TO KILL A CLOWN (1972)

Title: TO KILL A CLOWN

Year of Release: 1972

Director: George Bloomfield

Genre: Drama, Horror

Synopsis: A couple rent a beach house from a physically-challenged Vietnam veteran, but he has much in store for them during their stay.

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, 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 He helped 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. 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 second film with 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, and 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. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in once again assimilating into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. TO KILL A CLOWN differed from other entries in that it was not an exploitation movie, but, rather, centered in suspense, and psychological in tone.

As with many of the films in this category, a disturbed Vietnam veteran fuels the narrative, but in the case of TO KILL A CLOWN, the presentation was not as overt, or flashy as examples MOTORPSYCHO!, ANGELS FROM HELL, or THE RAVAGER. There was a complex series of events in which the true motivations of the veteran come to light both for the characters, and the viewer. Despite its slow build, TO KILL A CLOWN finds its footing in the second half, and the frightening psychology of veteran Major Evelyn Ritchie is revealed. Where TO KILL A CLOWN also differs is in the characters whom the veteran plays against. Bikers were largely in evidence in MOTORPSYCHO! and ANGELS FROM HELL, but a married couple is Evelyn's opposition here. This takes matters in another direction, as one sees the impact of the Major on the lives of this couple. 

The Major exacting his revenge on Timothy and Lily provides the movie with some of its best moments. Evelyn in TO KILL A CLOWN, therefore, takes a leaf out of the many films with a villainous Vietnam veteran with no redeeming features, such as THE RAVAGER, and SKYJACKED. He is bad to the bone, but the spectator is never cognizant of what happened in Vietnam to make him this way. This is, unfortunately, left out of the movie, unlike JUD and WELCOME HOME SOLDIER BOYS, where one is given an intimate account in this respect. An interesting view of a Vietnam veteran, TO KILL A CLOWN is notable for branching off into another direction with its treatment of this character. 

Overview: George Bloomfield was a Canadian director who presided over ten motion pictures in a twenty-nine year period. He made dramas, thrillers, family fare, also, venturing into comedy in his output. Mr Bloomfield's first movie, JENNY (1970), was a tender story about a young woman who has a child out of wedlock, and her marriage to a testy photographer. Despite compatibility issues, they find common ground in the end. CHILD UNDER A LEAF (1974), had a similar, if divergent premise. A woman trapped in an abusive marriage has an extramarital affair, giving birth to her lover's child, but tries to move away from her egotistical husband. NOTHING PERSONAL (1980), was a comedy of an activist professor concerned about the plight of baby seals, and how he is assisted in his mission by a lawyer. Critically roasted in its time, it sunk into oblivion. Thriller DOUBLE NEGATIVE (1980), showcased a man whose wife was murdered, and how he tries to find her killer, and exactly what happened that fateful night. THE ARGON QUEST (1992), was a family movie with two brothers transported to a magical island, with the only way to save it is by finding the giant Argon. JACOB TWO TWO MEETS THE HOODED FANG (1999), was another family picture. A young boy who likes to mention things in twos, goes shopping one day, but is misunderstood by the grocer, subsequently landing in a children's prison. Some friends in the prison assist him, and plan to escape from there in this fantasy movie. TO KILL A CLOWN was George Bloomfield's second film, and one of his best-known.

George Bloomfield has created a satisfactory, if sometimes lacking picture with TO KILL A CLOWN. The story of a married couple renting a cabin on the beach, and their encounter with their landlord, a Vietnam veteran, which has severe consequences for them, is a film with some good moments, but patchy overall in its impact. That is not to say, though, that the movie is without its positive aspects. There is a sound grasp of characters and their idiosyncrasies, and one gets to know them, particularly the married couple, as three-dimensional people. Although the movie changes mood from a comical focus, to a more serious one later, the repartee, and bickering, between the couple does make them relatable. One could easily see them existing in the real world as actual people, with the deft characterizations ensuring this. This also applies to the cunning, unsparing Major Evelyn Ritchie, Timothy and Lily's nemesis. While TO KILL A CLOWN is watchable, and there is a degree of suspense in the movie, there are definite limitations which undermine its power.

There is not an issue with the sequence of events in TO KILL A CLOWN, but the fact that it is lopsided in terms of the impact of the first, and second halves of the picture. The introduction to painter Timothy and wife Lily works, but the preparation for Major Evelyn's entrance into the story is too diffuse. The first half of the movie takes too long to pick up steam, and Evelyn is not utilized sufficiently to create an aura of terror to, in effect, tantalize the audience. The comic sequences with Timothy and Lily are agreeable, but could have been balanced way better intercut with scenes of Evelyn, and what he had planned for the couple. Aside from this, while Evelyn is an ominous presence, one never is given further insight into his Vietnam days, and what made him to be how he was. This is largely left to the side, and the vicious dogs seem to do all the talking in the film in this respect. The second half of TO KILL A CLOWN picks up considerably in pace, but the resolution is not as spectacular as one would expect. It leaves matters hanging, when they could have been decisively dealt with, bringing needed closure to the picture. Despite these flaws, some things can be said about the film. TO KILL A CLOWN attempts to generate an atmosphere of taut tension and terror, but falls short in attaining this aim on a consistent level.

Acting: While the cast of TO KILL A CLOWN is small in size, they offer some great performances. In the lead part of Major Evelyn Ritchie, Vietnam veteran, and central antagonist, Alan Alda plays against type here, showing that he was a versatile actor with his portrayal of the villainous Major. Those smiles and expressions utilized in his other roles have been employed well, showing the Major for the heinous man he is. As Lily, one-half of the married couple in the movie, Blythe Danner, in her movie debut, is excellent. With her husky voice, warmth, and nous, Miss Danner deftly displays all sides of her character with ease, being both the comic, and dramatic elements. The final acting of note was by Heath Lamberts as Timothy, Lily's husband. As with Blythe Danner, Mr Lamberts navigates both the zany parts of his role in the picture, and the more dramatic, with aplomb.

Soundtrack: TO KILL A CLOWN has an appropriate soundtrack which emphasizes the moods which the film seeks to capture, thanks to composers John Hawkins and Richard Hill. Both the opening, and closing credits feature the song "With My Eyes", sung by Georgie Fame, which is a passable tune, but the music after this is an electric guitar piece which stands out for its funky, jazzy tone.

Mise-en-scene: Due attention has been paid to the onscreen experience for viewers of TO KILL A CLOWN. Walter Lassally's cinematography records the proceedings with elan, taking advantage of the beach setting of the story, and also, with the evening scenes shot for maximum suspense. Trevor Williams' art direction is spare, with a limited number of settings, such as the beach house Lily and Timothy share unobtrusive, and keeping the focus on the characters. The opening credits are striking for their use of animation, which imbues the film with an unconventional, 1960s style bent. On the other hand, it also projects a comical mood, which is not what the picture happens to be, thereby misinforming the viewer. This, though, is in keeping with TO KILL A CLOWN's intentions, being a serio-comic drama which veers in either direction throughout its running time.

Notable Acting Performances: Alan Alda, Blythe Danner, Heath Lamberts.

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

Overall Grade: C

Link: IMDB Page