MADISON AVENUE (1961)

Title: MADISON AVENUE

Year of Release: 1961

Director: Bruce Humberstone

Genre: Drama

Synopsis: The machinations of an ad man manipulating people and milking situations in New York City's Madison Avenue.

Within a film history context: Motion pictures dealing with the advertising industry, and advertising in other veins, have been in existence since the silent era. One of the first to tackle the topic was Donald Crisp's IT PAYS TO ADVERTISE (1919). In this movie, a complicated chain of events with an industrialist father and his son, with the father's soap utilized by the son in an advertising coup, without the father's knowledge at first, leads to a happy ending for all concerned. Advertising again caused waves in HOOK LINE AND SINKER (1930), directed by Edward Cline. Here, a duo of salesman assist a young woman in advertising a dilapidated hotel as an exclusive resort for the wealthy, but their plan is foiled, with comic results. Marital issues, though, were at the core of Alfred E. Green's HOUSEWIFE (1934). A female copywriter insinuates herself into the life of her employer, being her former boyfriend, with conflict emerging in the form of his wife. This was one of many teamings between Bette Davis and George Brent in this Warner Brothers production. In ARTISTS AND MODELS (1937), directed by Raoul Walsh, an advertising company is in financial trouble, with a contract in limbo, and a model ignored as being too classy for a campaign plans to get even with the ad executive who did this. Busby Berkeley's MEN ARE SUCH FOOLS (1938) was different than the other films as a woman was an advertising executive, torn between her career, and being a housewife. The result of advertising on a man's life was featured in GOING PLACES (1938), directed by Ray Enright. With Dick Powell in the lead role of a sports store employee who masquerades as a jockey, it offered Mr Powell an entertaining comedic part. Glenn Tryon's BEAUTY FOR THE ASKING (1939) mixed romance and business themes, following a young woman whose face cream becomes a success, but her personal life is enmeshed with her past fiancé, and his wife. The 1940s was also a time of varied movies on the advertising theme in cinema. 

ON THEIR OWN (1940), directed by Otto Brower, was about a family who operate several residences, but their advertising for families to live in the complex causes consternation with a neighbour. Mitchell Leisen's TAKE A LETTER, DARLING (1942), similar to MEN ARE SUCH FOOLS, had a female advertising executive, with Rosalind Russell in the lead role, falling for a painter who becomes her secretary, played by Fred MacMurray. It was interesting in that a female character was the employer of a male character, something uncommon at the time. ALL BY MYSELF (1943), directed by Felix Feist, was again concerned with a career woman, and her romantic exploits in an advertising firm. Jack Conway's THE HUCKSTERS (1947) was more of a character portrait than other films in the genre. Starring Clark Gable, it was about a man returning to the advertising industry after serving in World War II, but finding life rather difficult. With an illustrious cast including Deborah Kerr, Ava Gardner and Sidney Greenstreet, it was a star vehicle that was popular with audiences at the time. Richard Wallace's LET'S LIVE A LITTLE (1948) was romance-oriented, with Hedy Lamarr as a cosmetics executive squiring an advertising executive played by Robert Cummings. The 1950s and early 1960s followed the romantic line of both the 1930s and 1940s films, with some notable exceptions.

IT SHOULD HAPPEN TO YOU (1954), directed by George Cukor, was a comedy about a young woman advertises herself on a billboard, and this changes her life forever. It focused more on the personal effect of such a decision, but in a humorous and touching manner, in star Judy Holliday's best tradition. Jerry Hooper's THE TOY TIGER (1956) had Laraine Day as an advertising executive who conspires to rehire an artist for her agency, with many hurdles arising from her decision. A FACE IN THE CROWD (1957), directed by Elia Kazan, was about a drifter who became a media darling, but with costs for him in the long run. One of Mr Kazan's most famous films, and more dramatic and serious in nature than other examples from the genre, it has been lauded for its realism, and the performance of Andy Griffith in the main role. Less serious was Frank Tashlin's WILL SUCCESS SPOIL ROCK HUNTER? (1957). Romantic, and comic, frissons eventuate when a television ad man calls upon an actress to be the spokesperson for a lipstick, but he must act her lover in reciprocation. More subtle in its comedy, but with a suspenseful ring, was NORTH BY NORTHWEST (1959), directed by Alfred Hitchcock. In this movie, an advertising executive is thought to be a government agent by foreign spies, with many breathtaking moments of sheer escapism as only Mr Hitchcock could deliver. Arriving in the early 1960s, Delbert Mann's LOVER COME BACK (1961) was a Doris Day-Rock Hudson vehicle, with advertising executive rivals battling it out, and finding time for love, in a comic and romantic teaming between the two stars. MADISON AVENUE, compared to the movies, was a lightly dramatic story that had elements in common with the advertising movies which had romantic themes, but more affinities with films that explored the industry in greater coverage.

It was similar to THE HUCKSTERS in that a male advertising executive was spotlighted, but not to the same degree of depth in MADISON AVENUE. Clint in MADISON AVENUE does not have a clear backstory as such for the audience to truly understand his motives; he just seems to act by rote, which makes the character somewhat distant. The viewer never feels why Clint wants to climb the corporate ladder so much, and why he does what he does, and treats others the way he does. It is not a fully-rounded character to the extent of those in THE HUCKSTERS, WILL SUCCESS SPOIL ROCK HUNTER?, and LOVER COME BACK, to name several examples. In addition Anne, the film's female advertising executive also falls to the same fate as Clint in MADISON AVENUE. She largely exists as a plot device rather than as a real person, which weakens the film as a whole. The reporter character Peggy fares much better, but her sudden, unrealistic shift at the film's end does not imbue her protagonist with credibility. These points, though, are just some of the reasons why MADISON AVENUE falls far short of being a convincing, compelling film. 

It feels as if the film is just talk without much action, with everything seeming to be of an earlier era, that is, more of the 1940s than of the 1960s. MADISON AVENUE tries to be hard-hitting, with its poster purporting to be such but, it just does not come off. This can be attributable to a lack of humour that pervades the film, making it stale, which filtered down into the acting, inciting a lack of passion in the performers. There is the saying play it like you mean it, but this seems to be have been lost during the course of MADISON AVENUE. Spicier dialogue and situations, more overt conflict, splashier sets, and colour photography would have made the film a much better viewing experience. As it stands, measured against the other films from the genre about advertising, MADISON AVENUE is, unfortunately, a lifeless film that could have been much more dynamic if it had the correct handling, and overall presentation.

Overview: Bruce Humberstone was a director who made over forty films in his career, beginning in 1932 until his final one in 1961, being MADISON AVENUE. His debut movie, STRANGERS OF THE EVENING (1932), was a mystery about bodies disappearing from the city morgue, and starring Zasu Pitts. Mr Humberstone followed this with another mystery-themed film, THE CROOKED CIRCLE (1932). Here, some detective are on a mission to find a cultish group, and it again starred Zasu Pitts in the lead role, with James Gleason in support. Next, he tackled the Tarzan-ish KING OF THE JUNGLE (1933), with athlete Buster Crabbe as Kaspa the Lion Man. More light films followed for Mr Humberstone. MERRY WIVES OF RENO (1934) was concerned with the exploits of three couples who aim to gain a divorce in Reno, with comic results. Crime was on the agenda in SILK HAT KID (1935), with a bodyguard falling for his nightclub owning employer, with problems ensuing. Bruce Humberstone made four entries in the Charlie Chan series in the 1930s, which had a mystery-comic angle. More for a family audience was CHECKERS (1937), starring child star Jane Withers. In this film, a young girl and a man assist the recuperation of a horse, which allow it to enter a race. Comedy was on view this time in RASCALS (1938), again with Jane Withers, and concerned with the exploits of gypsies. The 1940s were a time when Mr Humberstone made some of his more famous films.

SUN VALLEY SERENADE (1941) was a comedy musical starring skating champion Sonja Henie in a tale of a Norwegian woman finding romance in an Idaho ski resort. Homicide was explored in I WAKE UP SCREAMING (1941), with Carole Landis as the murder victim, and Victor Mature being framed for the crime. TO THE SHORES OF TRIPOLI (1942) was much more topical for the time. Detailing life on a marine base in San Diego before the Pearl Harbor attack, it featured a stellar cast including Maureen O'Hara and Randolph Scott. PIN UP GIRL (1944) was a showcase for Betty Grable, as a singer masquerading as a Broadway star to win the attentions of a soldier. One of Mr Humberstone's most entertaining movies was WONDER MAN (1945). Starring Danny Kaye as a reincarnated man who urges his twin brother to find and capture his killers, its theme was excellently explored by the director, and star in high style. WITHIN THESE WALLS (1945) was entirely different in concept. The character study of a judge charged with the duty of taking the reins at a raucous prison, it offered Thomas Mitchell a great role as the crusty lawmaker. Into the 1950s, Mr Humberstone's output was not as prominent as his 1940s offerings, but there were several notable movies he directed that warrant attention.

HAPPY GO LOVELY (1951) was a comedy musical with Vera-Ellen as a showgirl who brings out the warmth in David Niven's staid businessman. SHE'S WORKING HER WAY THROUGH COLLEGE (1952) was another musical for Mr Humberstone. In this film, Virginia Mayo assumed the showgirl role, both charming professor Ronald Reagan, and putting on a grand show. With THE DESERT SONG (1953), Kathryn Grayson was involved not only in dance but also, intrigue in Morocco, becoming involved with Gordon MacRae as her romantic interest. Exotic locales were again in evidence with THE PURPLE MASK (1955). In this film, set in 1800s France, Tony Curtis was a highwayman who Napoleon tries to capture, but evades justice, indulging in questionable practices. Mr Humberstone made several film episodes in the Tarzan series before shooting MADISON AVENUE in 1961. Unfortunately, his last feature film was not the best way for Mr Humberstone to end his cinematic career, and could be said to be his least successful effort.

MADISON AVENUE lacks the spark and energy that many of Bruce Humberstone's other films possessed, such as WONDER MAN and HAPPY GO LOVELY. One would imagine that, witnessing his movies such as the compelling I WAKE UP SCREAMING, that MADISON AVENUE would have been a force to be reckoned with in terms of its approach and storytelling, but, unfortunately, it falls flat. The story is uninvolving, as if the characters are going through their paces, with little emotional investment for the audience to savour. It could have been an explosive expose of advertising, and the personalities who create this environment, but the dialogue and situations are too sluggish to keep the attention. It feels as if the film belongs more to the 1940s than the early 1960s, when film tastes were changing, and viewers seeking harder fare. With the exception of two characters, the remainder do not elicit much interest, seeming more like plot devices than real people, but this has more to do with the material being unexciting than the quality of the actors. It feels as if the movie is something that has not been given a great amount of thought, but was just intended as a time filler for its one and a half hour duration. One of Bruce Humberstone's lesser films, MADISON AVENUE distinguishes itself as a film loaded with talent, but that this talent has not been utilized to make what should have been a much better product.

Acting: Unfortunately, the performances in this film are not what is to be expected from the caliber of the actors' previous work in other movies. Dana Andrews, generally a stalwart performer, comes off as colourless and dry in MADISON AVENUE. It is as if he is going through the motions here, without actually feeling something for the material. His brand of cinematic toughness that was at its best in films such as LAURA just does not work in the film, which is a shame. The film needed someone passionate such as Burt Lancaster or Kirk Douglas to make it come alive, to make the audience believe in Clint's foibles. Similarly for Eleanor Parker, usually a lively and thoughtful actress in her other movies. In seeking to spice up her role, she tries to bring pizzazz to it, but the blandness of the script is something Miss Parker cannot overcome. The film even stunts Eddie Albert, an actor whose range was unlimited on screen, as brittle but humorous, sympathetic men. The movie succeeds in making him seem dull and unintelligent, a sad feat that makes one relish his other performances to no end. 

On the other hand, Jeanne Crain does well in her role as reporter Peggy opposite Dana Andrews. While the chemistry they shared from other films is around to a small degree in MADISON AVENUE, here she provided one of the two great performances in the film. Her tightly-controlled acting, and effective use of eyes suits her hard-boiled reporter character, but the screenplay does not help with her character's iffy motivations. Kathleen Freeman, in the other role of note, is lively as Miss Parker's secretary, the only character whose heart is in the correct place. Miss Freeman does well in her supporting role, spicing up the proceedings as much as possible in the short amount of time she is present on screen.

Soundtrack: The instrumental score for the movie is passable and unobtrusive, summing up the light mood of MADISON AVENUE quite well.

Mise-en-scene: The black and white cinematography, while trying to create a mood of noirish suspense by emphasising shadows and darkness, only makes the sets and backgrounds appear dingy. The sets seem to have appeared in earlier Twentieth Century Fox movies, and have been recycled for MADISON AVENUE, which does not make the film visually exciting in any way. Alas, it only adds an aura of cheapness which benefits the film in no manner. It would have been a better decision to shoot the film in colour as it was in the CinemaScope widescreen format, and added a certain glamour to the movie that shooting in black and white could not do for this movie. Costuming is adequate for the players, but nothing really striking in retrospect that makes them seem chic or distinctive.

Award-worthy performances in my opinion: Jeanne Crain, Kathleen Freeman. 

Suitability for young viewers: Suitable for children with adult discretion. Mild adult themes.

Overall Grade: D

Link: IMDB Page

Trailer

TROUBLE MAN (1972)

Title: TROUBLE MAN

Year of Release: 1972

Director: Ivan Dixon

Genre: Action, Drama

Synopsis: A private investigator is framed for the killing of an underworld figure, and fights to prove his innocence.

Within a film history context: The early to mid-1970s saw a great number of films, coined as Blaxploitation movies, with African-American protagonists in central roles, often supported by Caucasian actors in smaller parts. These films have continued to be made to the present day. Up until the release of TROUBLE MAN in 1972, there were many notable films made which explored the Blaxploitation theme in vastly different ways. One of the first with an African-American actor in the lead role was Robert Downey Sr.'s PUTNEY SWOPE (1969). Arnold Johnson was the main character, the eponymous Putney Swope, being an advertising executive, in a sharply satirical film that was shot in stark black and white. COTTON COMES TO HARLEM (1970), directed by Ossie Davis, was another influential film. With its colorful characters and presentation, a sequel was produced in 1972, COME BACK CHARLESTON BLUE that was not as warmly received as the original. COTTON COMES TO HARLEM's humor, and spurts of violence, became a feature of other films in the Blaxploitation genre. 

Paul Bogart's HALLS OF ANGER (1970) was utterly different in style and tone from other movies in the genre. Centering around the arrival of white students in a predominately black school, igniting racial tensions, and the return of a black teacher there. It was a thoughtful film that offered no easy answers to race relations, but opened the door to further discourse about these. More exploitative was SOUL SOLDIER (1970), directed by John Cardos. Set during the Civil War, it was the story of a black man in a regiment managed by a white man that made money, and whose cast included actors such as Barbara Hale and Cesar Romero. Topical in nature was Ralph Nelson's TICK, TICK, TICK (1970). With Jim Brown as the black sheriff of a small town simmering with racial tensions, it was a film that traded less in violence than others in the genre, and with more of a solid storyline than most. A comical take on race relations was on view in WATERMELON MAN (1970), directed by Melvin Van Peebles. With a mainly black cast, it was a fish out of water story with a white insurance man finding himself to be a black man after waking up one morning. It is remembered mainly for its comic atmosphere, witty asides, and the strength of the performances. 1971 brought many more films that explored the Blaxploitation angle in various ways.

One of the rarest of the films was Wendell Franklin's THE BUS IS COMING (1971). A young black Vietnam veteran returns home and discovers his brother was murdered by racist police officers, with revenge on the soldier's mind. A subdued, serious examination of racism in a small town, it was a well-made, convincing story that eschewed violence and sex, and made up for this in sheer story. Unlike other movies, HONKY (1971), directed by William A. Graham, had romance on its mind. The story of an interracial love story that involved narcotics, it was a change of pace for the Blaxploitation genre. The arrival on screen in 1971 of one of the most influential films in the genre stood out - Gordon Parks' SHAFT. The story of a black detective and the special case for which he was hired, it made a star of its lead actor Richard Roundtree, and its fashionable blend of violence, sex and salty language spawned several sequels and a television series. Another breakout film in the genre also appeared in cinemas in 1971 - SWEET SWEETBACK'S BAADASSSSS SONG, directed by Melvin Van Peebles. Notorious for its sex, nudity, language and violence, it was a film that pushed many buttons in the day, and was 'X' rated in its initial release. A groundbreaking film in 1971, it is still powerful today, time not diminishing its potency. 1972 was also another big year for Blaxploitation movies, with many distinctive productions.

Barry Shear's ACROSS 110TH STREET (1972) focused on crime in Harlem, and starred Yaphet Kotto, with Anthony Quinn and Anthony Franciosa. BLACK GIRL (1972), directed by Ossie Davis, was entirely different in its intentions. The story of black women in 1970s America, it was a character-driven, thoughful drama without the violence which marked many of the other films in the genre. Robert Hartford-Davis' BLACK GUNN (1972) was another crime entry made by Columbia Pictures, and starring iconic black actor Jim Brown. More outrageous was BLACULA (1972), directed by William Crain. The retelling of Dracula in an African-American context, it was one of American International Pictures' biggest hits. More relaxed was Sidney Poitier's BUCK AND THE PREACHER (1972), a film in which he both directed and starred. A western with a largely black cast, it was set in 1860s Kansas, and another film funded by a major studio, Columbia Pictures. COOL BREEZE (1972), directed by Barry Pollack, was one of MGM's films in the genre. An earthy but incoherent movie, it focused on a bank robbery that has consequences for its characters, with crime its top agenda. Bruce D. Clark's HAMMER (1972) showcased Fred Williamson as a boxer who becomes embroiled with the Mafia, and whose affiliation with them ruptures his love life. MELINDA (1972), directed by Hugh A. Robertson, was another MGM movie. Combining action, violence and romance, it was about a disc jockey who becomes involved with the eponymous Melinda, seeking to clear his name when she ends up dead in his apartment. This is just a small sampling of films made in the Blaxploitation genre which reflect a vast variety of themes and content. TROUBLE MAN resembled many of the films in the list to a degree, but diverted from these in other ways.

It is most similar to SHAFT, BLACK GUNN, MELINDA and HAMMER in the showcasing of a charismatic star actor, and a subsequent revenge theme which is explored by the narrative. The four films mentioned here, and TROUBLE MAN, have their protagonist on a mission to bring criminals to justice for wrongs either committed to them, or other people. It shares the violent content that marked many of the Blaxploitation films, but it is here that TROUBLE MAN moves away from these movies. Unlike the other films, TROUBLE MAN has a well-executed story structure that is not reliant on bloody death scenes to make its points. Examples such as MELINDA and COOL BREEZE reveled in scenes of carnage and mayhem that did not add anything to the final product. While TROUBLE MAN has some violent passages, they do not occur with frequency, which sometimes makes a film wear out its welcome to viewers. The violent content is something that is logical for the main character, his plight, and reflects upon what has taken place in the film. While these scenes are carefully set up, the camera does not linger for too long on the carnage, something which films such as MELINDA did to a greater degree. The death scenes are spectacular, well-motivated, and shot with visual flair. This approach, though, is another example of TROUBLE MAN's difference to the other films in the genre.

TROUBLE MAN could be described as one of the most glamorous of the Blaxploitation films. Beautifully shot, with pleasant sets and outdoor locations, and attractive players, these features set it apart from the other movies. There is no grime, no overtly unkempt characters, and no scenes of urban decay that marked other movies such as COOL BREEZE and SHAFT. Mr T has an expensive wardrobe of beautiful suits, lives in an upscale apartment, and drives a great car - the film is a feast for the eyes in a visual respect. While this might seem superficial, it adds a sense of panache to the film that works. The number of Mr T's costume changes would make even Alexis Carrington from television show Dynasty green with envy at their frequency in the movie. In addition, Mr T is never shown as bloodied or dirty even after his most difficult moments, which may not be entirely realistic, but can be explained in another way. 

TROUBLE MAN, while in the Blaxploitation genre, has much in common with classic Hollywood film. If its language was watered down, likewise with the violence, it could have easily been a product of 1930s or 1940s cinema, possibly starring Robert Mitchum or Dick Powell. Another refreshing quality about the film is its treatment of sex and nudity. The sexuality is extremely discreet, with no nudity in TROUBLE MAN unlike the messy, superfluous sexuality of COOL BREEZE, MELINDA and others. While there is the depiction of Mr T in a relationship, his roving eye and virility is explored in a subtle manner that gives the film a knowing subtext, while also making the spectator smile. TROUBLE MAN, also, does not offer objectification of the male body as was the case in SHAFT. Mr T is more of a fashion model than Shaft, whose body was much on display in that movie. There is also another interesting shift in TROUBLE MAN from the other movies, such as SWEET SWEETBACK'S BAADASSSSS SONG. While that film was about the phallus and sexual prowess, in TROUBLE MAN, Mr T's intellectual resourcefulness is what the movie explores. How he manages to escape one scrape after another is one of the suspenseful qualities of this film. For these reasons, TROUBLE MAN is a polished motion picture that compels and charms in equal measure, and is one of the best Blaxploitation, and crime films ever shown to audiences.

Overview: Ivan Dixon was a director mainly active in television who made two feature films in his career. His second movie, THE SPOOK WHO SAT BY THE DOOR (1973) was an action-crime story about how a black man undergoes training in the CIA, and attempts to forward his idea of an American Revolution. As Ivan Dixon's first film, TROUBLE MAN, Mr Dixon has fashioned a well-crafted, stylish movie that keeps the interest from beginning to end, never faltering. As with THE SPOOK WHO SAT BY THE DOOR, TROUBLE MAN is a film that tackles action and crime themes, and, also has an excellent lead actor in the main role, with a great supporting cast. What sets TROUBLE MAN apart from other movies is its story, and its delivery on screen.

The screenplay by John D.F. Black is an elaborately constructed narrative with intricately detailed events in which each scene has a bearing on the next. It hangs together exceptionally well, the sequences all well-thought out and executed. The dialogue exchanges between the characters heighten the interest, placing its characters within events, and making one care about whatever the story outcome might be. Unlike many films in the genre, which feature violence as the raison d'etre without actually placing it into a proper context, in TROUBLE MAN it is the culmination of events rather than presenting violence just for its own sake. The action sequences are all well-directed by Mr Dixon and exciting to watch, and never overdone. TROUBLE MAN is more of a thinking persons' film than other genre examples such as COOL BREEZE, with its free floating violence and sexual content. It is a tightly constructed film that rewards viewers for their patience at the end with a satisfying, appropriate conclusion. One of the best of the Blaxploitation movies, TROUBLE MAN is a happy addition to the genre, and a film that makes one lament the fact Ivan Dixon did not direct any other feature films in his career.

Acting: Robert Hooks is perfect as Mr T, his confident, self-possessed aura making Mr T not only indefatigable but thoroughly watchable. A likable, astute performer who is comfortable on screen as Mr T, his cerebral presence ensures the film of its success. William Smithers is authoritative as Captain Joe Marx, the no-nonsense police chief suspecting Mr T of criminal activity, using his eyes effectively to convey suspicion, and disdain, in the movie. Julius Harris, as crime kingpin Big, is another great actor. His baritone voice, the way he smokes a cigar and stares down his opponents, all these qualities make him an absorbing villain who warranted much more screen time than he had. Paula Kelly, as Mr T's girlfriend Cleo, is a charming actress who, as with Mr Harris, deserved further time in front of the camera, as it would have been interesting to see more of her in the movie.

Soundtrack: Marvin Gaye's jazzy score and tunes excellently accentuate what is occurring on screen, providing TROUBLE MAN with a crisp and edgy feel.

Mise-en-scene: TROUBLE MAN is beautifully shot, the Deluxe film stock clear without ever overemphasizing colours. Both indoor, and exterior locations are well-chosen, and easy on the eyes. Costuming is also of a very high standard, with Mr Hooks and the other players well-outfittted in beautiful, sartorially appropriate garments which exude quality and workmanship.

Award-worthy performances in my opinion: Robert Hooks, William Smithers, Julius Harris.

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

Overall Grade: B

Link: IMDB Page

Trailer

INTERVIEW WITH ACTOR DW BROWN

Today I have the great pleasure of welcoming a very special guest, actor DW Brown, to CINEMATIC REVELATIONS for an interview. DW has acted in various motion pictures over the years, most notably in feature films such as FAST TIMES AT RIDGEMONT HIGH, I’M GOING TO BE FAMOUS, MISCHIEF [my review of the film can be found here] WEEKEND PASS, and AMERICAN COWSLIP, to name a few examples. DW will be discussing his role in MISCHIEF, acting, his films as director, and his teaching position in Baron Brown Studio, an acting school for performers. Welcome to CINEMATIC REVELATIONS DW!

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

 

DW: Oh, I was but a wee lad. I played Aladdin in Aladdin and His Lamp in Tucson Arizona and caught the bug.  It’s completely impractical, of course, so I was studying to be a doctor, like my father, but then I had an epiphany about how this was my one and only life, and I thought about which path I would be more likely to regret or not, so I decided to go for my first love.

 

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Athan: Where did you study acting?

 

DW: I studied with Lee Strasberg and some of his teachers. I did a lot of plays, which I think is the best way to get your acting chops. I got involved romantically with Joanne Baron... we just celebrated recently 35 years of marriage by the way... after we met acting  together on a silly movie called “ The National Lampoon’s The Joy of Sex”.  After that she taught me in a class she was teaching. She was already at her tender age famous for being one of the world's greatest Meisner teachers.

 

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Athan: Your performance in MISCHIEF was a memorable interpretation of a complex villain with definite shades of gray. How did you become involved in this project?

 

DW: Standard simple stuff. I auditioned and I was in the running for what seemed like a long time, and then they told me I had the part.

 

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Athan: Yourself and Chris Nash, and alternately with Doug McKeon, participated in some heated scenes in MISCHIEF. How did you find filming these intense, often physically challenging sequences?

DW: That fight scene at the drive-up restaurant was very challenging. I’ve pulled my back out bad maybe only four times in my life, and it had happened less than a week before we shot that scene. There’s a moment where he shoves me against the door handle of the car, and by the way those old time cars, they didn’t have recessed door handles, so it was like “Yowza!” I think the physicality came off pretty well, though. Pretty realistic. It bothers me a little that the only part of the scene where a stunt guy doubled for me was when my character was punching Chris’s character in the stomach, and that’s the only part that looks phony. 

 

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Athan: What did you most enjoy about the experience of filming MISCHIEF?

 

DW: The overall adventure of making a film on location is pretty great. Sometimes you can get stir crazy living in a hotel room for over a month. I remember understanding how it was rock stars might tear apart a hotel room. But mostly it’s tremendous fun.

 

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Athan: What for you was the most demanding, but emotionally satisfying segment of making MISCHIEF?

 

DW: You asked about scenes being heated earlier: I will always remember that scene at the drive-in movie theater. When they called for me to come to the set, I was walking down where all the period cars were and all the extras in their costumes, everybody waiting for me to do my scene and I started to get extreme stage fright.  Really bad. Like rubbery knees bad. But then I thought, “Wait a minute. Eugene is going to be there. I hate this guy. Even if he’s off camera and it’s my close up, he’s making a move on my girlfriend and if I just keep my attention on him, I’ll do whatever he makes me do and it’s going to be fine.” My nerves feel away immediately.

 

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Athan: MISCHIEF had excellent attention to period detail in terms of costuming, scoring, production design, and locations. What was it like seeing the transformation of a modern-day town in the mid-1980s to one in Nelsonville, Ohio, of 1956?

 

DW:  Very cool. It just really typifies the lark that acting is. Entering this fantasy world and having permission to play pretend.

 

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Athan: Have you kept in contact with any cast members and crew from MISCHIEF?

 

DW: Not consistently. I’m on Facebook with  Catherine Mary Stewart. I ran into Kelly Preston a couple times. What a heartbreak that is. When I heard the news of her passing it knocked my breath away.. that I would never be in her spirited presence again... so crushing. She really was a great gal.

 

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Athan: What was it like being directed by Mel Damski in MISCHIEF?

 

DW: Mel was very solid. You knew there was a steady guy at the helm.  He’s got a good sense of humor, too, which is essential.

 

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Athan: After acting in MISCHIEF, did you have an increased interest in the cultural history of 1950s America?

 

DW: I love history, but I can’t really say, that specifically happened to me. The truth is I spent some time in the little town where my dad came from, Columbus, Indiana, so I had my familiarity with that little town and it didn’t seem like things had really changed that much.

 

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Athan: Together with your wife, actress Joanne Baron, you have been teaching acting at the Baron Brown Studio to students for many years. What gives you the most satisfaction about teaching the art of acting to students?

DW: Oh Lord, that would really require a deep and long answer to do it justice. I’ll just say, being exposed to the spirit of youth is great. And then, on top of that, the passion people bring to this undertaking. Their vulnerability. The art itself, like all the arts, is miraculous.

 

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Athan: The Meisner technique is the basis for your teachings at Baron Brown Studio. What is it about the Meisner technique that sets it apart from other acting methods?

 

DW: Like all techniques, it’s an effort to look natural and authentic, and to be an internal actor, doing the work based on Stanislowski‘s work, is to emotionally connect to the circumstances of the scene. But with Meisner acting, there is more emphasis on truly seeking an objective in a scene with the sensibility that you’re not sure whether you’ll get it or not. It is to be as closely connected as possible to the specificity of the moment and allow yourself to be available to be affected by that. Living like an animal lives. Mindless. Responsive.

 

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Athan: You have written two books about acting thus far. What is it about acting that you find so fascinating?

 

DW: As I said, it’s art, it’s a miracle. Think about it: any short list of the most important human beings who have ever lived would include Shakespeare. There’s something there and it’s so great we can’t describe it.

 

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Athan: Short film ONE CLEAN MOVE marked your debut as a director, followed by another short, CHLOE and, most recently, full-length feature film ON THE INSIDE. What is the attraction in making short films versus longer motion pictures?

DW: Oh, you only really make short films because you can’t make long films. It’s incredibly hard. So many moving parts.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

DW:  Nothing on the immediate horizon. Of course, the pandemic knocked the legs out from underneath show business, so everybody’s staggering unsteadily to get things back to anywhere close to what they were like.  I have an adaptation of a Ibsen play I wrote that I would very much like to put up, but, again, with the pandemic, theater is pretty much impossible right now.

 

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Thank you so much today for your time DW, and for the insight you have provided into the art of acting, the Meisner technique, film direction, and MISCHIEF. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

 

DW: Thank you, Athan, and you’re quite welcome. Keep at it!

 

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DW Brown links

+Baron Brown website

+DW Brown IMDb Actor Page

+MISCHIEF IMDb page

MISCHIEF (1985)

Title: MISCHIEF

Year of Release: 1985

Director: Mel Damski

Genre: Comedy, Drama, Coming of Age

Synopsis: In Nelsonville, Ohio of 1956, Jonathan Bellah pines after Marilyn McCauley, the high school's prettiest girl, but his friend Gene encourages him to pursue her.

Within a film history context: Teenage sex comedies were highly visible on cinema screens in the 1980s. While sex comedies have been present since the beginning of cinema, the 1980s had a large number of teen-oriented films, with varying degrees of quality. The push to bring younger viewers into the cinema, coupled with a new generation of talented performers and personnel, seeking to 'speak' the language of this audience, was the impetus for this genre. One of the first appeared on screen in 1980, being Floyd Mutrux's THE HOLLYWOOD KNIGHTS. It was set in Halloween 1965, with the Hollywood Knights renegade car club members causing havoc in Beverly Hills. The film made money for its creators, and featured a cast of actors latterly famous such as Tony Danza, Michelle Pfeiffer, and Fran Drescher. PRIVATE LESSONS (1981), directed by Alan Myerson, was about a French housekeeper who looks after a businessman's son for the summer, emphasizing sexuality and coming of age themes. It was successful at the box office, which may have been partly attributable to Miss Kristel's reputation from her appearances in the EMMANUELLE erotic comedy franchise. 

One of the most famous, if bawdy teen comedies was the PORKY'S series, beginning with PORKY'S in 1981. Directed by Bob Clark, this first instalment was a hugely profitable movie that spawned two less successful sequels. Its unabashed raunchiness pushed the boundaries of teen sex comedies at the time, and inspired many imitations. 1982 brought the less saucy, but still raucous FAST TIMES AT RIDGEMONT HIGH, directed by Amy Heckerling. With a number of actors in early roles such as Phoebe Cates, Jennifer Jason Leigh, Sean Penn, and Judge Reinhold, it was a blend of comedy and drama, more topical in nature than the other films, but still with teen themes and situations. Further films showcased the teen sex theme in different ways.

Robert J. Rosenthal's ZAPPED! (1982) had a young teenager with telekinetic powers who uses his gift for comical revenge purposes. It was another successful movie which had a later sequel in 1990. One of the most fondly remembered was RISKY BUSINESS (1983), directed by Paul Brickman. More subtle in manner than the all-out films such as PORKY'S, it made a big star of its lead actor, Tom Cruise, apart from grossing a very healthy profit. Nostalgia received another workout in Rafal Zielinski's SCREWBALLS (1983). Set in the 1960s, it was about high school students and their shenanigans. As with the majority of these films, it also was a financial success, if critically shunned. In the manner of PRIVATE LESSONS, MY TUTOR (1983), directed by George Bowers, was another spicy entry in the genre. The story of two young men vying to lose their virginity, with one becoming involved with his alluring French tutor, was a money-making film for Crown Productions. Equally ribald, but in a broader comic manner, was Chuck Vincent's HOLLYWOOD HOT TUBS (1984). Following a young man who works by repairing the hot tubs of the affluent and wealthy in Hollywood, it had a number of funny sequences alongside the more risqué stretches. MISCHIEF had many of the ingredients which were present in the other films such as comedy, nudity and sexual content, but was a much better film for other reasons.

The movie provided characterizations which were deeper than many of the other films previously mentioned. There was more to the characters in MISCHIEF than just pranks and comedic stretches. They had families and subtly sketched relationships not only with each other but also, their parents in some instances. RISKY BUSINESS and FAST TIMES AT RIDGEMONT HIGH were the closest to MISCHIEF in terms of presenting more complex relationships, and situations, that went beyond the superficial themes, and situations, of other movies in the teen genre. MISCHIEF's sexual elements were ribald in keeping with the teen sex comedy theme, but, unlike films such as PORKY'S, they were more about realizations, and coming of age, than just sex for the sake of sex, or titillation. The characters, especially Jonathan and Gene, discuss their feelings about the matter to each other in a candid manner, but there is a psychological frame to this, it is never just about empty talk without some insight into the characters. It is also interesting how once the games are over, and the dust settles on certain relationships, that the characters understand how their actions either assisted, or hindered them in their lives. This more realistic perspective on the characters makes the film more relatable than examples such as PORKY's or HOLLYWOOD HOT TUBS. One of the most intuitive of the teen sex comedies, MISCHIEF is both entertaining but also, a perceptive film experience.

Overview: Mel Damski is a prolific director with a multitude of credits in television, with many telemovies bearing his name, and four motion pictures. His first film, YELLOWBEARD (1983) was a comedy about a man who sought the treasure he had buried many years before, and featured a large cast of comedians including Graham Chapman, Cheech and Chong, Marty Feldman, Madeline Kahn, and John Cleese. Mr Damski's third film, HAPPY TOGETHER (1989) is a comedy romance revolving around a misunderstanding that leads to romance for two characters, one being a writer. His final film thus far, LEGENDARY (2010) was a change of pace for Mr Damki, this being a drama about sport, family and memories. MISCHIEF, Mr Damski's second film, was one of his best achievements.

The screenplay for MISCHIEF was written by Noel Black, and is a strong piece of work. Mr Black is known for films which can sometimes be unconventional in their cinematic treatment, but with MISCHIEF his writing is on target. Mainly comic in nature but with many dramatic moments interspersed, giving the film credence, it is a convincing and smooth film. The script effectively explores many themes such as friendship, first love, loyalty, family, class conflict, and being true to one's self. The direction and pacing of the scenes has a leisurely quality which gives the audience time to get to know the characters and their particular quirks, without events occurring too quickly, which can make some films seem skittish. It is interesting how MISCHIEF shares some similarities to other films in the genre, but how Mr Damski takes these affinities to different places in his film.

MISCHIEF resembles FAST TIMES AT RIDGEMONT HIGH in the set up of its central male friendship. While the other movie had a female friendship at its core, in MISCHIEF Jonathan and Gene feed off each other's lives, this creating a core for the movie. In FAST TIMES AT RIDGEMONT HIGH, Linda, as with Gene for Jonathan in MISCHIEF, is the 'teacher' for Stacy, lecturing her about life, love and sex. Unlike Linda, though, Gene is not a character who does not practice what he preaches entirely. Even though he encourages Jonathan to 'go all the way' with Marilyn, he himself is looking for true love. It is as if he is encouraging Jonathan to 'sow his oats', as he had done, which is a path to finding true love with the right person. In FAST TIMES AT RIDGEMONT HIGH, Linda preaches 'going all the way' but does not do this, instead Stacy taking her words literally. Stacy goes down a path much heavier than Jonathan's, with pre-marital sex causing much anguish. There is a warmth, and mutual understanding between Jonathan and Gene that eclipses Linda and Stacy's more casual friendship. It is an interesting contrast between films, but, in essence, FAST TIMES AT RIDGEMONT HIGH has a seamier atmosphere than MISCHIEF's lighter, more sympathetic tone. While the film possesses these positive qualities, there are certain missing elements which could have provided even more depth to the movie.

The family backgrounds of the characters, in some cases, have been lightly sketched, or not presented at all. The most vivid familial relationship is between Gene and his father in MISCHIEF. This explains much about Gene, and why he acts and reacts as he does. On the other hand, both Bunny and Marilyn's families are depicted very briefly, but it would have been better to have seen more of them. Both Jonathan and Kenny's families, though, are not evident at all in MISCHIEF. As Jonathan is the heart and soul of MISCHIEF, it would have been interesting to have seen both his, and Kenny's family interactions, as these characters were on opposite sides of the spectrum in terms of their behaviour. This, though, also points to another absence in the film that would have made it stronger. Kenny is a wonderfully malevolent character who definitely would have benefitted from more spotlighting. I was waiting to see something more about why he was so wicked but, this never materialized. Rosalie was another character who it would have been a pleasure to have seen more of in MISCHIEF. Jami Gertz's longer, striking appearance in the final scenes was a little too late in coming, but it took the film in an unexpected direction that made perfect sense for the story and characters. Despite these omissions, overall, MISCHIEF is a great film that deserves more acknowledgement as one of the most thoughtful teen sex comedies of the 1980s.

Acting: The performances in MISCHIEF take it far and beyond the usual teen comedies of the era which can at times let down the proceedings. As Jonathan, the main character in the film, Doug McKeon is absolutely flawless. An actor of great range and utterly believable in his role as the lust-struck Jonathan, his work sets the humorous, reflective spirit for the movie. As his best friend Gene, Chris Nash also does a great job as the motorbike riding rebel with more to him than first meets the eye. The part could have been one interpreted with histrionics and overwrought bravado, but Mr Nash dispenses with these, instead playing Gene as a young man with innate sensibility, street smarts, and all-round appeal. Kelly Preston is also very good as the calculating, social-climbing beauty who wraps Jonathan around her little finger for a while, providing the film with one of its two chief, and contrasting, female roles. 

As the sensitive Bunny, Catherine Mary Stewart does excellent work in the movie. The dilemma between pleasing her parents with marriage to the arch but financially stable Kenny, and true love for Gene, is nicely played by the lovely Miss Stewart, with a quiet but emotionally rich performance free of dramatics. In the final performance of note in MISCHIEF, DW Brown is excellent as the nefarious Kenny, with some glints of vulnerability evident. Someone used to getting what he wants and leaving no stone unturned in his wake, Mr Brown provides the film with its villain, but gives the impression that there was a lot more which could have been explored with the vituperative, presentable Kenny.

Soundtrack: The soundtrack of MISCHIEF is nicely flavoured with rock and pop songs of the 1950s, featuring artists such as Elvis Presley and Buddy Holly. The songs have been arranged in a subtle manner whereby the music complements the visuals and what is taking place, without becoming akin to a grating, non-stop cavalcade of songs.

Mise-en-scene: The period atmosphere of 1956 Nelsonville, Ohio is excellently evoked by the outdoor locations, and interior production design. It feels as if the viewer is actually taking a trip back to another time, and place, in the world. The colour cinematography by Donald E. Thorin is beautifully utilized in the film without ever becoming garish, never intruding on the action. Costuming is also first-rate, suitable in keeping with the personalities of the characters and appropriate for the actors.

Award-worthy performances in my opinion: Doug McKeon, Chris Nash, Kelly Preston, Catherine Mary Stewart, DW Brown.

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

Overall Grade: B

Link: IMDB Page

Trailer