Monday, July 20, 2020

THE SWIMMER (1968)


Title: THE SWIMMER

Year of Release: 1968

Director: Frank Perry (with some assistance from Sydney Pollack)

Genre: Drama, Mystery

Synopsis: A man aims to swim in as many swimming pools as he can in a suburban town to reach his home, finding either acceptance, or antagonism, with each stop.

Within a film history context: Movies about characters reflecting upon their lives, many times searching for reasons as to why they went wrong, have been produced sporadically throughout cinematic history. The 1930s had two major examples which have held up well as motion pictures over more than eighty years since their initial release. One of the most famous was Edmund Goulding's DARK VICTORY (1939). Starring Bette Davis as a spoiled heiress whose life takes an unexpected turn, changing perceptions of herself, it was a master vehicle for Miss Davis. One of the most charming variations of this theme was GOODBYE, MR CHIPS (1939). Directed by Sam Wood, the film featured Robert Donat as a headmaster looking back on his life, and many achievements. It focused in detail on Mr Chips' teaching career and eventual marriage, and the events leading to his passing with great dignity. It is one of the most heart-warming, sentimental films of its type, providing Robert Donat and Greer Garson with excellent roles. Looking to the 1940s, further explorations of the theme were presented in cinema.

King Vidor's H.M. PULHAM, ESQ. (1941) was about a married man who reminisced about the young woman with whom he had fallen in love many years ago. An excellent example of filmmaking in a more adult, mature vein, it gave Robert Young, Ruth Hussey and, in particular, Hedy Lamarr, meaty roles. That same year, CITIZEN KANE, directed by Orson Welles, was unleashed to audiences. The magnificent tale of a man seeking love and acceptance, finding fortune, but always yearning for something he could not have, was possibly the most famous, knowing cinematic interpretation of loss ever captured on celluloid. While Mr Welles made other notable movies, nothing could ever really match his innovative, perceptive work on CITIZEN KANE. More films made in the 1940s also investigated how a protagonist's life had taken a path not desirable to them, with different results.

One of the most uplifting films about characters reflecting upon their lives, Frank Capra's IT'S A WONDERFUL LIFE (1946), a failure when first released, is now seen in a much kinder light. A man on the brink of suicide is brought to his senses by a guardian angel, making him realise certain truths about his life, and what his absence would have caused to the lives of those he loved. One of the director's best films, it is a revered Christmas classic. The British film THE PASSIONATE FRIENDS (1949), directed by David Lean, followed a similar, but contrasting narrative track. A married woman recalls the love affair she had with a man many years ago, aided by flashbacks to the past from the present for viewers to understand her feelings. An intricate, entertaining tale of romance, second chances, marriage and loyalty, Ann Todd and Trevor Howard thoroughly convincing as the ill-fated pair, with Claude Rains powerful as Miss Todd's husband. After the 1940s, several more examples of the theme appeared on film, some with increasingly downbeat endings.

Douglas Sirk's MAGNIFICENT OBSESSION (1955) was the character study of a playboy who causes angst in the life a woman, and changes his ways when he realizes what he has done through his actions. A success upon release, this story of loss, romance and redemption went down well with audiences at the time, and sealed the reputation of star Rock Hudson, and its talented director. THE GRADUATE (1967), directed by Mike Nichols, was a box-office smash of a young man whose life is seemingly set out for him, but whose dissatisfaction with this manifests itself in his relationship with a young woman. One of the first films of the 1960s to deal with youth disenchantment, it made a star of Dustin Hoffman, and gave its director leverage to make further movies. 

Jerry Schatzberg's PUZZLE OF A DOWNFALL CHILD (1970) starred Faye Dunaway as a confused fashion model looking back on her life and the many mistakes she made during its course. A slightly convoluted tale, it nevertheless gave Miss Dunaway many moments to display her considerable skill, making the implausible, and sometimes lurid, ring true. THE SWIMMER had elements in common with CITIZEN KANE in the way it exhaustively analysed its central character's triumphs, and failures with panache. Where it diverted, though, was in the lack of flashbacks explaining Ned Merrill's life, preferring to follow a more episodic narrative progression.

THE SWIMMER was the emotional, heart-rending story of a man searching for his life which appears to have become awry by his own hand. Unlike PUZZLE OF A DOWNFALL CHILD, it was never heavy-handed in nature, with the fragments of Ned Merrill's life presented by the director a mixture of humorous, but also, serious moments. It is reminiscent of GOODBYE, MR CHIPS in this manner, with a jovial, charismatic tone. Where THE SWIMMER moved away from the other films in the category of reflection was that the main character, while cognizant of people and certain situations in the movie, did not seem to have an awareness of some events that had occurred. This is where the film has an intriguing sub-text missing from the other movies of its genre.

The first images of Ned Merrill appearing out of nowhere to begin his mission of swimming in the pools of his friends, and foes, bring many tantalizing thoughts to bear. Where did Ned come from at the beginning of the film? Does he remember the negative consequences of his actions that caused anger in many people when he approached them? Is he suffering from a form of memory loss, or is he consciously deluding himself? To some viewers these might appear as unanswerable questions that make the film inscrutable, and dissatisfying. The film leaves these questions open to interpretation, and these enigmas provide THE SWIMMER with an allure that only makes it more fascinating as a motion picture. A beautiful movie that makes the viewer examine their own life, and life in general, THE SWIMMER is a revelation of a film that deserves acclaim for its polished delivery, and is as relevant today as it was in 1968.

Overview: Frank Perry directed fourteen feature films between 1962 and his final being released in 1987. He made films which were character-driven in nature, peering deep into the psychology of his protagonists, making audiences understand situations on a more profound, fluid emotional level. His first motion picture, DAVID AND LISA (1962) was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963) which was centred around the effect of a possible nuclear attack on the students and personnel of a school. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964) and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB. 

Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969) made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on an lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, it was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before they divorced in 1971, but they made one more together which was notable in film history.

DIARY OF A MAD HOUSEWIFE (1970) told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, Mr Perry took on another story of emotional torment, PLAY IT AS IT LAYS (1972). In the intense style of DAVID AND LISA and LAST SUMMER, this movie showcased Tuesday Weld as an actress who has a nervous breakdown, and surveyed for the audience what led to her stay in a mental health facility. The remainder of Mr Perry's output was varied, ranging from a western-comedy in RANCHO DELUXE (1975), to the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford. Mr Perry's final film, HELLO AGAIN (1987), was a comedy-fantasy of a woman who dies, but is reincarnated by her sister. THE SWIMMER had more in common with Frank Perry's earlier films such as LAST SUMMER than his later efforts, and is one of his best movies.

The character study of a man who aims to swim in every pool to reach his family home, at first glance, seems a strange concept for a motion picture, and something that would work on paper but not on screen. Preconceptions, though, are quickly dispelled by the director, and entire crew's, handling of the story. Based upon John Cheever's short story of the same name, THE SWIMMER is an emotional, triumphant film that hits all its targets, and where there is never a false note from beginning to end in all aspects, from acting to directing, writing, music, to cinematography. The film's linear structure could be said to contribute to its overall success as a convincing story. While some could say, though, that this structure limits the movie's scope, it neatly orders the film's events, making it easy to follow without being predictable in any manner. 

THE SWIMMER flows gracefully from one set of situations to the next, without staginess, thoroughly exploring the protagonist's life through the various characters he encounters at each home, or location, he visits. With each visit the viewer gains more and more information about lead character Ned Merrill, building a profile for him, while also intriguing the viewer at the same time with the leisurely accounts of these details. There is a deft mix of humorous scenes which delve into Ned's life, and also, more heated sequences that are as telling. The viewer feels for his pain in these parts as his life mistakes are aired for him to consider and ponder, which gain momentum as the movie progresses, and point to the film's shattering climax. THE SWIMMER, in some ways, is related to Mr Perry's own movie, LAST SUMMER, in one key manner.

What makes both of these movies interesting is their metaphoric use of water. While in LAST SUMMER the youngsters play love games and cavort on the beach, and their summer of love turns into an horrific, revealing experience, exposure to the water has the effect of bringing certain truths about themselves, and their worst traits, to the forefront. THE SWIMMER is similar in that less-than-desirable truths about Ned Merrill are divulged the more he makes contact with the water, but the water here is more about discovering what went awry, trying to make compensation for acts committed, aiming to achieve a cathartic effect for Ned. Here, though, is where THE SWIMMER diverges from LAST SUMMER. 

It could be said that THE SWIMMER has more of a spiritual, religious slant than LAST SUMMER, but this makes the film only the more moving, and never preachy. Realizations take place for Ned, and many of the people he encounters along his journey, which give the film a resonance, and truth that makes it all the more potent. For reasons such as these, THE SWIMMER could be said to be Frank Perry's greatest achievement, and a thoroughly powerful, memorable motion picture.

Acting: THE SWIMMER is a film where the performances raise it onto a special level. In the lead role of Ned Merrill, Burt Lancaster gives a sublime rendition of the multi-faceted Ned. Mr Lancaster's ardent and genial personality works well here, making Ned Merrill a very real, three-dimensional character. The viewer feels happiness at the friendly interactions Ned has with selected close acquaintances, and sadness at his most difficult moments. Mr Lancaster is the heart and soul of THE SWIMMER, so convincing is his acting that one begins to believe in the reality of the scenario. As Julie, a young woman who admires Ned, Janet Landgard, on the other hand, is the film's incarnation of youth, freshness, with an easygoing appeal. Julie could have been a mousy ingenue, but Miss Landgard gives her an edge which makes her more psychologically complex than first imagined. The other female performers add extra fire and sparkle to THE SWIMMER which gives depth to the proceedings.

Helen, one of the first women Ned encounters in his journey, is played with biting wit and glee by Diana Van der Vlis. Her dialogue delivery is akin to a self-satisfied Cheshire Cat which makes her small role all the more delicious, and one of the most revealing of the cameo parts in the film. Miss Van der Vlis had a resemblance to fellow actress Juliet Mills, and even sounded the same in some scenes. A more solemn, reserved female performance, that speaks volumes of Ned Merrill and his love life, is by Janice Rule as Shirley, one of the line of ladies in his life. Miss Rule always has a field day with bitchy dialogue and unrepressed emotions in her other films, but here she has that, coupled with a vulnerability that make her riveting.

In addition to the other female actresses, Diana Muldaur adds spice in a very brief role as Cynthia, another of Ned's conquests. A unique actress of beautiful appearance, she does well in the film, displaying a range of emotions from happiness, to seething rage at Ned. Another memorable, distinctive contribution is that of Cornelia Otis Skinner as Mrs Hammar. Hardly ever raising her voice, but whose icy, hard expression ensures that viewers know that she detests Ned Merrill, Miss Skinner delivers a performance that provides great insight into Ned Merrill for the viewer.

Soundtrack: Marvin Hamlisch's sweeping instrumental score is superb, and the ideal accompaniment to what is taking place onscreen. Rousing when necessary in the livelier segments, and quieter in the more thoughtful scenes, it is one of the most beautiful scores ever featured in a motion picture. It also adds an emotional tone to the movie in keeping with the film's thoughtful presentation.

Mise-en-scene: The locations utilized in THE SWIMMER provide an excellent backdrop for the film, and a stunning visual experience for the viewer. The homes, backyards, and swimming pools which Burt Lancaster and the movie's cast inhabit during its running time are not only beautiful but functional, with one different from the other. In addition to this, THE SWIMMER also showcases other locations such as the public swimming pool near the film's conclusion, and scenes where Ned is in the woods with Julie. While several of these appear to have been shot in a studio, thankfully, they do not seem too artificial in retrospect, and blend in well with the other location sequences. The Technicolor stock, also, is carefully employed by cinematographer David L. Quaid, always being measured, never gaudy, but exquisite to witness.

Award-worthy performances in my opinion: Burt Lancaster, Janet Landgard, Janice Rule, Diana Van Der Vlis, Diana Muldaur, Cornelia Otis Skinner.

Suitability for young viewers: Parental discretion advised. Adult themes, brief male nudity.

Overall Grade: A

LinkIMDB Page

Trailer


Tuesday, July 7, 2020

JOURNEY THROUGH ROSEBUD (1972)


Title: JOURNEY THROUGH ROSEBUD

Year of Release: 1972

Director: Tom Gries

Genre: Drama

Synopsis: A young Vietnam draft dodger traverses through an Indian Reservation in South Dakota, and indelibly affects the life of an American Indian man living in the Reservation.

Within a film history context: Films which explore the issues on Native Indian Reservations have been given prominence infrequently in cinema. One of the first, and most famous, films to deal with the conflict between settlers and American Indians is Delmer Daves' BROKEN ARROW (1950). Starring James Stewart as a man attempting to promote peace between settlers and Apache Indians, it was a film that moved away from traditional, one-sided scenarios of killing Indians and the other side emerging the victor, to a more sympathetic account of divisions between the two opposing parties. PILLARS OF THE SKY (1956), directed by George Marshall, was different in approach. This time around, the issue at point was the building of a road across the reservation, and the reaction that this provoked in tribal leaders. The 1960s, as with the 1950s, brought with them varied, and interesting interpretations of problems on Indian Reservations.

CHEYENNE AUTUMN (1964), helmed by John Ford, was an epic that concentrated on the Northern Cheyenne Exodus which took place from 1878 until 1879, detailing the relocation of American Indians from Cheyenne back to the their ancestral homes in Wyoming. A high-budgeted film that failed to make back its costs, it is nevertheless significant for its direction by the famous Mr Ford. Peter Tewksbury's STAY AWAY, JOE (1968) was a change of pace for the theme, a comedy-musical with Elvis Presley about an American Indian man assisting his people at the reservation. More exploitation-oriented in its treatment of the theme was THE SAVAGE SEVEN (1968), directed by Richard Rush. It was about bikers pushing their way into an Indian Reservation, and the consequences of this. Racier in nature and more violent than previous films which delved into the theme, it was mainly notable for Mr Rush's participation, and appearances from many well-known actors such as Robert Walker Jr. and Adam Roarke. JOURNEY THROUGH ROSEBUD was different again in its approach to the Indian Reservation premise, contributing another viewpoint on the subject.

It was a solemn consideration of issues relating to American Indian life and customs on the reservation, but without the violent and sensational content that marked previous films on this subject. The movie could be said to have more in common with BROKEN ARROW than other films in the treatment of its theme, and the sympathy which it affords its characters. Details such as the tribal dance, the community meetings about issues on the reservation, for example, are well-handled, and fascinating to witness. Unlike many of the films previously mentioned, though, the storyline was not as compelling in nature, this being JOURNEY THROUGH ROSEBUD's overriding weakness. The emotional involvement is hardly ever present, with the exception of Frank's trials and travails in the film, this being its strongest, and most memorable narrative element. A watchable but inconsistent film, JOURNEY THROUGH ROSEBUD should be commended for at least attempting to impart to audiences what life was like on Reservations in an impartial, and serious, manner.

Overview: Tom Gries was a director mainly active on television, but who was at the helm of fourteen motion pictures. His predominant focus was on action and adventure, with some forays into drama and romance genres over time. Mr Gries' first film, SERPENT ISLAND (1954) was an adventure-thriller about a woman seeking her great-grandfather's treasure, and is assisted by two men in this mission, with unexpected obstacles coming in the way. In HELL'S HORIZON (1955), he looked at the Korean War, specifically the soldiers of a bombing squad. From 1960 until 1967 he mainly worked in television, but returned to films in 1967 with WILL PENNY. The story of a cowboy who begins working on a farm, but discovers his abode already inhabited is one of Mr Gries' most famous works, starring Charlton Heston and Joan Hackett in the central roles. In another collaboration with Charlton Heston, Mr Gries directed him in NUMBER ONE (1969). The character study of an inebriate football player whose antics cause him much angst, it varied from the action/adventure films Mr Gries made until that time. The 1970s afforded Mr Gries further interesting opportunities with varied material, and he released seven more films before his untimely death in 1977.

THE HAWAIIANS (1970) was an epic film based upon James Michener's novel, once again starring Charlton Heston. A continuation of the 1966 film HAWAII, it charted the last parts of the novel, detailing what occurred when Japanese and Chinese populations entered Hawaii, and the consequences of this move. FOOLS (1970) was a change of pace for Mr Gries, this time tackling the romance between a married woman and her actor admirer. He also attempted crime themes in LADY ICE (1973), with an insurance man becoming involved with a young woman, but suspecting her of the theft of expensive jewels. Mr Gries notably directed Charles Bronson in the action-adventure BREAKOUT (1975), with Mr Bronson as a man hired to free an inmate in Mexico. Tom Gries' final film, THE GREATEST (1977), starred Muhammad Ali as himself in an exploration of his life. Largely panned upon first release, it featured a number of character actors such as Robert Duvall and Ernest Borgnine in supporting roles. JOURNEY THROUGH ROSEBUD, Mr Gries' tenth film, alas, was not one of his best endeavours.

While it was an earnest attempt to shed light upon the plight of Native Americans living on reserves, and the unique issues that they faced, JOURNEY THROUGH ROSEBUD was largely lacking in dramatic impetus which, regrettably, rendered the film lifeless. Mr Gries does well in charting the problems on Reserves and making these clear to the audience, but these are insufficient to make the film a more riveting experience. These parts of the film are almost documentary-like in nature, their staging excellent. If the movie removed the dramatic sections, and included a voice-over describing what was taking place, adding further scenes of American Indian life, it would have been a wonderful account of life at that point in time. The film, though, has fictional characters and situations, and these are the weakest aspects of JOURNEY THROUGH ROSEBUD.

The storyline is not involving, seeming like a loosely connected story added to string together the scenes of Indian life. There are not enough dramatic events to sustain viewer interest, the pace being slow, with not much of anything going on. Possibly this was deliberate as the film itself is of a more reflective nature than most, but this does not assist its cause. In addition to this, the characters do not exhibit real passion of any type to make them realistic, with the exception of Robert Forster's Frank. Things just happen in JOURNEY THROUGH ROSEBUD, but there is not much cause and effect, again the film's best moments of this involve Frank. The film, also, contains some unexplained situations that do not make sense, making it a frustrating movie at times.

Danny and Shirley fall into bed, and this precipitates Frank's tailspin, but, it is never explained why this occurred in the first place. They seem to have known each other for only ten seconds and it is only made more unbearable by the fact that the actors did not have any chemistry together. Frank and Shirley's relationship is not shown in more detail for the audience to understand why they drifted apart in the first place, thereby, clarifying the reason for her fling with Danny. If the film explained certain plot points more fully, tightening the film overall by increasing its pace, it would have been a much more compelling viewing experience. As it stands, JOURNEY THROUGH ROSEBUD is a film that could have been much better, but is a disappointing experience in retrospect, and not one of director Tom Gries' greatest efforts.

Acting: The acting in JOURNEY THROUGH ROSEBUD is variable, mainly linked to the movie's indifferent storyline. For Kristoffer Tabori, in the leading role of Danny, this is not one of his best roles. While he tries hard to make more of his character than what the script calls for him to do, he is hampered by the film's general lackluster approach. This is in stark contrast for Mr Tabori, a genial, energetic personality, as witnessed by his excellent turn in 1971's MAKING IT. He is wasted here, as is Victoria Racimo as Shirley. She has an interesting screen presence, and an edge which the film does not utilize to full advantage. On the other hand, the film has the intriguing performance of Robert Forster as the introspective, bespectacled Frank. A good-looking actor who usually plays conceited, self-confident characters, here his acting is excellent, everything about it works, from his reticence, shows of bravado, to his latent vulnerability. There is just something intangible about Mr Forster's performance in this film which makes it JOURNEY THROUGH ROSEBUD's best, most true to life acting contribution.

Soundtrack: The opening music of JOURNEY THROUGH ROSEBUD is a contemplative piece, of which variations play through the film's running time, and is also replayed during the film's final credits. The movie itself does not have music apart from this, in line with 1970s films, which in many instances contained lean background musical scores.

Mise-en-scene: JOURNEY THROUGH ROSEBUD is a film in which the settings, and locales, provide it with a great authenticity. Several instances of these abound in the film that warrant discussion. Frank's rundown home, the farm on which the Indian music is played, and folk dances performed, the smoky saloon where the men in the town gather and drink together, to name a few examples, stand out, centring the characters, and their lives, in a realistic and atmospheric milieu. It is by far the best characteristic of the film, its verisimilitude something which remains with the viewer.

Award-worthy performances in my opinion: Robert Forster.

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

Overall Grade: D

Link: IMDB Page

Movie Excerpt


Thursday, July 2, 2020

INTERVIEW WITH ACTOR ELLIOTT STREET

Today I have the great pleasure of welcoming a very special guest, actor Elliott Street, to CINEMATIC REVELATIONS for an interview. Elliott has acted in various motion pictures over the years such as THE GRISSOM GANG, HONKY, WELCOME HOME SOLDIER BOYS [my review of the film can be found here] THE HARRAD EXPERIMENT, and, most recently, in 2013’s LAST VEGAS, to name a few examples. Elliott will be discussing his role in WELCOME HOME SOLDIER BOYS, acting, and his participation in the Rails to Reels Film Festival. Welcome to CINEMATIC REVELATIONS Elliott!


Athan: When did you first realize that you wanted to be an actor?

Elliott: When I vomited backstage in primary school. I was so nervous I barfed into a cup that I found backstage. I was determined never to do that again.

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Athan: Where did you study acting?


Elliott: I was always involved in theater to a degree, I have a book for my mom on several shows that she did for the Meridian room theater. My actual first performance was in reading and writing the school kind of a primary for the primary school, they thought I was slow. When I was 10 years old I was Dopey in 'Snow White and the Seven Dwarves'. In the ninth grade I was cast with my dad in 'Life with Father'. My senior year I did two players and won an acting award, but when I went to college I decided to be a real student and try to be scholarly, finally I transferred to the Pasadena Playhouse and got a bachelor of theater arts and was working on a masters degree when the school closed for good. I was working at a small theater arts school when I got my break for acting.

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Athan: I greatly enjoyed your performance in WELCOME HOME SOLDIER BOYS as Fatback, the most talkative, and lively, of the quartet of male characters. How did you become involved in this project?


Elliott: My first professional role was on room 222, produced by 20th century Fox. I was fortunate that several of them took a liking to me at Fox and I was cast, at that time I had the best agent in the business. George Maurice. I sure wish he had lived.

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Athan: Much of WELCOME HOME SOLDIER BOYS was shot on location, providing the film with many beautiful cinematographic moments. What was the experience of shooting these scenes in your opinion?


Elliott: Most of those shots were second or third camera. Probably the most memorable setting would've been at the swimming pool not swimming pool I'm sorry the the haunted lake scene. They shot us with antibiotics after that, we were sick.

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Athan: What did you most enjoy about the experience of filming WELCOME HOME SOLDIER BOYS?

Elliott: Joe Don. I guess he was the principal part that I related to not only as a friend but as a comrade in arms to a degree. We kept in touch for a little while. Showbiz is such an ephemeral business.


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Athan: Yourself and Joe Don Baker, Alan Vint, and Paul Koslo were a memorable team in WELCOME HOME SOLDIER BOYS. I could feel the palpable chemistry between the actors when I was viewing the film, which is one of my favourites. What was it like being part of this acting ensemble?


Elliott: My problem as the character was that I wanted to be accepted as part of the squad. I was probably the most foolish one in the bunch, I had a girlfriend at home, probably had a job waiting, but I wanted to be part of the squad, just kind of want to strike it rich.


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Athan: After acting in the film, were your thoughts about the Vietnam War, which was a key element in the movie, different to what they were before you acted in WELCOME HOME SOLDIER BOYS?

Elliott: I was a blooming flower in the flower children generation. I had done a pilot with Sandy Duncan, and when I saw her again she called me a hippie, I didn't get the part and I originated it. I voted for McGovern, remember him anybody? In fact it probably played a part and some shows that were too pro war, in the story we were doing was about a squad gone berserk, what they did, it was their profession.

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Athan: Have you kept in contact with any cast members and crew from WELCOME HOME SOLDIER BOYS?

Elliott: Joe Don and I went to the James Stacey benefit. And I left LA for Atlanta so I would not even have been in the same state. But I was forced to admit that my eyes have it. I needed surgery and the experts were in Atlanta. So I moved there but the eye clinic in Emery was the important factor in my life. I live in Mississippi now with my son, my friends are all theater folks.

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Athan: Are you still recognized today for your role in WELCOME HOME SOLDIER BOYS?


Elliott: No. Most recognition comes from Hawaii Five-0 I did two rolls for them. One was a psychopath and one was slow witted. Most Americans want to forget about Vietnam. Of course the film came out in 72, and the peace accord came out that same year, so this movie was banned by Nixon. Was dated to a degrees.

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Athan: What for you was the scene(s) in WELCOME HOME SOLDIER BOYS you are most proud?

Elliott: Dog gone it I don't think it was in the movie. I think they cut out the part when I was telling the dog “ goodbye,” and I wanted him to take a message to Mary for me, kind of a touching scene, the only thing only scene in the show that had any kind of empathy for these guys, only comments I had after the preview was that I was the only person that they cared for — everybody else’s characters was too antihero.


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Athan: You also coach students in acting, and on the craft of directing and editing, to name but a few examples. What are the most personally rewarding aspects of teaching these to students?


Elliott: I came to Mississippi to start the restoration of an 1890 grand opera house in my hometown. In time I became an instructor of film theater and public speaking. I went on to receive my masters and I am now retired from the school systems, but I have dabbled in historic preservation and film festivals.


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Athan: You are involved in the Rails to Reels Film Festival. How did you become involved in this, and what is the most satisfying aspect of participating in this film festival?

Elliott: We initiated a few years ago our flash fest. We hired three directors to direct a 10 minute show. Not for competition, but for experience and craft. Right now the audience is restricted because of the pandemic. So we don't know what is happening with the rails to reel's.


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Thank you so much today for your time Elliott, and for the insight you have provided into the art of acting, film, and WELCOME HOME SOLDIER BOYS. It has been fantastic having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

Elliott Street links