an intense hatred of his mother, it is not explained as to why he feels this way. The film poses several questions that it does not answer in an adequate manner. Is this because Mrs Robertson is delusional, not taking him and his issues seriously? Was there another reason for disliking her so much? The film is hampered in this respect as the two actors do not even share a scene together, and there is no fallout on the mother's side with what happens to Albert. This raises another issue in the movie - why was Mrs Robertson made to largely seem catatonic throughout the film? This does not take advantage of drama that could have played out to a great degree by making her more active and cognizant. Having the doctor not inform her of Albert's actions takes the edge slightly away from the film, but possibly this occurred to have the remainder of the movie play out as it did. 

Another matter is that Albert's father is never mentioned in the film, and this leads to hypotheses - did he hate Albert's mother as much as he does, and carried this over to his son? Were Albert's actions the direct effect of not having a male father figure in the movie? I DISMEMBER MAMA also makes other convenient choices that work to further the plot, but, could have been tested somewhat. Why was Albert in a low-security facility? The police ushered Mrs Robertson out of the mansion, but why not Alice and Annie? Both of these scenarios made the medical profession, and the police, seem foolish. Despite these plot inconsistencies, the film does follow a linear fashion, keeping true to the main character and his actions. While I DISMEMBER MAMA is not a perfect movie, it is one of the best-acted, tightly made films in the genre to ever appear onscreen.

Acting: The performances of the players in I DISMEMBER MAMA give the film an edge over other films in the horror genre. As the movie's protagonist Albert Robertson, David Zooey Hall offers an excellent interpretation of the cunning, psychotic Albert. With Mr Hall the viewer always receives a fully-fleshed portrait of a complex person, and this film is no exception. His Albert is a character who is murderous and evil, but Mr Hall is such a great actor that he gets under the skin of his role, and gives him a depth and vulnerability that make Albert Robertson a compelling, multi-faceted villain. Mr Hall shows the audience, with utter precision, that Albert has severe psychological problems, and that while he tries to fight his urges to harm and kill, his will is not strong enough to repress these impulses. While one does not agree with what Albert does, Mr Hall makes you understand why he commits these crimes. His acting takes the typical role of a psychotic killer into another sphere, without the need for masks, or scenery-chewing. David Zooey Hall receives great backing from the other actors in I DISMEMBER MAMA, the supporting actors also bringing realism to the film.

Marlene Tracy, as Albert's victim Alice, is chilling in her reactions to Albert, realizing her fate with open-eyed horror. The scene with Albert covers many emotions, and is delivered in a moving, compelling fashion. Joanne Moore Jordan, as Albert's mother, does well in a role which, unfortunately, limits her scope. While it is interesting that she acts in a calm manner to Albert's actions, and there is the quiet realization on her part that her son is not well, she is not showcased enough in the movie, which is disappointing. It would have added further to the movie to have her character's emotions displayed more to the viewer, and given an even better picture of Albert and his mother's relationship. Nevertheless, two other actors make up for this with their well-defined parts.

Greg Mullavey, as the policeman sent to bring Albert to justice, performs his role as the seasoned detective with a sympathy and relaxed candour that works. His final scenes with Annie wrap up the film's action in a satisfying manner. As the young Annie in the film, Geri Reischl exhibits a freshness and youthful appeal without making her too sunny or hokey. Also, she ably presents Annie as a young girl who is not only genial but also, intuitive, and clever. Just seeing her in the final few scenes with Albert, taking him on in his own game, shows what a capable young actress Miss Reischl was.

Soundtrack: The film has much background music during its running time, especially at key moments in the narrative such as Albert's quiet scenes with Annie. It is eerie and gothic by turns, but also has the habit of sometimes punctuating the action in an unsubtle manner, where little or no music would have been more effective. There is also the unusual use of a song with lyrics, being 'Poor Albert' at the time of Albert and Annie's seaside outing, but, this is no ordinary film, the song highlighting the main character's state of mind.

Mise-en-scene: I DISMEMBER MAMA uses its locations sparingly, and these are all well-chosen, and appropriate for their purposes. From the mental health facility, to the Robertson family mansion, to the hazy pool hall where Albert picks up one of his victims, the employment of settings is one of the strongest elements of the film. Probably the best set piece is the dark mannequin warehouse where Albert seeks another victim; the collection of mannequins is suitably spooky, and this provides a fitting, memorable ending to the movie. The opening credits are also good, setting the tone for Albert's mood, and the film as a whole, with Albert watching a movie, only the light from the projector illuminating his face.

Award-worthy performances in my opinion: David Zooey Hall, Marlene Tracy, Joanne Moore Jordan, Greg Mullavey, Geri Reischl.

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

Overall Grade: C

Link: IMDB Page

HAPPY BIRTHDAY, WANDA JUNE (1971)

Title: HAPPY BIRTHDAY, WANDA JUNE

Year of Release: 1971

Director: Mark Robson

Genre: Comedy, Black Comedy, Drama

Synopsis: Harold Ryan, believed dead in the jungle for seven years, returns to his family in New York City, and finds difficulty in connecting with his wife, and son.

Within a film history context: Films about the return of a family member to the fold after years have appeared many times in motion picture history. One of the most notable was Harry A. Pollard's comedy THE PRODIGAL (1931), with Lawrence Tibbett as the shady son of Southerners who comes back to his family after five years away. In the 1940s, William Wyler's THE BEST YEARS OF OUR LIVES (1946) was one of the most important, serious films about the return to civilian life of American soldiers from World War II, and the inherent struggles they faced with their families and personal lives. This was a common theme in the mid to late 1940s cinema, also borne out by other films of the era such as Delmer Daves' PRIDE OF THE MARINES (1945) and Edward Dmytryk's TILL THE END OF TIME (1946). Further movies also explored the homecoming theme in different ways.

Irving Pichel's 1946 TOMORROW IS FOREVER, a moving tearjerker, featured Orson Welles as a man feared lost in World War I who returns with a new face from plastic surgery to find his wife, Claudette Colbert, remarried, and him unsure what to do in light of this set of events. In the 1960s, the Doris Day vehicle MOVE OVER, DARLING (1963), directed by Michael Gordon, had a similar predicament, where a woman presumed dead returned to find her husband married to another woman. In contrast to these, Robert Mulligan's BABY THE RAIN MUST FALL (1965), in stark black and white, was the story of a man released from jail who comes back to his family, but is footloose and volatile, and with rock star aspirations. The 1970s introduced the filmic trend of Vietnam veterans coming home to an America vastly different to what they left, with confusion and disillusionment reigning for them.

Some of the best examples of Vietnam veterans coming home, in many cases to startlingly varying circumstances, though, arrived on screen from the early 1970s. While there were some exploitation movies with a Vietnam veteran protagonist such as Nick Millard's ODDO (1967) in the late 1960s, the best films arrived after 1970. In Gunther Collins' JUD (1971), the title character returns home to Los Angeles after Vietnam emotionally spent to stay in his uncle's apartment complex, but finds difficulty in finding himself. WELCOME HOME SOLDIER BOYS (1971), directed by Richard Compton, has one of the four main characters return home to an understanding mother but quizzical father, and finds solace with his three fellow veterans on the road. 

HAPPY BIRTHDAY, WANDA JUNE diverts from these other homecoming movies through its tone, which ranges from madcap, comic to thoughtful, to sad. It shares elements from JUD in which the main character sees the world as a jungle far worse than what he has experienced abroad, but differs in the approach the director takes. While JUD had a more solemn tone, exploring its themes in a serious manner, Mr Robson's direction of HAPPY BIRTHDAY, WANDA JUNE highlights its farcical characters who see life in a more spirited, carefree manner. Things are not all smiles and laughs, and the movie is balanced in its more quiet stretches, making the viewer feel for its characters with their pathos. The film is possibly one of the most bold homecoming movies ever made, but its subtly unsettling conclusion is memorable, giving it something in common with the more dramatic entries in the genre.

Overview: Mark Robson was a talented director who, over the course of his thirty-six year career, helmed thirty-three motion pictures. His films were made with a sure hand, and his filmography includes many classics and important movies. Mr Robson's first film, THE SEVENTH VICTIM (1943), was a horror movie about Satanism in New York. He directed films with top stars such as Kirk Douglas in the boxing drama CHAMPION (1949), a romance with Susan Hayward, MY FOOLISH HEART (1949), and the military-themed drama I WANT YOU (1951), starring Dorothy McGuire. Further into the decade he tried comedy with Judy Holliday in PHFFT (1954), and romantic drama in THE BRIDGES AT TOKO-RI (1954). 

Mr Robson directed many pictures with tough and uncompromising themes, such as THE HARDER THEY FALL (1956), another movie about boxing, and had a great commercial success with the scintillating PEYTON PLACE (1957). The adaptation of a racy novel about the secrets of a small town, it spawned a sequel, a television series, and a number of other television follow-ups. He again tackled war themes in films such as VON RYAN'S EXPRESS (1965) and LOST COMMAND (1966), but also directed a huge hit, VALLEY OF THE DOLLS (1967), another book adaptation that was critically panned but responded to positively by audiences at the time. Mr Robson helmed another commercial success, EARTHQUAKE (1974), and made his final film in 1979, AVALANCHE EXPRESS, which was released after his death in 1978. HAPPY BIRTHDAY, WANDA JUNE was his thirtieth motion picture, and one of his most unique efforts.

A film version of the Kurt Vonnegut Jr. play of the same name, HAPPY BIRTHDAY, WANDA JUNE is a satirical black comedy of a man who returns home, thought dead for seven years, and tries to pick up where he left off with his wife, and his teenage son, who only knows him from a family scrapbook. Mr Robson has directed a fish out of water story in an entertaining fashion, utilizing an illustrious cast to emphasize his points. He makes valid comments about how things change in society, and sometimes people who have not been exposed to these changes find immense difficulties in becoming accustomed to new thinking, and ways of life. This is where the film derives most of its comic but also, its dramatic gusto.

The director clearly shows both viewpoints of the conflict in the Ryan family, largely being the mother and son, versus the father. There are also other characters involved in this situation, and Mr Robson uses these to show sides of Penelope Ryan, and Harold Ryan, which would not have been as evident without them. Penelope Ryan's two suitors highlight both her serious, and wacky side, being a doctor and a vacuum cleaner salesman respectively. The inclusion of Looseleaf Harper, Harold Ryan's friend and companion, displays a softer, more introspective side of Harold that is in sharp contrast to his shows of masculinity and bravado. The characters feed off of each other, their verbal spats the most entertaining component of the movie. One of HAPPY BIRTHDAY, WANDA JUNE's most distinguishing features, though, is its use of language.

In order to show the difference between the America that Harold Ryan left and the one he came back to, he and several other characters use coarse language in several instances. While these do serve a purpose as shock value, they do slightly upset the ethereal and comic mood which has been established prior. Despite this, the movie has other traits which make up for this shortcoming. The fantasy scenes in Heaven are handled with poise, and fill in the viewer on what is taking place in the movie in an entertaining way. They make the conclusion that life on earth is hell, but Heaven is a dreamland. One of Mark Robson's most unconventional movies, HAPPY BIRTHDAY, WANDA JUNE passes the time in an enjoyable, but thought-provoking manner, in the best style of its director.

Acting: The acting in HAPPY BIRTHDAY, WANDA JUNE is what makes the film highly watchable. In the lead role of Harold Ryan, Rod Steiger is exceptional, handling what are sometimes wordy, and lengthy dialogue recitations with style. He brings to life what could have been a boorish and unlikeable character, giving him vulnerability and depth. As his wife Penelope, Susannah York delivers a great portrayal, showing the hurt and disillusionment at having her husband return into her life at the most inopportune moment. Miss York's quiet allure and friendly disposition make it easy to see how she could attract such different men into her life. Other performers also give the film impact in supporting roles. 

Steven Paul, as Penelope and Harold's son Paul, is one of the most talented, thoughtful child performers to ever appear on screen. He fits in seamlessly with all the adult actors but holds his own despite a large age gap with the other performers. It is also notable to witness his chemistry with Susannah York, but also, Rod Steiger. It feels as if this trio of actors could actually be a real family, seeing their interactions on screen. William Hickey as Harold Ryan's friend Looseleaf is a likeable and thoroughly convincing actor, his sincerity palpable as well as moving. The scenes where Harold tries to make Looseleaf leave steer audience sympathy to Mr Hickey's side. Pamelyn Ferdin, as the ill-fated Wanda June, is another great child performer, who gives her small role life, and the film some of both its most humorous, but also, heart-rending moments. Just the sight of Miss Ferdin in Heaven, close to the carnival rides, and speaking of death in such a positive manner, is very affecting, and haunting.

Soundtrack: The film does not have much in the way of music apart from the opening song which is again used at the very end of the movie. It adds a twinkly, magical atmosphere to HAPPY BIRTHDAY, WANDA JUNE which is in keeping with the no holds barred treatment of its main themes of life, and death.

Mise-en-scene: The opening credits of HAPPY BIRTHDAY, WANDA JUNE commence with a scene of the nighttime sky and follows with the characters informing the audience who they are in the film via the use of multiple frames within a single screen. It sets a humorous tone for what is to follow in the movie. The setting of the film is largely the Ryan family living room, but this never becomes stagnant as it also features both Penelope and Paul's bedrooms, Harold's storeroom with his paraphernalia, and the kitchen. Outdoor locations are also excellent, with Harold and Paul walking on the street together, as does Shuttle, Looseleaf visiting his wife at home, and, the scenes in Heaven, are all suitable for the material. While all of these are produced in the studio, it gives the film an otherworldly feel in harmony with what is occurring onscreen.

Award-worthy performances in my opinion: Rod Steiger, Susannah York, Steven Paul, William Hickey, Pamelyn Ferdin.

Suitability for young viewers: Parental discretion required. Infrequent coarse language, adult themes.

Overall Grade: B

Link: IMDB Page

Movie Excerpt