CAREFUL, HE MIGHT HEAR YOU (1983)

Title: CAREFUL, HE MIGHT HEAR YOU

Year of Release: 1983

Director: Carl Schultz

Genre: Drama

Synopsis: In 1930s Australia, PS, a young boy, whose mother passed away early in his life, is caught between two maternal aunts Lila and Vanessa who each seek custody of him.

Within a film history context: Films revolving around custody battles over a child between two opposing parties have been onscreen since the 1920s. One of the first documented movies about the topic was Louis Gasnier's silent film FAINT PERFUME (1925). In this movie, a couple divorce, and battle over the custody of their son, with romantic issues arising as the husband falls for his wife's cousin. More serious was John Robertson's WEDNESDAY'S CHILD (1934). A young child is a pawn between his divorced parents, and his adjustment to this new situation is fraught with difficulty. Matters were somewhat different in BRIGHT EYES (1934), directed by David Butler. With Shirley Temple in the lead role, a young orphaned girl goes to live with a wealthy family, arranged by her uncle, with her godfather vying for her custody. On the other hand, Walter Lang's CARNIVAL (1935) featured a widowed puppet master with a young child, who is sued for custody by his father-in-law, but finds difficulty eluding the determined man. Employment was the motivation for a custody battle in STEPCHILD (1947), directed by James Flood. A woman's marriage breaks up as she wants to keep her job without giving her two young sons attention. The couple divorce, and the husband gains custody of the children, with the woman wanting to stay with her husband, but he is seeking another mother figure for his children, with tenuous results. 

Larry Peerce's ONE POTATO, TWO POTATO (1964) was equally complicated. A white woman divorces her husband, and marries an African-American man, but her former husband seeks custody of their son, in light of his ex-wife's new mixed marriage. Much more extreme in content was THE LAST WOMAN (1976), directed by Marco Ferreri. A man is deserted by his wife, leaving him with an infant son. He then embarks on an affair with a young woman, but his ex-wife seeks custody of their child, the pressure of this making him castrate himself. Controversial for its male, and female nudity, and one violent scene in particular, it gave Gerard Depardieu a showy role. One of the best known films about custody battles was Robert Benton's KRAMER VS. KRAMER (1979). In this movie, a woman leaves her husband, and their young son, but later contests custody, their messy relationship, and the impact on their son the basis of the story. A highly profitable modern drama, it earned four Oscars for best picture, director, and lead actors Dustin Hoffman and Meryl Streep. CAREFUL, HE MIGHT HEAR YOU could be seen as being as intricate in nature as ONE POTATO, TWO POTATO, and as emotional as KRAMER VS. KRAMER, but otherwise carved its own unique path.

It is one of the most intensive, psychological, and stirring portraits of characters involved in a custody battle for a young child ever filmed. As with many of the films above, special mention going to KRAMER VS. KRAMER, CAREFUL, HE MIGHT HEAR YOU is a movie that takes its time in building the dramatic situations for its viewers which makes one feel for the characters, and deeply comprehend their particular mindsets. CAREFUL, HE MIGHT HEAR YOU has a serene, lush atmosphere that immeasurably assists in this; the story is never rushed, everything is presented and explained thoroughly, with no plot holes or gaps. It is a film that flows effortlessly from scene to scene without any staginess. Some moments of melodrama abound in the film which are to be expected, but these are in keeping with the action, and never out of place. There are further features of the movie that set it apart from other entries in the genre.

It is difficult as such to pinpoint a villain in CAREFUL, HE MIGHT HEAR YOU as everyone's motivations make perfect sense, thus eliminating the easy way out of stacking the cards against certain characters to make them look bad. The characters have been so well defined that they jump off the screen for their realism, their passions highly palpable to the viewer. There are no two-dimensional protagonists here to let down the proceedings, thus making the film hollow. In addition to this, the film lacks the sensational elements that distinguished THE LAST WOMAN, hence leaving a sour taste in the mouth with that movie. CAREFUL, HE MIGHT HEAR YOU is more of a slow burn narrative, the heightened scenes of drama achieved through careful story building without the need for visual excess. A dignified film that deserves its high critical reputation, CAREFUL, HE MIGHT HEAR YOU is an enriching, one of a kind movie experience.

Overview: Born in Hungary, Carl Schultz has directed seven films over his twenty-one year cinematic career, the majority Australian films, with many credits on television. His first film, BLUE FIN (1978) was a family film about a father and son involved in tuna fishing in South Australia, with Hardy Kruger in the lead role. Mr Schultz's second movie, GOODBYE PARADISE (1982) starred Ray Barrett in the story of a former policeman penning a tell-all book about police corruption on the Gold Coast, Queensland, with a string of adverse circumstances eventuating from his novel. It was also the first time Mr Schultz directed Robyn Nevin on screen in this comedic action film. BULLSEYE (1987) was an historical adventure film about a pair of friends in the 1860s who steal cattle, transporting it across Australia. 

One of Mr Schultz's most intimate films was TRAVELLING NORTH (1987). In this comedy-drama, an older couple make the move to the country, with the movie exploring their passions, marriage and life. With seasoned thespians Leo McKern and Julia Blake as the married couple, it was a touching viewing experience. Mr Schultz then made a foray into fantasy and religious themes with THE SEVENTH SIGN (1988). A pregnant woman's anticipation of her child's birth is the starting point of an intricate chain of events with many biblical overtones. Lambasted by critics, it is a complicated work with much suspense and angst to spare. Carl Schultz's final film to date is TO WALK WITH LIONS (1999). The biography of wildlife conservationist George Adamson, it was another of Mr Schultz's films with an adventure background, as was BLUE FIN. CAREFUL, HE MIGHT HEAR YOU is one of Carl Schultz's best-known motion pictures, and undeniably his crowning achievement as director.

As with TRAVELLING NORTH, Mr Schultz concentrates upon a set of characters, presenting them with all their positive traits, flaws and foibles for the audience to take in and consider. There is also the exploration of interpersonal family relationships that BLUE FIN studied to a smaller degree. Where CAREFUL, HE MIGHT HEAR YOU differs is in the utterly compelling, emotional approach to its story and characters that Mr Schultz has accomplished, across a larger number of protagonists than the other films. Viewers can thoroughly relate to, and understand where the characters are coming from, in whatever they do and say. They are three-dimensional in every respect, and never act out of character, or do things which are not true to their beliefs. 

Adapted from the auto-biographical novel of the same name by Sumner Locke Elliott, CAREFUL, HE MIGHT HEAR YOU is an emotionally charged, thoughtful viewing experience, that leaves the spectator satisfied, but also, hopeful. Mr Schultz has created an enthralling mix of drama and pathos, with some subtle comic moments that occur at just the right time, giving the film equilibrium. Always on target, never over the top as a film, it knows how to pull at the heart-strings in its richly textured manner. A fine achievement of the Australian film industry, and one of the best motion pictures ever, CAREFUL, HE MIGHT HEAR YOU is a movie that does both its director Carl Schultz, and Australian cinema, proud.

Acting: CAREFUL, HE MIGHT HEAR YOU has a top-notch cast which make the film a thoroughly vivid viewing experience. Wendy Hughes is touching as Vanessa, one of two sisters vying for custody of PS. What could have been an empty villainess in other hands is given a graceful, sympathetic treatment by the actress, making her actions understandable to the audience. As Vanessa's nemesis, and sister Lila, who also wants PS, Robyn Nevin delivers a strong, equally excellent performance. These actresses work so well together that their animosity fuels the movie, and is one of its many strong points. As PS, the object of everyone's attention, Nicholas Gledhill gives a wonderful account of a strong-willed young boy caught within a tangled web of adult emotions, and many of his own. Impressive given the actor's very young age at the time of the film's production, Mr Gledhill played PS as the innocent, the mischief-maker, and the child seeking to carve his own identity. Supporting roles have also been furnished exceedingly well in CAREFUL, HE MIGHT HEAR YOU.

Geraldine Turner, as Vere, Lila's neighborhood friend, adds her unique personality to the film. An actress adept as being alternately brassy, strong and empathetic, with a wonderfully bawdy nature, Miss Turner lights up the screen in the limited time she has on camera. John Hargreaves, as Logan, also adds his distinctive persona to CAREFUL, HE MIGHT HEAR YOU. While retaining some of his easy-going nature in this film which is on display in his other movies, Mr Hargreaves adds a sympathetic note to the role of the wayward wanderer, with a nice dose of unexpected urbanity that suits him. The final acting of note in CAREFUL, HE MIGHT HEAR YOU was by Peter Whitford as George. Paired well with Robyn Nevin's Lila, Mr Whitford brings his pained George to life, most tellingly during his most emotional scenes, which are haunting to witness. 

Soundtrack: The instrumental score composed by Ray Cook enhances what is taking place on screen immeasurably, without ever being syrupy or overdone. Background music is played throughout CAREFUL, ME MIGHT HEAR YOU, and especially at key moments such as Lila and Vanessa's limousine confrontation, to maximum emotional effect.

Mise-en-scene: Everything presented in front of the camera for viewers makes CAREFUL, ME MIGHT HEAR YOU an authentic movie experience. Costuming by Bruce Finlayson is on target, suited to the characters. The designer makes evident differences in characters' socio-economic levels, with Vanessa's elaborate wardrobe a telling contrast to Lila's more down-to-earth clothing, reflecting her working-class status. Cinematography by John Seale employs a subtle use of colour, ideal for a film set in the 1930s. While the film is visually beautiful, the muted colour assists in capturing life in 1930s Australia without ever being harsh on the eyes. Brighter colour hues would not have assisted the movie, as it is not a technicolor musical, and would consequently have been detrimental. Use of colour in CAREFUL, HE MIGHT HEAR YOU is soft, and appropriate for a film that explores emotions in such a profound manner.

Award-worthy performances in my opinion: Wendy Hughes, Robyn Nevin, Nicholas Gledhill, Geraldine Turner, John Hargreaves, Peter Whitford.

Suitability for young viewers: Suitable for children with adult discretion. Adult themes, low-level violence.

Overall Grade: A

Link: IMDB Page

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WILD IN THE STREETS (1968)

Title: WILD IN THE STREETS

Year of Release: 1968

Director: Barry Shear

Genre: Comedy, Drama, Satire

Synopsis: A twenty-four year old pop star with counterculture ideals becomes president of the United States, but goes too far in his quest to rid the country of any citizens over thirty, causing sheer chaos.

Within a film history context: While there have been many films over time about real-life presidents of the United States such as Abraham Lincoln, movies with a fictional president have not been as frequent in occurrence. One of the first was Gregory La Cava's GABRIEL OVER THE WHITE HOUSE (1933). In this movie, a man becomes president of the United States, with a life-changing event converting him into a respectable statesman. With a cast including Walter Huston in the lead role, and Karen Morley and Franchot Tone in support, it was an irreverent film with revealing moments of reflection. Short film RUFUS JONES FOR PRESIDENT (1933), directed by Roy Mack, was the story of a child elected as the president of the United States, with Sammy Davis Jr. in the lead role. Daring at the time, and notable not only for a child being made president, and an African-American adolescent, it was an interesting predecessor to the later THE MAN (1972), where an African-American man becomes the United States president. William Wellman's THE PRESIDENT VANISHES (1934) was entirely different in tone and theme. In this film, the president of the United States seeks to protect his country from involvement in a European war, which is sought by fascists. Notable in being in a more political vein than previous movies, it pointed to later films which explored more incisive political territory. Moving forward to the 1960s, several films dealt with fictional United States presidents in a trenchant manner.

ADVISE & CONSENT (1962), directed by Otto Preminger, was a thriller concerned with the president's Secretary of State, and how a probe into his character may well bring down not only the latter but also, the president himself. One of the director's hard-hitting thrillers from this period, it provided meaty roles for a cast including Franchot Tone, Charles Laughton, Henry Fonda, and Burgess Meredith. More satirical in nature was Stanley Kubrick's DR STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). In this movie, an American president becomes unwittingly involved in intrigue with the Soviet Union through the actions of his brigadier, with much humor and hijinx. Featuring Peter Sellers as the American president in one of three roles, it was potent at the time of its release due to its Cold War content, and barnstorming presentation. SEVEN DAYS IN MAY (1964), directed by John Frankenheimer, also dealt with a Soviet theme, but this time, in a dramatic manner. In this instance,  the president's close associates scheme to topple his leadership, due to the president's support of a disarmament treaty with Russia. One of the director's best films for what was a decade of memorable movies, it featured Fredric March as the president, with Burt Lancaster and Kirk Douglas in support. 

Franklin Schaffner's THE BEST MAN (1964) took matters in another direction. While a president was present in the movie, it was more concerned with the machinations of two men vying for the presidential nomination, this taking up the majority of the film's screen time. One of the most heart-stopping films with an American president was FAIL SAFE (1964), directed by Sidney Lumet. Here, the Soviet theme was again apparent, with the president under extreme pressure to cushion the blow of a unintended nuclear attack against Russia. One of the most compelling films in this genre ever made, FAIL SAFE gave Henry Fonda many excellent moments as the beleaguered president. Curtis Bernhardt's KISSES FOR MY PRESIDENT (1964) offered a completely different spin on matters. In this film, a woman is elected United States' president, with both comic, and awkward moments for her husband, who assumes the duties a first lady usually would carry out. A refreshing take on matters, giving the issue a lighter feel, it gave Polly Bergen as the president, and Fred MacMurray as her harried husband, sprightly comic parts. A more action-oriented slant was offered by IN LIKE FLINT (1967), directed by Gordon Douglas. This film presented feminist politics, with a group of women who seek to turn the United States upside down, kidnapping the American president among their exploits, and generally displacing the dominant patriarchy. The thorn on the side of the women is spy Derek Flint, played with charm by James Coburn. Although it had many dramatic moments, WILD IN THE STREETS was in the style of the more comic explorations of fictional American presidents, with some of its own striking qualities.

Thus far in history, no president or prime minister aged under thirty has been elected leader of their country. WILD IN THE STREETS was notable in that it presented its lead character, Max Frost, who, at the age of twenty-four, in real life, most likely, would not be considered to be president of their nation. The film was slightly more realistic than RUFUS JONES FOR PRESIDENT in this respect, whose pre-teen became the United States president, something which is the stuff of fantasy. There was something which these films had in common, though. Both of these movies had characters who had no political experience as such, both being entertainers. They differed from the other films listed above which mostly had characters who were already in politics, and seeking to promote themselves, their causes and beliefs, many times by underhanded means. There is the equation of entertainers being similar to politicians in terms of their popularity with people, using their charisma to convince others that they are in their corner, fighting for their rights. 

In WILD IN THE STREETS, voting in a smooth speaking twenty-four year old pop star turns to mayhem for the citizens of the United States, and this is explicitly depicted by the film. What the film deftly portrays is someone who becomes a megalomaniac, and control freak, exemplified by his rounding up of the population over thirty years of age into camps. At the time of the film's release there was tension in the United States, and across the world, with counterculture passions running high. Old values and customs were being placed under the microscope, with much railing against, and rejection of these ideals. This point is where WILD IN THE STREETS differs from others in the genre such as THE BEST MAN, with their more conventional narratives and characters. 

With WILD IN THE STREETS, the effect of someone totally unsuited, and mentally unstable, in power, exercising his rights to an outrageous extent, is what propels the film forward. While there is the subtle undercurrent present that Max Frost, in his delusional manner, was seeking to create a new world order with his actions, there is the implication that sudden change, without the benefit of fully formed laws and decisions, both not based in either reality or with humanistic values, bring about a consequent discombobulation in society. More than any of the other films in the genre dealing with fictional American presidents, WILD IN THE STREETS shows how an inexperienced, and unfit person, in a position of power, can cause real harm to the fabric of society with ill-judged actions.

Overview: Barry Shear was a director with many credits in television, directing episodes of series, and telemovies. In cinema he helmed five feature films, the first of these being THE KARATE KILLERS (1967). An irreverent tale of espionage, boasting a cast including Joan Crawford, Curd Jurgens, Telly Savalas and many others, it was an early indication of the unconventional nature of Mr Shear's work. His third film, THE TODD KILLINGS (1971) was about a disturbed young man who indulges in flattery and murder, with Robert Lyons in the lead role. Based upon a real-life 1960s case, it also starred Barbara Bel Geddes and Gloria Grahame in support. Mr Shear's fourth and penultimate movie, ACROSS 110TH STREET (1972) was a crime drama dealing with the Mafia, and two New York policemen. His final film, THE DEADLY TRACKERS (1973), co-directed with Samuel Fuller, was a western about intrigue and revenge in a Mexican town, with a sheriff finding difficulties with a Mexican police officer. WILD IN THE STREETS was Barry Shear's second film, and one of his most recognized efforts.

Mr Shear has fashioned a movie that handles its theme in an entertaining, exhaustive manner, similar to his other films. It was most akin in the treatment of its lead character to THE TODD KILLINGS, whereby a young, handsome man uses his charms on others to largely deceive them, and hence carry out his wishes. Max Frost in WILD IN THE STREETS, though, is much more fleshed out than the protagonist of THE TODD KILLINGS. The director ably charts the path of a young man, not fully happy with his life, who becomes a pop star, then president. The speedy way up for Max Frost is as rapid as his downfall, which the film plays with at the end. It is inferred that one tyrant worse than him will appear soon to take his place, a delicious and pithy twist for the film that gives it real punch. Apart from this, Mr Shear also effectively presents the effect of Max Frost's popularity on not just the world at large but also, in the family of politician Johnny Fergus. Johnny Fergus' push to appeal to a younger voter, believing Max Frost's popularity with this segment of the population his ticket to winning the vote, but things do not go as planned for Mr Fergus. The rebelling of Johnny's son Jimmy against him causes waves in the film, which is one of the best sections of the film. WILD IN THE STREETS, though, does have some lapses which, unfortunately, render the film uneven as a whole.

While, on the surface, the film has a flashy appeal, mainly with regards to its visuals, which are beautiful to witness, WILD IN THE STREETS does become carried away with its spectacle at times, to the movie's detriment. The director has staged the film well, with many excellently coordinated scenes such as the riots, the hysteria surrounding Max Frost's concerts, and political rallies, to name a few. Where the film is weakest is in exploring the human reaction to the events taking place. The conflict between Max Frost and his family, also the issues between Johnny Fergus, his wife Mary, and their children, especially Jimmy, are where the film takes a break from the razzle dazzle, and becomes compelling. Regrettably, there are not enough of these moments to give the film more balance. It feels as if WILD IN THE STREETS is rubbing its hands together with glee during the more frenzied stretches, but, at the same time, missing out on further explorations of conflict that would have added immeasurably to the film, such as the Fergus marriage, and the breakdown of this family. It would have been a great contrast to the Frost/Flatow family conflict which occurred at the film's start, giving a greater sense of tragedy to the film which its irreverence does not allow. All in all, WILD IN THE STREETS is an ambitious but imbalanced film that some tinkering could have made a much better movie than the final product.

Acting: This is a film where the acting immeasurably assists in making it an entertaining experience. As Max Frost, pop singer turned United States president, Christopher Jones does a tremendous job as the charismatic, but paranoid Max. Mr Jones pulls off what is a very challenging role with passion, bringing his energy and smarts to a character who at times can be utterly egotistical. As his mother Daphne, Shelley Winters contributes another scene-stealing, memorable performance. She makes her love for her son something both real, but also, tragic. As Senator Johnny Fergus, Hal Holbrook brings authority to his role, and is especially spellbinding during his most dramatic moments, which are plentiful in WILD IN THE STREETS. Ed Begley is also excellent in a smaller role as Senator Amos Allbright. His farcical facial expressions and reactions are something to be savored. Several other actors merit mention for their contributions to the film.

As Jimmy Fergus, Senator Fergus' eldest son, Michael Margotta gives another superior performance, several years before his explosive Gabriel in DRIVE, HE SAID. In WILD IN THE STREETS Mr Margotta holds back his emotions, using his voice and face to express a variety of emotions. When one sees Mr Margotta's stony-faced, cold-eyed expression in the movies, it usually means something nasty is going to happen, and this is delivered in spades in this movie. The beautiful Millie Perkins, as Johnny Fergus' wife, and Jimmy's mother, does a good job in the movie, but her part has not been as developed as those of other actors. An actress who could have played Jean Simmons' younger sister in the movies, the film does not allow her to be anything but decorative, which is a shame. On the other hand, Diane Varsi, as Max Frost's strung-out lover Sally, gives an interesting, humorous performance in WILD IN THE STREETS. Her melodic voice, and fluid, assured movements give her character a spice and originality that is distinctive.

Soundtrack: WILD IN THE STREETS has a great pop soundtrack, mainly consisting of the songs Max Frost performs in concert. 'Shape of Things To Come' and 'Fourteen Or Fight' both performed by The 13th Power, are among the best of the tunes. The film also contains incidental music at pivotal points, such as the camp scenes with Daphne Frost in hysteria, that work in an effective manner.

Mise-en-scene: The colour cinematography by Richard Moore is beautiful, thankfully not garish or gaudy, despite the film containing several frenetic pop star concert scenes. The outdoor location sequences such as the riots, the public mobbing of Max Frost, protests, and the other outdoor scenes are all well conducted. Indoor sets such as Max Frost's splashy bachelor pad, the comfortable Fergus family home, and the Washington sets are also excellent. The opening and closing credits are similar, with images of the actors superimposed over an orange background, very 1960s in orientation. Costuming is first-rate, with all actors outfitted in appropriate attire for their characters, with special mention to Christopher Jones and Michael Margotta's carefully selected garments.

Award-worthy performances in my opinion: Christopher Jones, Shelley Winters, Hal Holbrook, Ed Begley, Michael Margotta, Diane Varsi.

Suitability for young viewers: No. Adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page