STREAMERS (1983)

Title: STREAMERS

Year of Release: 1983

Director: Robert Altman

Genre: Drama

Synopsis: Soldiers in an army barracks preparing to go to Vietnam wrestle with the revelation that one of their fellow recruits is gay.

Within a film history context: Films featuring homosexual protagonists and themes have been featured several times in cinema before STREAMERS. One of the first was Jack Garfien's THE STRANGE ONE (1957). In this movie, the tradition of hazing within a military college was explored, and the presence of a gay character in the narrative. It was also notable not only for its frank, for the time, treatment of its subject matter but also, being the film debut of several cast members including Ben Gazzara and George Peppard. REFLECTIONS IN A GOLDEN EYE (1967), directed by John Huston, had a gay character who was also a soldier. John Flynn's THE SERGEANT (1968) starred Rod Steiger as an army sergeant who is drawn towards a younger man, his untapped feelings brought out into the open. As with REFLECTIONS IN A GOLDEN EYE, THE VIRGIN SOLDIERS (1969), directed by John Dexter, had a gay character who again was a soldier, this time in 1950s Singapore. The difference between this film and the others is that it was of a comic nature with some dramatic moments. 

In a different, more irreverent vein was Bruce Kessler's THE GAY DECEIVERS (1969). While not technically set in a military locale, it was notable as it had two men pretending to be gay in order to avoid being drafted for Vietnam. This, of course, does not work out exactly as planned, which provided the majority of the comedy in this film. THE MCKENZIE BREAK (1970), directed by Lamont Johnson, again had a gay soldier, this time set during World War II. British film PRIVATES ON PARADE (1983), directed by Michael Blakemore, was about soldiers in 1940s Malaysia, with a gay captain in evidence. STREAMERS took elements of the more serious, considered movies with gay military protagonists, and explored these vigorously with its gay character, and his effect on the other men in the barracks.

In the other movies, homosexuality, with the exception of THE SERGEANT, was something treated as a sideline rather than a major plot point. In STREAMERS, it is front and center of the film, creating the drama, and showing the audience how the characters respond to this in their varying ways. There are those characters who speak out against it, and Richie, but are not particularly blatant in their lack of understanding, another who believes that it is a phase which will pass, and, in particular, Billy, who is adamant in opposing Richie and his homosexuality. The film is therefore more multi-faceted than others, presenting viewpoints to the audience for them to ponder, and discern before, and if they make their final assumptions about the topic. STREAMERS is significant as it did not fall into the trap of making characters 'good' or 'bad', it presents its debate to the viewers for them to decide without pushing one or the other side. The spectator of STREAMERS is the judge and jury; they are presented with all the evidence through the characters and their actions, and hence cast their own vote on what is right, or wrong. A thought-provoking film that leaves one thinking about it way after it has ended, STREAMERS is a contemplative work that deserves recognition for its robust presentation, and intentions.

Overview: Robert Altman was an adventurous filmmaker who made a vast assortment of movies with distinctive themes, from 1957 until his final film in 2006. After directing a number of short movies, Mr Altman made his debut in 1957 with THE DELINQUENTS. A drama of youth dissatisfaction and gangs, it starred Tom Laughlin in the lead role, who approximately a decade later found fame in the 'Billy Jack' action movies. After working in television for the next ten years, Mr Altman then directed COUNTDOWN (1967). A science-fiction thriller co-starring future THE GODFATHER stars James Caan and Robert Duvall, it was an interesting movie that began his ascent as director. THAT COLD DAY IN THE PARK (1969) was a psychological suspense story starring Sandy Dennis that earned plaudits for Mr Altman and hid lead actress. The start of the 1970s, though, heralded an unprecedented era of creative successes for Mr Altman.

MASH (1970) was Mr Altman's biggest success to date, a comedy-drama set during the Korean War that also provided Elliott Gould, Donald Sutherland, and other performers excellent exposure. It was so influential that it spun off a long-running television series that enjoyed high ratings during its eleven seasons on the air. More notable films followed for Robert Altman. McCABE AND MRS MILLER (1971) was a drama about a madam and a gambler in a western town, starring Warren Beatty and Julie Christie. IMAGES (1972) was a suspenseful drama about a woman in a constant state of flux, unable to distinguish what was fantasy and what was reality. An actor's piece giving Susannah York an excellent role, with Robert Altman regular Rene Auberjonois in a supporting role, it was an absorbing piece of cinema. More comical in delivery was CALIFORNIA SPLIT (1974). With Elliott Gould and George Segal as two gamblers finding nothing but trouble with their lifestyle, it gave its stars many opportunities to display their engaging quick-talking abilities. With NASHVILLE (1975), Mr Altman found another topical theme to explore. Focusing upon a political convention in Nashville, it showed Mr Altman's ease working with large ensemble casts, and was another box-office success for him. He then made a journey into more solemn territory with 3 WOMEN (1977). Following the relationship of three women over the years, it was another artistic triumph for Mr Altman, and an acting one for Sissy Spacek and Shelley Duvall. Another character-driven film, A WEDDING (1978) was comic in nature, about the marriage of a young woman of working class background to a wealthy young man. Another success for Mr Altman, it rounded out his best films from the 1970s.

The 1980s brought him films with less success at the box-office, and artistically. HealtH (1980) was a satire of American politics that did not go over well with audiences at the time. POPEYE (1980) was a financial failure that did nothing for Mr Altman or his actors. COME BACK TO THE 5 AND DIME JIMMY DEAN, JIMMY DEAN (1982) was more in his style, a film that took advantage of its large cast, even though the set at times was slightly constricting. The 1990s, though, brought a renaissance for Mr Altman. VINCENT & THEO (1990) was an exploration of the relationship between Vincent van Gogh and brother Theodore, using a largely British cast including Tim Roth and Paul Rhys as the titular siblings. SHORT CUTS (1993) was another innovative film, somewhat in the style of Mr Altman's other character-based movies such as NASHVILLE and A WEDDING, with a large cast bringing his story of Los Angeles denizens to vivid life. READY TO WEAR (1994), with Julia Roberts, was a comedy about people involved in the Paris Fashion Week. It was also notable for appearances by international actors such as Sophia Loren and Anouk Aimee. Robert Altman made a few more movies in the 1990s and 2000s, his final being A PRAIRIE HOME COMPANION (2006). With a cast including Meryl Streep, Lily Tomlin and Tommy Lee Jones, it had both comic, and dramatic elements well fused by Mr Altman. STREAMERS, coming in 1983, was one of Mr Altman's best films, and another example of his excellent work with ensemble casts, this time tighter in number than other films such as NASHVILLE. 

Adapted by David Rabe for the screen from his own stage play, STREAMERS, as directed by Robert Altman, is a thoroughly gripping, compulsively watchable film that moves at a steady, but never stagnant pace. At first glance it would seem that filming a movie in such a limited environment would render it boring, but Mr Altman effortlessly glides from character to character, situation to situation with a confident assurance. There are no gaps, or moments where the movie feels stagey, and this is in large part attributable not only to Mr Altman's direction, but also, to his actors. Dispensing with his tradition of a soundtrack with multiple actors speaking simultaneously, Mr Altman goes for a cleaner feel with the dialogue and its delivery here, which works in its favour. It does not feel overloaded, but naturalistic. While the film also has a concentration on obscenities and sexual inferences, these do not feel out of place, coming from the characters in a manner that is not demeaning, but realistic. Some films utilize coarse language and its delivery sounds artificial, and offensive, but this is not the case in STREAMERS. 

Other features of the film make it stand out in comparison to Mr Altman's other movies. It is more of a straightforward narrative without the irony of MASH, never containing humour that does not gel with the characters, and what is going on. STREAMERS has an hypnotic quality shared with Mr Altman's earlier IMAGES, where one cannot take their eyes away from the screen, as what is occurring is so spellbinding. Unlike IMAGES, though, the visuals are not as beautiful, where that film's transitions from reality to fiction are an integral element in the movie. STREAMERS is more in keeping with Mr Altman's McCABE AND MRS MILLER in the realism of its sets, preferring a more subdued presentation. The film is also an intimate examination of homophobia, presenting both sides of the coin for audiences to synthesize. It is also notable for presenting a gay character who is uncomplicated in his psychological makeup, this also being a contrast to the other films with their wrought gay protagonists. For these reasons, in all respects STREAMERS works on every level, and is one of Robert Altman's best cinematic achievements.

Acting: The acting performances in STREAMERS are all first-rate, keeping the film compelling from beginning to end. As Billy, Matthew Modine is excellent, making the character real despite Billy's homophobia and ranting. Mr Modine has a funky way of speaking which works well on screen, this working particularly well in the confrontation scenes. The viewer has a sense of regret at what happens to him in the movie, but he carries his scenes off with a righteous air. Michael Wright is stunning as the complicated Carlyle whose closeted gay inclinations cause him to melt down, and provide the film with its violent conclusion. An actor capable of displaying many simmering emotions in quick succession, Mr Wright's actions as Carlyle, while horrendous, are born of repression, and lack of opportunity. Mitchell Lichtenstein, as Richie, also has a challenging role in STREAMERS. Playing a gay character in a film largely populated with heterosexual characters makes his acting stand out even more. It is a testament to his ability that Richie is not a stereotypical character, but portrayed with shades of compassion and understanding that give Richie great depth. The subtle facial expressions and movements employed by Mr Lichtenstein make Richie a sympathetic, and compelling presence in the movie.

Soundtrack: STREAMERS does not have a musical score and this only heightens the drama, as enough taking place onscreen to capture interest. Diegetic music is restricted to the radio inside the barracks, playing pop songs, which gives the film added realism. 

Mise-en-scene: STREAMERS was filmed in a barracks set which had an outlook to the outside through windows, and a clear view of the shower room from inside the barracks. While this might seem a claustrophobic set at first glance, it works in the film's favour as it intensifies the action, keeping it disciplined. The low lighting is realistic, seeming like an authentic barracks, but the expressions of the actors are easily discerned despite the gothic-like spare lighting. The opening and closing credits are similar, with soldiers in military training, the lighting emphasizing their form through use of shadows. It is a haunting sequences that excellently puts the film into perspective for viewers.

Award-worthy performances in my opinion: Matthew Modine, Michael Wright, Mitchell Lichtenstein.

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

Overall Grade: A

Link: IMDB Page

Trailer

MYRA BRECKINRIDGE (1970)

Title: MYRA BRECKINRIDGE

Year of Release: 1970

Director: Michael Sarne

Genre: Comedy, Satire

Synopsis: A young man, Myron Breckinridge, undergoes a sex change operation and becomes Myra Breckinridge, but discovers his life is even more complicated as a woman than as a man.

Within a film history context: Movies revolving around transgender protagonists were not a common occurrence on cinema screens before MYRA BRECKINRIDGE's arrival in 1970, mainly due to the breakdown of censorship in the late 1960s, allowing for more freedom in cinematic content. Films about either men, or women dressing as the opposite sex for various reasons, without a transgender theme, were more regular. One of the first movie actors to dress in drag was silent screen, vaudeville and Broadway actor Julian Eltinge. He played in a number of comedies during the 1910s and 1920s, with less appearances after 1925. Mr Eltinge's movies took advantage of his versatility in playing both sexes, this leading to many rumours about his sexuality, which was indeterminate. During the silent era, two adaptations of the British stage play CHARLEY'S AUNT, filmed respectively in 1915 and 1925, were shown to audiences. The story of a Lord who is convinced by his friend Charley to dress as his aunt, with many comic repercussions, was also given cinematic treatment multiple times in the sound era. Later movies similarly exploited the fluidity of gender in films, with mainly comical results.

Reinhold Schunel's VICTOR AND VICTORIA (1933) featured a young female chanteuse taking over her male friend's female nightclub act, masquerading as a man, but she is believed to be a man, which causes romantic issues for her with a male admirer. Another excellent example was SYLVIA SCARLETT (1935), directed by George Cukor, starring Katharine Hepburn. In this movie, Miss Hepburn was a scheming woman who dressed as a man to elude the police. One of many Hepburn-Cukor collaborations, it was one of least financially successful of their films together. Howard Hawks' I WAS A MALE WAR BRIDE (1949) had Cary Grant dressing as a woman in order to board a navy ship. It was a box-office success for the studio, and offered Mr Grant one of his funniest roles. More exploitative in intent was GLEN OR GLENDA (1953), directed by Edward D. Wood Jr. Being the immediate predecessor to MYRA BRECKINRIDGE in terms of its sex change theme, it was about a transvestite, and a pseudohermaphrodite, as recounted by a psychiatrist. Notable for its theme and appearance of veteran horror actor Bela Lugosi, it pushed the boundaries of screen taste in the 1950s. One of the most famous of the cross-dressing movies again was a comedy, this time being Billy Wilder's SOME LIKE IT HOT (1959). With Tony Curtis and Jack Lemmon as two musicians dressing as women to escape from the mob, it played around with gender and romance in an irresistible, highly comical manner. One of the best films of its type for its all-round good humour and excellent cast, it is still seen fondly sixty years after its initial release. MYRA BRECKINRIDGE was the first film which explicitly featured a transsexual protagonist, this aided by the relaxation of censorship which allowed for more freer depictions of certain themes. This was ground-breaking at the time of its release, and one of the reasons why MYRA BRECKINRIDGE has a footnote in film history.

Apart from GLEN OR GLENDA, MYRA BRECKINRIDGE was the watershed for clearly depicting the concept of transsexuality in film, and not beating around the bush about it. Aided by its X rating in 1970, it was the most plain-speaking film up until that time on the topic. Talk about sex and related ideas was out in the open in this film much more than previous movies. Its language and situations were much more explicit than entries such as SOME LIKE IT HOT, moving beneath the surface in quite a confronting manner. This no holds barred approach was evident in other areas of MYRA BRECKINRIDGE as well. While the other films mainly presented heterosexual characters, either men or women, dressing as the opposite sex, they were largely centered around romance and its attendant misunderstandings. There were some latent/inexplicable same sex attractions which implied that either the best men were women at heart, likewise with the best women being men. In MYRA BRECKINRIDGE all of these were thrown out the window, as the protagonist's sex change was documented in detail, leaving no doubt that he was a man who became a woman. There was no backwards and forwards in this respect, as the lead character does have issues with his sexuality, which are more than a simple case of wearing women's clothing, and discarding it for specific reasons. These differentiated MYRA BRECKINRIDGE from prior entries in the genre.

Aside from its thoroughgoing transsexual theme, MYRA BRECKINRIDGE was also of interest for another reason. With the ability to showcase more daring, if salacious stories at the end of the late 1960s, and early 1970s, Twentieth Century Fox released several films which pushed the boundaries of cinematic acceptability. Starting with Mark Robson's VALLEY OF THE DOLLS in 1967, films of a more sexual nature appeared on screens. JOANNA (1968), directed by Michael Sarne was also in this category, and, most notably, Russ Meyer's BEYOND THE VALLEY OF THE DOLLS (1970). A humorous, high camp take on the studio's own VALLEY OF THE DOLLS, it was a flashier, coarser affair with violence and nudity that the original film did not have. While a moneymaker for the studio, it was considered a low point in Fox's history. Urged by the losses incurred by other Fox movies at the time, and the success of Mr Meyer's non-Fox productions, their sentiments did not proving of a lasting nature. Another Russ Meyer film, THE SEVEN MINUTES (1971) was not as successful as it did not have the exploitative elements which made BEYOND THE VALLEY OF THE DOLLS, and his other independent efforts, so successful. MYRA BRECKINRIDGE was positioned among this series of films, and was memorable not only for its financial loss and the sheer poor taste of much of it but also, as a major studio's attempt to take on risky, lowbrow ventures, which did nothing for its reputation, or balance sheet, at the time.

Overview: Michael Sarne is a prolific actor who has several directorial credits to his name. The first of his four feature films, JOANNA (1968), was in the style of many Swinging Sixties movies, with a young woman involved in the London set of the late 1960s. Next was INTIMIDADE (1975) a little-seen romance movie which Mr Sarne co-directed with Perry Salles. His final feature film was THE PUNK (1993). In contrast to his other movies, this film was about a young street kid who falls in love, but has problems with the law. A combination of family drama with Romeo and Juliet elements, it was the most realistic and grounded of his movies. MYRA BRECKINRIDGE, his second film, was his most famous picture, but, unfortunately, not for the best reasons.

The exploration of a transgender character could have been handled in a much more restrained manner, with moments of introspection and reflection, but, on the whole, this is missing from MYRA BRECKINRIDGE. While it appears to be a story that would have been exceedingly difficult to adapt from its source novel, possibly it would have been better that it was never made into a movie. Alas, though, it was produced into one, and, this provides the starting point for this analysis. Watching the film, it is obvious that it was not intended in any way to be a serious examination of sexual identity; it revels in throwing into the audience's face the lead character's choice to change his sex, using every unsubtle visual, and aural cue, to make the point of this. While satire is often a difficult genre to write and produce for the screen, the results of which many times can be incongruous, MYRA BRECKINRIDGE falls into this category. The film needed serious writing fixes that never, lamentably, took place, to rein in the wayward content, and bring it some semblance of continuity. As a suggestion, it may have been much better if it took either of the following two paths.

If the film was a more subtle exploration of transsexuality, toning down the overt sexuality, and providing insight into the protagonist's mind, and the consequences of his decision, it would have been a revealing, and possibly enlightening experience for the viewer. As it is, one never finds out exactly why Myron wanted to become Myra, as it is just a convoluted series of events that lack emotional power. What does not assist its cause is the use of clips from classic Hollywood films. While amusing at first, these become ineffective in the film, but the clips themselves are not to blame. They are from some of the silver screen's greatest movies, but here are used to 'punch home' plot points in MYRA BRECKINRIDGE. They are a reminder that many past films used to be way better than MYRA BRECKINRIDGE itself, as the saying goes 'they don't make them that way anymore.' By trying to equate classic movies with MYRA BRECKINRIDGE, implying that it is a classic of its own, the film actually shows how much more classy those film were compared to it. The film, though, could have been composed of in another way that may have give it more of a chance.

As the film itself is of a irrational nature, it would have been conceivable that it could have been part of the 'Carry On' series of movies. As the director himself was British, it would have been a sensible choice to utilize the writers and some of the cast of the movies. It would have streamlined the production, adding much more humour, and tightening the film both onscreen, and with its costs. MYRA BRECKINRIDGE would have been a more rollicking experience, with the sexual entendre and innuendo given more bawdy style. While these are just a two proposals to improve the movie, one can only access what they witness onscreen, but there are some small compensations to watching MYRA BRECKINRIDGE.

The cast is largely commended for performing to the level that they do with the overall quality of the material. The director provided a great showcase for Mae West, and the musical numbers, especially the second one, these being excellently handled. The production values themselves are of a very high standard, something which would have been highly regarded in the classic Hollywood era. Mr Sarne showed a flair for the dramatic, and style which one wishes had been displayed in a better way. One is left with the overriding sentiment that MYRA BRECKINRIDGE was a film that tried to be different and irreverent, but, failed in its quest with its lack of story consistency, and many lapses in taste rendering it a failure.

Acting: Despite the lack of quality in the writing, MYRA BRECKINRIDGE contains performances without which it would have been an even lesser experience. In the lead role of Myra Breckinridge, Raquel Welch holds the film together in the face of an avalanche of nonsensical and tasteless moments. Playing someone who is a woman on the outside, but is in actuality a man would not have been an easy experience, but Miss Welch does well, keeping her cool and dignity despite dialogue which is, at times, overly wordy and unnecessary. Rex Reed, as Myron Breckinridge, has dark good looks and appears well on camera, but one never gets to know the character as intensely as Miss Welch's. His scenes are always played for the humour or sex card, but a more psychological insight to the character would have been of benefit. On the other hand, John Huston, unfortunately, overplays his role in the film. Usually his larger-than-life personality is effective in other movies, but here it seems to be too much. If it was toned down slightly it could have worked, but it just stands out here for the wrong reasons. It is a reminder of the elements in the film which could have been de-emphasized. There are, though, four other performances in MYRA BRECKINRIDGE which should be mentioned.

Mae West, as talent agent Leticia Van Allen, is in one of her best roles, vamping it up as only she knew best. As with the other films she appeared, the dialogue here works in her favour, allowing her to indulge in delicious, scintillating one-liners with that self-satisfied smile she sports so effortlessly. Miss West's musical numbers are also a delight, her characteristic posturing, purring and pauses the mark of the true star she was. Nelson Sardelli is charming in a cameo role as Mario, an Italian man after Leticia's heart. He fills the screen with a joy and passion that is infectious. As Mary Ann, Farrah Fawcett is a sympathetic figure in the movie. An actress of sparkling personality who knew how to charm audiences with her relaxed manner, Miss Fawcett shines as the innocent, but perceptive Mary Ann. The final contribution of note was that of Roger Herren as Rusty, the male object of desire in MYRA BRECKINRIDGE. A handsome actor for whom this film unfortunately was his most featured part, he delivers a great performance, despite the controversial scene in which he participated. It would have been interesting to have seen Mr Herren in further roles as he had a laid-back persona that could have worked well in films with either a romantic, or cowboy themes.

Soundtrack: With the exception of the opening few minutes, Mae West's first moments in the talent agency and several other instances, there is not much background music in MYRA BRECKINRIDGE, excepting the clips from other films inserted at various times. The best sequences of diegetic music both belong to Miss West in her stage performance extravaganzas. 

Mise-en-scene: The high budget for MYRA BRECKINRIDGE is evident in the movie, the production values one of its best features. No expense has been spared on the sets and backgrounds, which are easy on the eyes, oozing luxury, especially the bedrooms, and other sets, of Miss Welch and Miss West. No expense has also been spared for the lavish musical production numbers which spotlight Miss West, with the attendees dressed and coiffed to the nines. The lensing by Richard Moore is also first-rate, with everything, and everyone, appearing beautifully in front of the camera, a testament to him. Costuming and maquillage take advantage of the attractiveness of the cast, with appropriate use of garments, especially Edith Head's florid creations for Mae West.

Award-worthy performances in my opinion: Raquel Welch, Mae West, Roger Herren, Farrah Fawcett, Nelson Sardelli.

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

Overall Grade: D

Link: IMDB Page

Trailer

THE LANDLORD (1970)

Title: THE LANDLORD

Year of Release: 1970

Director: Hal Ashby

Genre: Drama, Comedy

Synopsis: A young man from a wealthy family decides to buy a derelict building, wishing to renovate it to live in as a new home, but the tenants have other ideas, changing his views on life, and love.

Within a film history context: Movies with a landlord protagonist have been fitfully featured in film history. One of the most famous to feature a landlord central character was Alfred Hitchcock's silent film THE LODGER (1927). In this movie, a landlady to a handsome man has suspicions that he may be a psychopathic killer murdering young women in London. With MURDER AT THE INN (1934), directed by George King, a young couple become implicated in the murder of a landlord. More comical in execution was Lew Landers' LIVING ON LOVE (1937). In this film, the landlord is of a friendlier disposition than other examples, assisting two young people, a man and a woman, to share an apartment, with many complications ensuing. Matters again were of a comic nature in SING FOR YOUR SUPPER (1941), directed by Charles Barton. In this movie, a young woman who is a landlord becomes a nightclub singer in disguise, which causes trouble between her and her beau. In a similar comic vein was Sam Newfield's FIGHT THAT GHOST (1946). Here, the landlord has more of a supporting role than other movies, as two people attempt to short-change him of rent money, with many amusing consequences. Further films explored the landlord theme, with interesting results.

Mexican film HIDDEN RIVER (1948), directed by Emilio Fernandez, had an unscrupulous, dictatorial landlord of the town making his evil presence felt by all. Equally sinister was J. Lee Thompson's MURDER WITHOUT CRIME (1950). The landlord is this was also of a mean persuasion, using blackmail to make a man guilty for an accidental death. BROADWAY JUNGLE (1955), directed by Phil Tucker, was about a man pressured by his landlord for the rent, explaining that he was working on a film project, and would have his payments up to date soon. Into the 1960s came two films that approached the landlord theme in a humorous manner. Richard Quine's THE NOTORIOUS LANDLADY (1962) added a mystery angle to its largely droll mood, with Kim Novak as a landlord believed to have committed murder, and Jack Lemmon as the man who falls for her in London. Matters were more romantic in UNDER THE YUM YUM TREE (1963), directed by David Swift. Again starring Jack Lemmon, but this time as the landlord, in love with his tenant, and doing his best to make her love him, and leave her fiancé. THE LANDLORD shared elements of the more jocular and dramatic films within its structure, but also, contained its own bold strokes.

THE LANDLORD, was, at heart, a comedic film with many dramatic elements, much deeper than the other films previously mentioned. The comedy, though, is never far-fetched or antic based, but reflects upon the characters, making their emotions palpable to the audience. Even in the most dramatic moments, the viewer can feel for the characters and what they are going through. In saying this, THE LANDLORD is a sympathetic treatise, to name a few examples, in understanding, race relations, interracial relationships, finding one's self of self, and place in the world. Unlike the other movies, in which the landlord was a peripheral or supporting player, in THE LANDLORD, the lead character from whom the action originates was the landlord himself. The people with whom the landlord comes into contact reveal intimate sides of themselves that make them real, and, in turn, sides of himself emerge that may not have been evident at first glance. The narrative events are more complex in nature than the other movies, with many unexpected incidents occurring that take the viewer by total surprise. A film that is balanced in every respect, with the ability to amuse, shock, and move at different turns, THE LANDLORD is an original, and successful triumph in filmmaking.

Overview: Hal Ashby was a director who made films that on the surface only seem full of incident and sass, many times ludicrous in nature. When examined more carefully, though, these films reveal facets of humanity and events that are thoroughly compelling. From 1970 until 1986, several years before his death in 1989, he directed eleven feature films. Mr Ashby's second film, HAROLD AND MAUDE (1971), was a trend-setting black comedy about the unlikely romance between a woman in her seventies, and a young man in his twenties. Next came THE LAST DETAIL (1974), starring Jack Nicholson and Randy Quaid as a sailor escorting a young sailor on a wild odyssey before he ends up in jail. Filled with coarse language, ribald behaviour but also, a pathos that puts all the hijinks in an understandable perspective, it was possibly Mr Ashby's most touching, tragic, true to life movie. Coming next was the box-office bonanza SHAMPOO (1975). Featuring an all-star cast with Warren Beatty as a womanizing hairdresser in Beverly Hills, variously coupling with Julie Christie, Lee Grant, Goldie Hawn, and Carrie Fisher, it was another film that had an outrageous premise on paper, given depth by Mr Ashby and his illustrious cast. Moving on from these films, Mr Ashby produced more films that continued his cinematic tradition of combining dramatic and comedic content with style.

BOUND FOR GLORY (1976) was a change of pace for Mr Ashby, this time taking on the real-life story of folk singer Woody Guthrie, with positive critical results. Later in the decade, Mr Ashby had another artistic and commercial triumph with COMING HOME (1978). With Jane Fonda in the starring role of a woman falling for a man injured in Vietnam, her husband away in Vietnam, it was nominated for major awards, winning Oscars for Miss Fonda and Jon Voight as the man who wins her heart. One of Mr Ashby's final films of note was 1979's BEING THERE. An all-star cast including veteran Melvyn Douglas, Peter Sellers and Shirley MacLaine, it told the story of a man involved in politics who teams with a gardener, their friendship blossoming. It was similar to Mr Ashby's other films in detailing relationships which seem improbable at first glance, but through which something special eventuates. The remainder of Mr Ashby's output was not as prominent as his 1970s films, variously tackling comedy subjects, SECOND-HAND HEARTS (1980), LOOKIN' TO GET OUT (1982), THE SLUGGER'S WIFE (1985), and action-drama in 8 MILLION WAYS TO DIE (1986). THE LANDLORD was Mr Ashby's directorial debut, and is one of his best motion pictures.

The story of race relations, and how a white landlord purchases a dilapidated apartment block for his own purposes, is given a joie de vivre and sense of irreverence by Mr Ashby in THE LANDLORD. Hypothetically speaking, in other hands the film may have been one where either the comedy, or dramatic elements would have been laid on too thick, but in THE LANDLORD everything is just right. Trying to work out how the director has succeeded in making the film so effectively, and affecting, is a puzzle, but it is best to enjoy the experience, and not think about it too much. The disparate elements could have rendered it as lopsided or a mishmash, but here things work in an indescribably enjoyable way. This is a feature of many of Hal Ashby's movies, whereby events and characters may seem over the top on initial impression, but as his films unreel, another layer to people and events makes itself felt. The freewheeling handling of THE LANDLORD is reminiscent of a late 1960s film, ALICE'S RESTAURANT. While that film was quite enjoyable in its choppy, disjointed manner, it does not have the depth, or emotional resonance, of THE LANDLORD. In summing up the film, it is safe to say that THE LANDLORD is one of Hal Ashby's best films, and a memorable, perceptive examination of race relations.

Acting: The acting in THE LANDLORD is of a very high caliber, lifting the material, and making it into something exceptional. In the lead role of Elgar, the ambitious young man who purchases the run-down apartment block, Beau Bridges delivers a natural, charismatic performance. He is always a performer with a likable disposition in all his films, and it is no exception in this movie. As Elgar's mother Joyce, Lee Grant displays her versatility at playing what appears, at first, to be a dizzy socialite, but Miss Grant reveals layers of comedy and pathos which is her trademark. Miss Grant's line deliveries are always pithy and entertaining, adding allure to the film. Susan Anspach shines as Susan, Elgar's sister, displaying a zaniness not always captured on film. An actress who excelled in dramatic pieces such as her role in FIVE EASY PIECES, here her ditziness is contagious, and works very well. Apart from these actors, three other performers add great contributions to THE LANDLORD which deserve evaluation.

As Marge, the oldest tenant in the apartment block, Pearl Bailey is imperious but sympathetic, a woman of much depth. Her scenes with Elgar, and, above all, Joyce, bring out something different but special in all the actors. Diana Sands, as the passionate, earthy Fanny, was one of the best African-American film actors ever. An actress who passed away too soon, depriving the cinema of more edgy, excellent portrayals, her work here as a woman wanting to stay with her charismatic but troubled husband, but attracted to the good-looking, charming Elgar, has definite punch, and a sad subtext. As Copee, Fanny's husband, Louis Gossett Jr. brings a danger and excitement to THE LANDLORD. From his first appearance on screen with a bow and arrow, Mr Gossett knows how to push the buttons not only of the other characters but also, those of the audience, featuring in some of the film's most scary but also, saddest moments. 

Soundtrack: THE LANDLORD is not overloaded with music within its running time, in common with many other 1970s films, which lends it a balance that serves it well. THE LANDLORD's soundtrack is peppered with many tunes by African-American artists which give the film an inimitable spice and life, particularly during the opening credits. Other sequences such as the chase scene with Elgar, holding a large pot, feature funky music which greatly embellishes the comic nature of what is taking place. One of the most vivid uses of diegetic music is in the dance nightclub where Lanie performs. Coupling the blaring music with Lanie dancing above the crowd, and dark lighting creates a effervescent, yet intimate atmosphere.

Mise-en-scene: THE LANDLORD has a very interesting, vivid use of locations and sets. On the one hand, there is Elgar's run-down apartment block where the majority of the action takes place. The sense of decay is evident in the shabby nature of the building, with its dark, small rooms, gothic foyer, and in the outdoor scenes with unkempt streets and litter. This can be contrasted with Elgar's family home, with elegant rooms, a clean, spacious atmosphere, and well-manicured gardens. The film clearly draws distinctions between the 'haves' and the 'have-nots' in this respect for the audience to consider.

Award-worthy performances in my opinion: Beau Bridges, Lee Grant, Susan Anspach, Diana Sands, Pearl Bailey, Louis Gossett Jr.

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

Overall Grade: A

Link: IMDB Page

Trailer

TO KILL A MOCKINGBIRD (1962)

Title: TO KILL A MOCKINGBIRD

Year of Release: 1962

Director: Robert Mulligan

Genre: Drama

Synopsis: A lawyer in 1930s Alabama takes on the case of a black man accused of raping a white woman.

Within a film history context: Movies which have a lawyer protagonist have been present in cinema for many years since the silent screen. One of the first documented films was Allan Dwan's THE COUNTY CHAIRMAN (1914). In this, a tug of war between two men occurs, one of them being a lawyer, with past incidents such as business and romantic rivalries rearing their head. More domestic in its outlook was ALWAYS IN THE WAY (1915). Starring Mary Miles Minter, it  was concerned with a young girl neglected by her father, a lawyer, who remarries after the death of his wife, the stepmother viewing the stepdaughter as an unnecessary obstacle. Frank Lloyd's A TALE OF TWO CITIES (1917) set in 1790s France, showed how a lawyer saved an aristocrat, who, incidentally, was married to his great love. In a similar vein to ALWAYS IN THE WAY, HOUSE OF CARDS (1917), directed by Alice Guy, revolved around a young protagonist. A young girl is feeling abandoned emotionally by her parents, her father being a lawyer, and runs away with a young man. Moralistic in nature was Harry Revier's THE GRAIN OF DUST (1918). Here an innocent young woman is loved by a young lawyer who schemes to get closer to her, but his machinations cause her torment. As with the 1910s, the 1920s silent era was also a time of varied depictions of lawyers in cinema.

CAUSE FOR DIVORCE (1923), directed by Hugh Dierker, was about romantic entanglements in a family. The daughter of a man, married to a lawyer, falls for a smooth man who is up to no good. Somewhat more comic in its intentions was Robert Leonard's CHEAPER TO MARRY (1925). This film focused on two lawyers in a firm, and how one partner tries to convince the other to stay away from his mistress so that he can have her instead. A darker view of lawyers could be found in SUPER SPEED (1925), directed by Albert Rogell. This time around, the lawyer is trying to take advantage of someone else's invention, but, the protagonist will not allow him to do so. Inventive in its naughtiness was E. Mason Hooper's GETTING GERTIE'S GARTER (1927). Again, the indiscretions of a lawyer's private life are in view, with a garter causing untold anguish for him, with comic results. Signs of the changing times were explored in DON'T MARRY (1928), a comedy helmed by James Tinling. In this film, a liberated flapper has her eye on a young lawyer, who has antiquated views of women, and disguises herself as another woman, with the intention of making him realize modern women are better than Victorian women. As evidenced by the above films, the majority were comic in nature, but still said much to audiences of the time.

The 1930s featured a plethora of lawyer-themed films. D.W. Griffith's ABRAHAM LINCOLN (1930), was a biographical account of the American president, statesman and lawyer. THE NAUGHTY FLIRT (1930), directed by Edward F. Cline, was a comedy of a young woman who has a thing for a handsome lawyer. More dramatic was Frank Lloyd's THE RIGHT OF WAY (1931). Starring Conrad Nagel as an uppity lawyer whose life takes an unexpected turn, suspected of something he did not do, events conspire for him to face his trespasses and correct these. A more sympathetic view of lawyers can be found in THREE WHO LOVED (1931), directed by George Archainbaud. In this film, a committed young man studying to be a lawyer finds himself in both romantic, and legal trouble. More domestic in inclination was Clarence Brown's A FREE SOUL (1931). With Norma Shearer in the lead role, it focused on a lawyer whose daughter falls for his gambler client. Matters were of an entirely different nature in DRIFTING SOULS (1932), directed by Louis King. Here, a female lawyer provided the drama, with a young woman seeking to fund her father's medical operation, and becoming involved with an assortment of shady characters. Things were more heated in Richard Thorpe's CROSS-EXAMINATION (1932), with H.B. Warner as an attorney seeking the truth about a boy charged with patricide. 1932's LAWYER MAN, directed by William Dieterle, followed the private life of a lawyer, his professional career, and romantic escapades. Marital infidelity was given a workout in William Wyler's COUNCELLOR AT LAW (1933), with John Barrymore as a lawyer cuckolded by wife Doris Kenyon. This is just a small sample of the many films with lawyers in the lead role in the 1930s, a decade which seemed to feature innumerable lawyer protagonists.

In the 1940s, many star vehicles, as in the other decades, were developed to showcase the lawyer theme for audiences. 1940's REMEMBER THE NIGHT, directed by Mitchell Leisen, starred Fred McMurray and Barbara Stanwyck in one of their teamings as a lawyer and his shoplifter client, and the love that develops between them. Nick Grinde's CONVICTED WOMAN (1940) had a female lawyer defending a woman against the charge of theft, with many unexpected twists and turns. TEXAS TERRORS (1940), directed by George Sherman, was slightly different from prior lawyer films. In this movie, which had a western theme, a lawyer seeks retaliation on the person who caused the death of his parents. Films about real-life lawyers appeared rarely on screen, with Frank Borzage's THE VANISHING VIRGINIAN (1942) the exception. This films followed the life of Robert Yancey, a Virginian district attorney, and was a change of pace for the genre. For A STRANGER IN TOWN (1943), directed by Roy Rowland, matters were of a different nature. With this film, an attorney battles corrupt people seeking to become mayor, but finding assistance from an unlikely source. D. Ross Lederman's DANGEROUS BUSINESS (1946) was a drama with comic asides. A male and a female lawyer create a partnership, and take on the case of a man who believes he has been framed for an act he did not commit. Things took a comical turn with CROSS MY HEART (1946), directed by John Berry. With Betty Hutton in the lead role, it was about a woman who tries to elevate her husband's business reputation with a lie - about a crime she had no part in. Alfred Hitchcock's more serious THE PARADINE CASE (1947) showed how a married lawyer falls for the woman he is defending, and the fallout in his marriage. One of the best examples of lawyer films arrived at the end of the decade. ADAM'S RIB (1949), directed by George Cukor, was a sprightly showcase for Spencer Tracy and Katharine Hepburn as married lawyers on opposite sides of the legal fence, displaying their rivalry in all arenas for the audience to understand. 

The 1950s began with a more serious portrayal of lawyers than in the 1940s, in keeping in line with post-war pessimism in cinema. Anthony Mann's SIDE STREET (1950) was about a young man who becomes involved with a untoward lawyer, leading to harmful repercussions for him. In a much more light-hearted vein, THE BIG HANGOVER (1950), directed by Norman Krasna, has a law graduate trying his best to conceal his weakness; a reaction to the smell of alcohol. An underhanded lawyer, something previous films had investigated, was the focus of Henry Levin's TWO OF A KIND (1951). In this production, a lawyer machinates with another man to lay stake to the fortune of a wealthy man. In an alternate vein, finding one's strength is the crux of THE PEOPLE AGAINST O'HARA (1951), helmed by John Sturges. With Spencer Tracy in the lead, it followed an attorney returning to the legal fold to defend his neighbour's son. More heart-stopping was Don Siegel's COUNT THE HOURS! (1953). Here a lawyer takes on the case of two married ranch workers accused of murder, but they are innocent of the crime. DOUBLE JEOPARDY (1955), directed by R.G. Springsteen, was more action-oriented in flavour, but still had its dramatic moments. In this instance, a lawyer defends his amour's father, who is accused of killing a man who was blackmailing him. One of the most famous films with a legal theme was Alfred Hitchcock's WITNESS FOR THE PROSECUTION (1957). A man accused of murder is defended by his British lawyer, with many of the typical comic, and dramatic touches that were symbolic of Mr Hitchcock's filmmaking style. One of the most profitable courtroom dramas was ANATOMY OF A MURDER (1959), directed by Otto Preminger. With James Stewart in the pivotal role of lawyer Paul Biegler, it was about his defense of a man accused of killing the man who raped his wife, but matters were not as simple as first thought in this film. TO KILL A MOCKINGBIRD, while concerned with a lawyer and both his business, and personal lives, had the intricate storylines of many of the above examples, but diverted from previous films in certain areas.

TO KILL A MOCKINGBIRD, based upon the novel of the same name by Harper Lee, is a film that intimately depicts the family life of its protagonist, lawyer Atticus Finch, and the effect that his occupation has on his children, particularly his daughter Scout. Never before had a film taken the time to establish the lawyer lead character in such detail, likewise for his children, and the supporting characters who populate the movie. The film is balanced in the spotlight it shines on the adult characters, but also, on the younger characters. It is as if the viewer knows the characters, and what they are going through, in a thorough manner. It is easy for the spectator to feel an affinity for, and closeness to, the characters because of this.

The movie was also notable for the number of elements and themes that it explores in an exhaustive fashion, such as family, loyalty, racism, ignorance, childhood games, and coming of age. It was equitable in this respect, with all of these ringing true, never being out of place. The film's piece de resistance, being the trial of a black man suspected of raping a white woman, is probably the most moving, incisive, tragic courtroom scene ever presented to audiences. Lacking the melodrama that can sometimes make courtroom scenes risible to viewers, it is as if a true event is unfolding in real time for the spectator, and this is largely emblematic of TO KILL A MOCKINGBIRD in its documentary-style approach.

Overview: Robert Mulligan was the director of twenty motion pictures over thirty-three years, with many years spent in television. His movies are stories with a sympathetic edge, making audiences comprehend what makes characters tick in an intensive manner. After spending several years working in television, Mr Mulligan made his directorial debut with FEAR STRIKES OUT (1957). The story of real-life baseball player Jimmy Piersall, it was notable for starring Anthony Perkins in his third movie role. After a few more years in television, Mr Mulligan made THE RAT RACE (1960). It was a comedy-drama with Tony Curtis and Debbie Reynolds as a musician who arrives in New York, and falls for a dancer. In a similar but more dramatic vein was one of his most famous pictures, LOVE WITH THE PROPER STRANGER (1963). Natalie Wood and Steve McQueen were, respectively, a department store assistant and a musician, with Miss Wood falling pregnant to Mr Queen's character. More great films followed in the years after for Mr Mulligan. BABY THE RAIN MUST FALL (1965) was a melodrama about a footloose man just out of jail, and trying to make it up to his wife and young daughter. Fine work from both Lee Remick and Steve McQueen as the lead actors, it was a memorable and moody piece of cinema, shot in stark black and white. 

Continuing with realistic stories and situations, 1967 marked the release of UP THE DOWN STAIRCASE. Featuring Sandy Dennis as a school teacher in a New York high school, it was hailed for its lead performance and its authenticity. Four years after this film, one of Mr Mulligan's most commercially successful movies was released, SUMMER OF '42 (1971). The sensitive recollections of a young man who falls in love with a married woman in the early 1940s, it is remembered for its performances, and the evocation of a time and place which Mr Mulligan delicately expressed on screen. Moving forward into the late 1970s, Mr Mulligan helmed BLOODBROTHERS (1978). A drama with Richard Gere as an Italian-American in the shadow of his older brother, attempting to carve his own niche in life, it was an actor's picture also starring Paul Sorvino and Tony Lo Bianco in major roles. Another distinctive film in his collection was SAME TIME, NEXT YEAR (1978). Taking CLOSE ENCOUNTER to a different level, it was about a married man and a married woman who embark on an affair, and meet at the same time every year when they first began their liaison. A touching observation of feelings and middle-aged angst, it provided great roles for Alan Alda and Ellen Burstyn as the couple in question. TO KILL A MOCKINGBIRD shared the sensibilities of Mr Mulligan's other films, whereby the viewer gains an intimate knowledge of the characters and their psychology, but added its own original touches.

It is the well-crafted story of lawyer Atticus Finch, and his young family in the Alabama of the 1930s, and how Atticus takes on the case of a black man accused of raping a white woman. Mr Mulligan takes his time with establishing the story and the characters who inhabit its world, making the viewer feel for them, and know them on a deep level. We understand what makes Atticus and his children tick, likewise for the peripheral characters who appear within the film's running time. While this works to a large degree, the first half of the movie is a little slow in retrospect, with some scenes taking too much screen time that could have been eliminated or shortened, tightening the film as a whole. Possibly this was done to make the first half more of a starting point for the characters and their situations, but it does hurt the film's impact slightly. This is the film's only downside, as the remainder of the elements are executed in an excellent manner.

The second part of the film, beginning with the court case, is where the pieces start to fall into place, and where it really finds its footing. It seems as if the first part was a warm up for the second half, but what a second half it is. The courtroom scene, working back and forth from lawyer to defendant, lawyer to witnesses, is breathtaking in its execution. The writing and acting meld together in such a cohesive, emotive manner in these sequences, that one forgets that they are watching a film, and it invites belief in the proceedings. Mr Mulligan is also to be credited for his balanced view of racial relations in the film. Both sides of the equation are presented to audiences to consider, without showing favour for one or the other in an impartial manner. The movie is one that elicits varied feelings in the spectator which would certainly lead to discussion of racial relations and identity. In looking at the film as a whole, though, and whatever its faults, it can be said that TO KILL A MOCKINGBIRD is a genuine and rewarding film experience that reflects well of its director, and his humanistic view of life.

Acting: The acting in TO KILL A MOCKINGBIRD is one of its strongest assets. In the lead role of Atticus Finch, Gregory Peck was in his finest hour in this film. A character of strength, determination, fearlessness, courage and empathy, Mr Peck is the glue that holds the film together, his presence assuring the film of its success. A handsome actor whose serious nature made him suitable for films with a deeper view of humanity, Mr Peck is in his element as Atticus. As his daughter Scout, Mary Badham was a revelation of a child actress. Going toe to toe with Mr Peck in all their scenes together, it is as if she was really his offspring, and they were also matched in terms of her being his conscience. Miss Badham is featured in some of the most moving scenes ever filmed by a child actress, so affecting is her acting that one forgets that she is acting; she is Scout. There are three other performers whose work in the film deserve recognition.

Brock Peters, as Tom Robinson, the man accused of rape by Mayella Ewell, provides some of the most soul-stirring work in TO KILL A MOCKINGBIRD. Seeing Mr Peters on the witness stand, cracking under the pressure of an intense trial, is something that would wring tears out of even the most hardened of viewers. Mr Peters, quite simply put, is brilliant in these sequences. Also excellent in the film is Collin Wilcox Paxton as Mayella Ewell, the young woman who put Tom Robinson in this predicament. Miss Paxton does well as the impulsive, unjust, confused young woman, the viewer able to read her feelings from her face and body language. The final acting part of note is James Anderson as Bon Ewell, Mayella's rough, racist father. Playing a character with such villainous intent can sometimes make a part one-note, but Mr Anderson makes the character understandable, even if he can be thoroughly repellent at times.

Soundtrack: Elmer Bernstein's excellent instrumental soundtrack adds a thoughtful, solemn touch to the movie. Used appropriately in all respects, and especially during the quieter segments, it heightens the suspense when necessary, but, on the other hand, creates a warm, inspirational aura.

Mise-en-scene: The locations and sets in TO KILL A MOCKINGBIRD are exceptional, painting a vivid picture of life in the 1930s South for viewers. The film's sense of milieu is peerless, positioning the characters in this with realistic backdrops that are authentic to the eye. It is as if this small town really could have existed in real life, with sets such as the Finch family home the standout. The courtroom is also notable, providing a clear view of the actors and the proceedings for the audience in these pivotal scenes. Also deserving unreserved praise is the film's photography. Russell Harlan's cinematography is just perfect, especially the scenes set during the evening, with shadows and darkness adding a haunting atmosphere to the action. This is one of many post-1960s films in which black and white works exceedingly well to capture past times, and highlight serious content, such as HUD (1963) and THE LAST PICTURE SHOW (1971).

Award-worthy performances in my opinion: Gregory Peck, Mary Badham, Brock Peters, Collin Wilcox Paxton, James Anderson.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer