INTERVIEW WITH ACTOR RUSSELL TODD

Today I have the immense pleasure of welcoming a very special guest, actor Russell Todd, to CINEMATIC REVELATIONS for an interview. Russell has acted in many motion pictures over the years such as HE KNOWS YOU’RE ALONE, FRIDAY THE 13TH PART TWO, WHERE THE BOYS ARE [my review of the film can be found here] CHOPPING MALL, and BORDER SHOOTOUT, to name a few examples. In this interview Russell will be discussing his part in WHERE THE BOYS ARE, acting, television, modeling, and his role in the Russell Todd Agency (RTA).

Welcome to CINEMATIC REVELATIONS Russell!

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

Russell:  I can recall as a boy of 7 years getting a director’s chair with my name on it and pretending I was an actor on a set waiting to work. I thought maybe one day it would come true if I kept thinking about it. I also wanted to be a film director but followed the acting bug instead.

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Athan: You studied acting at The Actors Studio with Lee Strasberg in New York City where actors such as James Dean, Jane Fonda, Paul Newman, Ellen Burstyn, Al Pacino, Marilyn Monroe, and Eli Wallach, to name several performers, have also been students. What was it like to have studied with Mr Strasberg?

Russell: I actually studied with Lee Strasberg himself in a group class environment. It was very exciting to be so young and working and learning with Lee but also very intimidating. He was very serious and would let you know if you weren’t up to his expectations in a scene. I don’t recall who the other actors were in the class but I would bet one or more of them became well known.

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Athan: Your performance in WHERE THE BOYS ARE as the passionate, dynamic Scott Nash, who captures the heart of Lisa Hartman’s Jennie Cooper, was excellent. How did you become involved in this production?

Russell: Funny Hollywood story. I would get my hair cut by a man named Jerry Esposito and Jerry would hang the 8X10 photos of his clients that were actors by the mirror. The producer of that movie, Allan Carr, got his hair cut there as well and noticed my photo. He was about to cast WTBA 84. He told Jerry “That’s going to be my next star!” I was called in for a few auditions opposite Lisa Hartman and got the part. Soon I was off to Ft. Lauderdale where we shot the film. You never know what may happen in your career based on location and timing and this was a perfect example of things lining up perfectly.

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Athan: Your pairing with Lisa Hartman in WHERE THE BOYS ARE was one of the movie’s brightest spots, a romance with a subtle chemistry that was keenly felt. Daniel McDonald’s part as your romantic rival also contributed to making this the film’s best love story. What was it like working with both Lisa Hartman, and Daniel McDonald in this onscreen love triangle?

Russell: I loved working with both of them. They were very down to earth, humorous and silly. We laughed a great deal which makes shooting any project very enjoyable and memorable.  We all had a nice, close bond on and off the set. Lisa and I would often head to the gym and workout together when we were not on set. I stayed in touch with Lisa for awhile and unfortunately Dan passed away from brain cancer.  

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Athan: What did you find most exciting about the experience of making WHERE THE BOYS ARE?

Russell: As a young boy and in my teenage years I often visited Ft. Lauderdale because my grandparents lived there. The idea of going there as an adult to shoot a movie was amazing and so fulfilling.  Being there, filled with memories, was the best part.  

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming WHERE THE BOYS ARE?

Russell: My favorite scene, and most demanding, was the concert I give where I sing “Jennie” to Lisa’s character. We had worked on that song for quite awhile. To perform in front of all of those people was a hoot. I was lucky enough to have my parents in the audience as well. I thoroughly enjoyed the technical aspects of putting that concert scene together as well as the performing of the song multiple times for various angles. I will always cherish that moment.

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Athan: Have you kept in contact with any cast members and crew from WHERE THE BOYS ARE?

Russell: Lisa and I stayed in touch for a bit, but other than her, no. Everyone goes on their own way to new projects or life experiences and it’s common to just move on after a short working experience together.

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Athan: WHERE THE BOYS ARE was directed by Hy Averback, notable for also helming other comedy films such as THE GREAT BANK ROBBERY, WHERE WERE YOU WHEN THE LIGHTS WENT OUT? and SUPPOSE THEY GAVE A WAR AND NOBODY CAME. What was it like being directed by Mr Averback in WHERE THE BOYS ARE?

Russell: He was a very kind and humble guy. I thought it odd a man with his credits was going to direct a silly beach comedy with a young cast. Strange casting to me but he was very good and made the actors feel very comfortable.

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Athan: Apart from cinema, you have appeared in many prime-time television shows. You also notably starred in television daytime serial Another World for three years in the role of Jamie Frame. What for you were the main differences between acting in feature films, and on television?

Russell: TV acting can be broader than film because of the obvious reason when you are on the big screen your facial expressions are gigantic and you need to bring it in more or you look ridiculous. You can do a great deal with very little expression or movement on the big screen. Regarding the script, when shooting a film you do a few pages per day where on a soap opera we did an entire script and episode each day. The memorizing was endless. The soap was also a 3 camera setup always where film is usually an “A” and “B” camera.

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Athan: You modeled for several years with the Zoli Agency before acting. In which manner did you find that modeling was of assistance with onscreen acting?

Russell:  Modeling gives you a great awareness of your body. Being photographed for many years gave me confidence and a feeling of comfort with being observed and performing. Even though there is no actual dialogue during a modeling shoot you are still running motivations and story inside your head to fit the clothing and the particulars of the shoot. If you have nothing running through your head as you are being photographed then the look will be blank and useless. Keep a dialogue running and it keeps you alive to the camera.

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Athan: You have been involved for many years behind the scenes in the Russell Todd Agency, which represents Steadicam, and Camera Operators in the United States, and internationally. What is it that you find most exciting about this?

Russell: I love what I do, representing steadicam and camera operators around the world.  I found this niche by accident and have loved the business over the 21 years of my company. Every day and every deal is different and I have loved negotiating for my clients and getting improved rates and conditions for them. Going to the movie theatre and watching the trailers I often see three or four films that I placed my clients on and that's very rewarding. Same goes with the TV. So many series have hired my clients and it always makes me smile to see their credit pass by. I think once having an agent myself makes me a better agent, understanding the needs of my clients and the relationship between us.

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

Russell:  No acting projects are planned. I left acting about 23 years ago to do what I am doing now.  Having said that, if I were offered an acting job and found it interesting and challenging, I would definitely entertain the idea. Never say never!

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Thank you so much today for your time Russell, and for the insight you have provided into the art of acting, WHERE THE BOYS ARE, cinema, modeling, television, and your role in the Russell Todd Agency. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

Thanks so much Athan! Happy holidays and happy New Year! Stay well!

Best,

Russell

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Russell Todd links

+Russell Todd IMDb Actor Page

+WHERE THE BOYS ARE movie IMDb page

+Russell Todd Agency website

THE STRAWBERRY STATEMENT (1970)

Title: THE STRAWBERRY STATEMENT

Year of Release: 1970

Director: Stuart Hagmann

Genre: Drama

Synopsis: A young university student becomes involved in the student protest movement, despite his initial qualms.

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was a confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies it has a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating. It led to a sequel in 1970 being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. Also raucous was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. 

SKIDOO (1968), directed by Otto Preminger, was a comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, and not a financial success in its original release. Bob Rafelson's HEAD (1968) was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a young deaf woman looking for her brother in San Francisco, and how through this odyssey she encounters wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. 

In a slightly more thoughtful style was ALICE'S RESTAURANT (1969), directed by Arthur Penn. A young man tries to avoid being drafted to Vietnam, becoming involved with a restaurant owner, being the titular Alice, and a group of other offbeat characters in the process. One of the most famous counterculture movies was Dennis Hopper's EASY RIDER (1969). Two bikers embark on a journey across the United States, and find not only freedom but also, resistance to them, which leads to tragedy. A poetic film that was a tremendous success upon its initial release, it was emblematic of its time. CHANGES (1969), directed by Hall Bartlett, was notable in being one of the softer, more romantic films of counterculture ideals. A young man has relationships with three different women, searching for meaning in his life, but finding matters difficult. THE STRAWBERRY STATEMENT was alike many of the above films in terms of its counterculture point of view, but had its own distinguishing features.

Unlike movies such as THE HAPPENING, SKIDOO, HEAD, and I LOVE YOU, ALICE B. TOKLAS, which had a broad comic tone, THE STRAWBERRY STATEMENT had a more subtle sense of humor which was in keeping with its overarching dramatic focus. While Simon, the movie's protagonist, was in contact with several wacky characters over the course of the narrative, and, in addition, had his own zaniness, these elements were handled in a subdued manner. These predominately offered an insight into Simon and his life than just existing for comic effect, something the previously-mentioned films could be seen as possessing. In this way, THE STRAWBERRY STATEMENT came closest to ALICE'S RESTAURANT in a melding of both lighter, and serious moments. Funny events occur from time to time, but they are, by and large, supported by a dramatic backbone. The scenes of men being drafted for Vietnam in ALICE'S RESTAURANT, as with the protest sequences in THE STRAWBERRY STATEMENT, are among the most honest, revealing moments in both motion pictures. Other facets of the movie are also worth exploring.

The theme of discontent, leading to characters embracing counterculture ideals is where THE STRAWBERRT STATEMENT is at its best. The gradual acclimatizing of Simon into the student protest movement is witnessed by viewers across the entire movie. In the beginning he is hesitant toward this, but finally realizes that it is something in which he believes, and can fight for. This mirrors the descent of THE TRIP's main character into the drug scene, and how the rock singer in WILD IN THE STREETS falls under the spell of power, and becomes someone different than what he was in the beginning of the film. While WILD IN THE STREET's protagonist Max did have violent tendencies which the movie portrayed, Simon in THE STRAWBERRY STATEMENT appeared pacifist in his ideals, and not wishing to become involved in the protest movement. There is a swing from one belief system to another in the movie for its main character which makes sense, but he himself does not become a villain, as occurred with WILD IN THE STREET's Max Frost. The transition makes sense without being over the top, or cartoonish, of which WILD IN THE STREETS could be accused. There is, though, another aspect where THE STRAWBERRY STATEMENT diverts from other films in the genre.

The use of drugs by characters in THE STRAWBERRY STATEMENT is also notable when compared to other entries. THE TRIP and EASY RIDER had a particular emphasis on the topic, with many consequences detailed such as lives spinning out of control in the former movie, and tripping out in the latter, likewise with PSYCH-OUT and ALICE'S RESTAURANT. The more comical effects of drugs on show in I LOVE YOU, ALICE B. TOKLAS and SKIDOO were in another category, but there did not appear to be lasting consequences of these on the characters, in line with the flippant tone of these pictures. In THE STRAWBERRY STATEMENT Simon mentions that he did experiment with recreational drugs at one point, but that these affected his cognitive functions. This is far and away a novel view of drugs for a counterculture movie, but it suits the material. The film does indeed chart the private life of Simon, but is more entrenched in the student protest theme, and romance between Simon and Linda, than in the subject of narcotics. The romance angle between Simon and Linda is reminiscent of CHANGES' Kent, and his various liaisons, but in THE STRAWBERRY STATEMENT this takes a backseat to the mechanics of student protests. An interesting variation on the counterculture theme, THE STRAWBERRY STATEMENT is striking in its execution of this late 1960s/early 1970s film genre.

Overview: Stuart Hagmann was a film director with only two motion pictures to his credit, being THE STRAWBERRY STATEMENT (1970) and BELIEVE IN ME (1971). Mr Hagmann was more active in television, directing episodes of series, and two telemovies. His second movie, BELIEVE IN ME, was the story of a medical student and a young woman who fall into drug addiction, the film charting their many subsequent difficulties and hardships. Marking Mr Hagmann's screen debut, THE STRAWBERRY STATEMENT, overall, is a satisfactory film. Stuart Hagmann has made a movie that nicely captures the mood of dissent and counterculture that was present in the United States of the late 1960s, and early 1970s. He adequately makes the case for student revolt against the establishment, this building nicely through the course of the picture. There are some effective set pieces such as the protest scenes, and the reaction of the public to these, keeping vigil by candlelight. While the film has certain discernable assets, it also has liabilities which detract from its power.

THE STRAWBERRY STATEMENT delivers a passable story experience for the viewer that makes sense, but is hampered by the director's insistence on visual gymnastics. For example, there might be a scene that is compelling to watch on its own account, by is followed by the camera zooming, taking in odd angles and the like, which proves to be distracting. It does nothing but make the film choppy and slightly superficial, which would not have been the intention of its makers. If the movie did away with its flashy excesses, or at least toned them down a little, it would have been better. One wants to become emotionally involved in the diegetic world, and feel what its characters do, but the technical stuff does get in the way. One of the only segments where the camerawork does do it justice is in the lead up to, and during the climactic protest. The overhead camera shots in the hall as the students chant are effective, the darting from one character to another during the protest a standout sequence. The movie, though, has another tendency that makes it frustrating to watch at times.

THE STRAWBERRY STATEMENT tries to be edgy and modish in its storytelling, but, in doing so, does hop from one situation to another with regularity. The film is faithful to its lead character, and depicts the account of a pacifist young man who becomes involved in student politics with clarity. The many diversions to the main story, such as Simon's tussle with a blonde woman in the office, and cutting back and forth from the heated anger of the students, though, do make the film lose steam. If the movie tightened its focus even more on its main character, and excised the extraneous scenes such as those previously-mentioned, it would be been a more polished product. One of THE STRAWBERRY STATMENTS's best features is the romance between Simon and Linda. The chemistry is there, one wants them to be together, but the crisscrossing of events away from them does subtract somewhat from its power, but the film's final few scenes make up for this. It leaves the impression of a skittish film that is trying to be too much all at once, but not following through with the positive elements that are already there. A sound film that one feels would have been better with a steadier hand, THE STRAWBERRY STATEMENT nonetheless is a watchable, but flawed piece of filmmaking.

Acting: THE STRAWBERRY STATEMENT features several meaningful performances from its cast. In the lead role of Simon, Bruce Davison is exceptional. A genial actor who makes his character intensely interesting, likable and credible, his presence boosts what is sometimes a lackluster movie. As Simon's love interest Linda, Kim Darby provides another authentic screen performance. An actress skilled at both comedy and drama, Miss Darby knows how to make it all real, particularly in the film's final stretches. As Swatch, a commanding presence in the student protest movement, Michael Margotta contributes another distinctive, if all too short cameo in the movie. With his eye patch and steady voice, Mr Margotta brings a sense of authority, with quirkiness, to THE STRAWBERRY STATEMENT. The final acting of note was by James Coco as the grocery store shopkeeper. With his insistent speaking voice, shifty eyes, and sense of whimsy, Mr Coco also emits a great irreverent vibe in his brief appearance.

Soundtrack: THE STRAWBERRY STATEMENT has a number of songs of the era on its soundtrack. The most memorable is 'The Circle Game', beautifully performed by Buffy Sainte-Marie. Played at both the beginning, and ending of the picture, in common with many films of the period, it allows the viewer in retrospect to compare, and contrast the movie at these times, and how events unfolded to bring about the conclusion. Aside from this, there is also the notable use of 'Our House', sung by Crosby, Stills, Nash and Young, during the scenes where Simon and Linda play at the carnival.

Mise-en-scene: THE STRAWBERRY STATEMENT has excellent attention to what appears on screen in many departments. Cinematography by Ralph Woolsey is careful to not be too colorful but never pallid, in keeping with the movie's easy-going feel. Exterior locations such as the university courtyard, the streets of San Francisco, and other locales such as the park where Simon and Linda are accosted, are all well-chosen, and make sense in the film's diegetic world. While the film does have many segments with eye-popping camera effects, which sometimes become distracting, regardless of this, these do demonstrate a keenness not only to experiment but also, deliver an innovative experience for viewers.

Notable Acting Performances: Bruce Davison, Kim Darby, Michael Margotta, James Coco.

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

Overall Grade: C

Link: IMDB Page

Trailer

THE BABY MAKER (1970)

Title: THE BABY MAKER

Year of Release: 1970

Director: James Bridges

Genre: Drama

Synopsis: A couple unable to conceive a child enlist seek a surrogate to give birth to their child, locating a suitable young woman for this, the husband subsequently impregnating her.

Within a film history context: Infertility in male, and female characters has been presented several times in cinema before THE BABY MAKER. One of the first examples was William Keighley's DR. MONICA (1934). An infertile obstetrician discovers that her friend's baby, which she is set to deliver, is actually fathered by her husband. This causes waves between the women, with both willing to make sacrifices on account of their future happiness, and for the baby. JOURNEY FOR MARGARET (1942), directed by W. S. Van Dyke, was set during World War II. An American and his wife in London are affected by the war, the pregnant wife injured during The Blitz, and losing their baby as a result. The husband visits an orphanage and becomes enamored of two children, whom he wishes to adopt for him and his wife, but certain obstacles make themselves apparent in this touching movie. In a similar vein, Henry Koster's MY BLUE HEAVEN (1950), centered around a showbusiness couple, with the wife losing her baby, and unable to conceive again. She and her husband determine to adopt a child, all the while maintaining their television series appearances. Another drama about a couple unable to have a child was CLOSE TO MY HEART (1951), directed by William Keighley. A couple who cannot have one of their own begin enquiries about adopting a child, but run into hurdles based upon its parentage, of which the husband is most concerned. Matters were equally somber in Rudolph Mate's PAULA (1952). After suffering her second miscarriage, and consumed by the fact she cannot have other children, a tormented woman injures a child at night, leaving him unattended. Guilt overcoming her, she volunteers at the hospital to assist the child, who is an orphan. The woman and child bond, but the events of that fateful night may come back to haunt her in this compelling movie.

Things were not as innocent in THE BIGAMIST (1953), directed by Ida Lupino. A woman's infertility, and how she and her husband wish to adopt a baby, are the starting points of the story. An adoption agent's investigation of the couple unearths certain truths about the husband, and his two wives, which makes up the content of this film. In the next example, comedy was at the fore of Gene Kelly's THE TUNNEL OF LOVE (1958). A couple unable to conceive a child visit an adoption agency to initiate the process, and come against many hurdles and misunderstandings, both serious and comic, in their quest. Into the 1960s, John Rich's THE NEW INTERNS (1964) was a multi-character drama set in a hospital, following the lives and loves of its staff members. Infertility is a subject in this movie, with a doctor finding out he cannot have children, the movie detailing the consequences of this for him. In utter contrast, Mike Nichols' raucous WHO'S AFRAID OF VIRGINIA WOOLF? (1966), had a couple unable to conceive a baby concoct the presence of an imaginary child to hide their pain and disappointment at their predicament. One of the most pungent, honest examinations of marriage, it was a credit to all participants, with Richard Burton and Elizabeth Taylor in the lead roles as the tortured couple. THE BABY MAKER had several elements in common with earlier films in the genre, but stood out from these for other reasons.

The movie was similar in structure to the many films where a married couple seek the services of an agency to adopt a child, such as MY BLUE HEAVEN, CLOSE TO MY HEART, and THE TUNNEL OF LOVE. Either the wife, or both parties cannot conceive a child for one reason or another, as with the wife in THE BABY MAKER. Putting on a unified front, they go through the process of adoption, with the many examples such as in the pre-mentioned films charting the roadblocks the couple may encounter in reaching their aim. Where THE BABY MAKER changes course from other samples is that the couple do not deal with an agency which is cold and bureaucratic. Their advocate is a mature, understanding lady who seeks to make the process as seamless as possible. As the couple appears to have not done anything to sabotage their adoption desires, the sometimes melodramatic obstacles of other films, placed in the way of the adoption are not present in THE BABY MAKER. Instead, the movie lays bare the many issues the couple face having the surrogate in their home, and part of their lives for nine months. There is enough material here without other stumbling blocks being placed in their way, which gives the movie a more naturalistic, adult feel. Another aspect of THE BABY MAKER is also refreshing for its treatment.

In movies such as CLOSE TO MY HEART, where the identity of the adoptee's biological parents was placed under the microscope, causing issues for those wishing to adopt the child, matters in THE BABY MAKER take another direction. Aside from the fact that THE BABY MAKER deals with Tish, a surrogate being impregnated by a sterile woman, Suzanne's husband Jay, both the couple, and the audience, find out exactly who the surrogate mother is in the movie. Tish is not a shadowy figure in any respect, but a flesh and blood presence whose intimate thoughts, and life, are put on display for the spectator. This also provides the movie with both layers of obvious, and less evident emotional undercurrents that the other movies could never explore. This was mainly due to the fact that biological parents were either deceased, or never shown, in movies such as JOURNEY FOR MARGARET, and PAULA. Aside from this, the effect of Tish's surrogate pregnancy is also explored in secondary characters such as Tish's boyfriend Tad, and how he handles her situation. 

Tad's quizzical reaction gives THE BABY MAKER a point of difference, moving away from the viewpoints of just the central trio of Jay, Suzanne, and Tish. A further interesting counterpoint can be found in Tish's friend Charlotte, and how she envisions Jay. There is the perception, mainly comical, that he is too dry and middle-class, but passable as a person. This fills out another perspective on how Jay is envisioned, who, apart from Tish, is also a 'baby maker', thereby assisting the audience to see him in another light. A perceptive movie with many memorable scenes, THE BABY MAKER is not only an absorbing motion picture but also, makes viewers see the issue of infertility from all sides of the equation.

Overview: James Bridges was the director of eight motion pictures over a period of eighteen years. Generally dealing in dramatic themes with a nod to issues of the times, his movies deftly combined social awareness with stimulating entertainment values. Mr Bridges' second film, THE PAPER CHASE (1973) was about a young law student, and the ups and downs of his academic life. In particular it followed his relationship with his professor, and the blossoming romance between him, and the professor's daughter. SEPTEMBER 30, 1955 (1977) detailed the events in a life of a young man who was a fan of James Dean, and both his, and the reactions of his friends, to the actor's death. Next came one of James Bridges' most famous movies, THE CHINA SYNDROME (1979). A tense exploration of events at a nuclear plant, and the cover up about certain safety procedures, it was a box-office success that also enjoyed considerable critical praise. 

Mr Bridges' fifth film, URBAN COWBOY (1980), was a change of pace for the director. A character study of a young man and woman, with western and country music overtones, it nevertheless made money, and was an interesting addition to the director's oeuvre. Unfortunately, James Bridges' next movie, MIKE'S MURDER (1984) was not as notable. The story of a woman investigating the death of her lover, discovering things she never knew about him, was not a financial success for its studio. James Bridges' penultimate film, PERFECT (1985) also did not perform as well as expected at the box office. The story of a reporter composing a piece on fitness clubs, then becoming involved with an aerobics instructor, did not resonate with the public and lost money, critical opinion anything but friendly. The final film of James Bridges, BRIGHT LIGHTS, BIG CITY (1988) was a drama about a young writer in New York City, especially concerned with his drug addiction, and emotional issues. As with his previous two movies, it was not a money-maker, and received with mixed critiques. THE BABY MAKER, being James Bridges' first motion picture, was one of his better projects, and an insightful film.

James Bridges has crafted a movie that approaches the delicate subjects of surrogacy, and infertility, with a humanistic, sympathetic slant. Mr Bridges ensures that the audience comprehends the feelings of all parties involved in this exchange, which is one of the best features of the film. THE BABY MAKER makes crystal clear exactly what married couple Suzanne and Jay are seeking to make their lives complete, which is a child, and how Tish is the one who can assist them with this. The narrative is nicely-paced, and fluidly moves from one situation to another with ease and precision. One feels as they are being afforded an intimate glimpse into the lives of these characters, with a level of depth that makes them three-dimensional. While a dramatic film at heart, THE BABY MAKER is not all gloom and doom, which gives it an easy watchability. There are some lightly humorous sequences which meld well with the more serious stretches, but these are not antic-based in nature. Everything is pertinent to the characters, and where they are in their journey. Some of the information relating to pregnancy and surrogacy, though, may be dated in retrospect, but this is irrelevant overall - the intention is to inform the audience, which is an achievement that should not be underestimated. THE BABY MAKER does have a number of positive facets such as those mentioned, but there are some aspects which needed further work.

It is admirable that THE BABY MAKER dives into the story, immediately letting audiences know of the movie's burning issue, but the lack of a prologue from the characters is a little jarring. Scenes which could have established Tish's thoughts on surrogacy, and Suzanne and Jay's likewise on their situation, would have added immeasurably to a sense of smoothness in the beginning of the film. On the other hand, there are some scenes which could have been shortened, as they do not do much for the film. The sequence where Tish is in the nightclub with the music blaring, and psychedelic images popping on the screen is something which skillfully reflects late 1960s/early 1970s culture, but the imagery in this segment is a little too much. Similarly, the protest scene feels as if it has just been added in for social relevance purposes, but it is also extraneous. The only real meaning to be gleaned from this was that it showed Jay was not as cool emotionally as first thought, as he jumps to Charlotte, and the crowd's, defense.

THE BABY MAKER, in all, works best when it explores those little moments of keen character interaction. Scenes such as Tish's visit to her mother and grandmother in the trailer, and Tish trying to make Jay breakfast, but not succeeding, are all excellent. They give the audience character information to savor, and relish for its honesty. These particular sequences have a sense of emotional veracity which give the characters added dimension, and are surprising in, and of themselves. In summing up, there are some things which can be said about THE BABY MAKER as a movie. Although the film does have its lapses, overall, THE BABY MAKER is an engaging motion picture that deals with a difficult topic in a truthful, forthright manner.

Acting: Acting in THE BABY MAKER is of a high standard, with several earnest performances standing out. In the lead role of Tish, Barbara Hershey contributes another complex character to her cinematic credits. What could have been a one-dimensional hippie girl is made into a flesh and blood person in THE BABY MAKER, whose innermost emotions and thoughts have been laid bare to the audience by Miss Hershey. Collin Wilcox Paxton, as Suzanne, the woman wanting a child, but unable to conceive, makes her feelings of inadequacy, and sadness, transparent to the audience without overt shows of emotion. Her quiet reactions to situations, such as Jay's growing connection to Tish, makes them all the more heartrending. As Suzanne's husband Jay, Sam Groom is an actor whose polished presence in the movie gives it another layer of intricacy. While in the beginning it appears Jay is uncomfortable with his part in the conception of his child with another woman, Mr Groom's facial expressions, and eyes, say this without any dialogue, his subtle personality slowly weaving its way into the movie. Jay is a low-key character with a warmth that wins over not only Tish, but the audience as well. There are three other performers who make also their mark in THE BABY MAKER.

As Tad Jacks, Tish's boyfriend, Scott Glenn is another multi-faceted protagonist, and a polar opposite to Jay. Where Jay is reserved and gentlemanly, Tad is working class, and brusque. There are also telling contrasts between the sexuality of THE BABY MAKER's male characters which are of note. Jay is only depicted shirtless within the confines of his marriage, and with Tish at the swimming pool; a 'safe' masculinity. On the other hand, Tad is shirtless for much of the movie, and naked in some scenes. There is the concept posited that Tad's 'dangerous' masculinity is not within the parameters of suburban morality, and Scott Glenn plays this for all it is worth in the movie. As Mrs Culnick, who brings Tish into the lives of Jay and Suzanne, Lili Valenty is authoritative as the initiator of the couple's surrogacy agreement, her diplomatic manner adding a touch of class, and Europe, to the movie. The final performance of note is by Phyllis Coates as Tish's mother. Despite being featured in only a handful of scenes, Miss Coates makes her presence felt as Tish's knowing, humorous mother.

Soundtrack: THE BABY MAKER does not have a soundtrack laden with tunes, which works to give the scenes, especially the intimate conversations between characters, appropriate space. The most notable piece is Fred Carlin's 'People Come People Go' which, as with many 1970s movies, is played at both the beginning, and end of the film. It gives the movie a bittersweet, melancholy feel when taking into account what has occurred between both points of time in the film.

Mise-en-scene: THE BABY MAKER is beautifully photographed courtesy of cinematographer Charles Rosher Jr., who makes the pretty California locales appear picturesque without disintegrating into a travelogue. There are scenes at the beach and at the theme park which are not too bright, but thankfully blend into the movie as a whole. Regarding Raymond Paul's set design, he makes clear effective contrasts between Tad and Tish's scruffy artist's den, and Jay and Suzanne's lush home, with its modern appliances and furnishings. Aside from set design, costuming has also been well utilized to make certain points about characters in THE BABY MAKER. The economic, and social differences between both couples are also evident in their apparel. Jay and Suzanne's costuming is refined and classic, while Tad and Tish's is of the early 1970s, more laidback and funky, with mini dresses and long hair for both sexes the order of the day.

Notable Acting Performances: Barbara Hershey, Collin Wilcox Paxton, Sam Groom, Scott Glenn, Lili Valenty, Phyllis Coates.

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

Overall Grade: B

Link: IMDB Page

Movie Excerpt

INTERVIEW WITH SCREENWRITER DAVID SALE

I have the great pleasure today of welcoming a very special guest, screenwriter David Sale, to CINEMATIC REVELATIONS for an interview. David was the writer of both the big-screen version of NUMBER 96 [my review of the film can be found here] and the series, and creator of the serial. He also has credits in Australian television, particularly as writer and executive producer of The Mavis Bramston Show. In this interview David will be discussing his role as writer in the NUMBER 96 movie, screenwriting, and acting, and moviemaking.

Welcome to CINEMATIC REVELATIONS David!

Athan: Where did you learn the art of screenwriting?

David: My only lessons were from watching movies. I was a film fan from childhood. I believe that the ability to write is an in-born talent. Even in primary school, my little essays were read out to the class by our teacher. I loved thinking up stories then writing them down. Teaching courses can channel the ability to write into special fields such as books or screenwriting, but the basic talent has to be there. I had no training at all.

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Athan: Where did you study acting?

David: Again, I had no formal training. My parents and I were migrants from Manchester. I wanted to be a journalist, so started a cadetship with the ABC News Dept. in Melbourne.  However, I drifted into acting with a suburban amateur group, then I graduated to the Melbourne Little Theatre where I part-wrote and performed in two hit revues. I decided to go back to England to become a professional actor where nobody could laugh at me if I failed. Almost immediately I did a summer season of weekly Rep in Bognor Regis, then played the murderer in Agatha Christie’s The Mousetrap in a British Council tour to Malta. Back in London, I played Malcolm in Macbeth, various bits on TV and two “B” grade movies. I was up for a part in Coronation Street thanks to my dormant Lancashire accent, but that meant going back to live in Manchester where it was filmed and that seemed like a backward step. Homesickness for Australia won out and I came back to Melbourne, resuming and combining  the writing for TV (In Melbourne Tonight etc.) with acting - more revues, a Melbourne Theatre Company tour of And the Big Men Fly, and a year understudying the King in a lavish production of The King and I. (I never got to go on, thankfully - I was under rehearsed and too young for the part). I was content playing his “secretary, Phra Alack. Then I switched to Sydney, just in time for The Mavis Bramston Show, and my career REALLY took off!!!

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Athan: NUMBER 96 was the top-rating show of the early 1970s in Australian television. How did the concept for a film version eventuate?

David: It seemed a logical step. The TV series was still in black and white. Film offered the opportunity of colour - and to producers Cash-Harmon the chance to make even more money by capitalising on the TV series’ phenomenal success.

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Athan: I found the intertwined stories of drama, and comedy entertaining in the NUMBER 96 movie. How did you select the stories which made their way to the screen? Were there stories proposed for the movie that could not be presented for reasons such as time constraints?

David: Script Editor Johnny Whyte and I collaborated on the screenplay. Over a week-end, we thought up individual; and entertaining plots that suited the characters and could all be resolved in two hours instead of being strung out over numerous episodes. Johnny and I then just took blocks of storyline to script and these dovetailed perfectly into the whole because we knew each other’s work - and our subjects - so well.

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Athan: What did you most enjoy about the experience of filming the NUMBER 96 movie?

David: I had little to do with the actual filming once our screenplay was handed over. The actual filming was a breeze for everyone involved. It was completed in two weeks by actors familiar with their parts, on the existing studio sets,  A few outdoor scenes were included, it rained on two of the exterior filming days, but the film still came in on time and - reportedly - under budget.

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Athan: What were the main differences for you in the NUMBER 96 movie as compared to the television series?

David: There seemed little difference to me. I was writing for characters I’d created and knew off-by-heart. Except for when it hit the big screen of course, I was able to experience the incredible reaction of the live audiences first-hand, attending the various premieres. Not only were they seeing their favourite characters in colour, but as each character made his or her first appearance, there was a deafening wave of applause as if it were a stage show. I found that quite moving.

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Athan: What for you was the most demanding, but emotionally satisfying segment of writing the NUMBER 96 movie?

David: I don’t want to diminish the task of doing the movie, but really it was just like writing an extension of the series. The veteran Hollywood screenwriter, Casey Robinson, had come to live in Australia and became a friend. He’d been prolific at Warner Bros during Hollywood’s Golden Years and wrote many of the Bette Davis hits such as Now Voyager and Dark Victory. He was sitting nearby at the Sydney premiere, and I wondered apprehensively what he would think of our humble offering.  He said: “Good work - you’re giving the people exactly what they want!”

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

David: Sadly, many of the participants of Number 96 have passed on, but we survivors are like family. I’m still regularly in contact with Sheila Kennelly, Carol Raye, Lynnie Rainbow and others.

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Athan: NUMBER 96 was directed by Peter Benardos, who also directed the series version of Number 96, and was his only feature film. What was your experience working with Mr Benardos on the movie?

David: As I said, I had little to do with the actual filming, but Peter Benardos was the utter professional who had worked efficiently on countless episodes of the series as director, so I knew the movie was in safe hands.

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Athan: NUMBER 96 the movie was one of the top-grossing Australian films at the box office in 1974. How did it feel seeing the characters, and stories you created on the big screen?

David: Top grossing. Thereby hangs a murky tale! Our contracts stipulated that Johnny Whyte and I split the $10,000 for the screenplay into $5,000 each, but also that we were to receive a small percentage (I forget how much) of “the producer’s gross profit.” Thanks to some fancy manipulation in the world of accountancy, Johnny and I never received another cent! We were either so naïve or carried away by success, we let it pass.

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Athan: You had a bit part in the 1959 American movie ON THE BEACH, which was made in Australia by United Artists, and directed by Stanley Kramer. The film starred American screen actors Gregory Peck and Ava Gardner in major parts. What was it like making the movie, and meeting these luminaries?

David: I was still a cadet reporter on ABC radio News when I “took a sickie” to answer a casting call for a day’s ‘extra’ work in On the Beach. Every actor in Melbourne had put their name down, but ended up in street crowd scenes. I was fortunate enough - I know not why - to be called as a guest on a confined set - a great opportunity to see the four major stars work. It was actually Fred Astaire’s big scene, and he was a little withdrawn and worried about remembering his lines, but managed to lighten things up by doing a few incongruous tap steps. Watching off-camera, a hand clapped on my shoulder.  I looked up and Gregory Peck smiled down at me.  “I gather we’re all doomed”, he joked.   Little did I know that in later years I’d be great friends with his ex-wife, Greta. Ava Gardner was also friendly. During a break, she flopped down in the chair next to me on the ‘veranda’ of the fake house the party was in. She was complaining to her hairdresser that she never got letters from friends at. home.  Her hairdresser said: “But Ava, in order to GET letters, you also have to SEND them.”   Ava turned to me. “I can’t write - I can’t even spell.”  “Why don’t you use a dictionary?”  I suggested. She patted my knee. “The words I wanna use aren’t IN a dictionary!” she replied with a naughty wink. It was a magical day for me.

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Athan: You also acted in two British films from 1960, JUST JOE and CROSSROADS TO CRIME. How did you feel in the capacity of actor in these movies?

David: I felt comfortable immediately and quickly learned the trick of blotting out the looming camera and about a dozen crew members crowding intently it  seemed like just inches away…and instead I just concentrated on the person I was swapping dialogue with. In Just Joe the other person was Jon Pertwee, who was later to become one of the “Doctor No’s” or “Who’s” or whatever he was called.   He was very kind and put me at ease in the six scenes we shared together. I played his assistant in a soap factory. And I was able to repay his kindness in a final scene when he had to stay completely submerged in a vat of soapy water until I had delivered the tongue-twisting line: “It’s the black speckles in “SQUIZZ” that make every day a white washday!” I did it in one take, for which Jon was truly grateful.

My bit (blink and you’ll miss me) in Crossroads to Crime led to a lifelong friendship with the wonderful Miriam Karlin. During a break, she motioned me over to where she was sitting and asked for my name and phone number. She thought I was just the type when replacements became necessary in the hit show she was starring in - Fings Ain't What They Used to Be. Nothing came of this kind gesture, but when she came to Australia she remembered me and when she heard of my writing she insisted on my doing all her special material in The Mavis Bramston Show.

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

David: I came to live in Queensland [Australia] to take it easy. but a writer never retires. There are always intriguing ideas and potential plots buzzing around in a writer's mind, so one never knows….

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Thank you so much today for your time David, and for the understanding you have provided into the art of screenwriting, acting, the NUMBER 96 movie, and moviemaking. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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David Sale links

+David Sale IMDb Page

+NUMBER 96 movie IMDb page

INTERVIEW WITH ACTRESS MANUELA THIESS GARCIA

Today I have the immense pleasure of welcoming a very special guest, actress Manuela Thiess Garcia, to CINEMATIC REVELATIONS for an interview. Manuela has acted in several motion pictures over the years including BUCKSKIN, CHANGES [my review of the film can be found here] and TERROR CIRCUS. In this interview Manuela will be discussing her part in CHANGES, acting, theatre, and her passion for photography, poetry, and writing.

Welcome to CINEMATIC REVELATIONS Manuela!

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

Manuela: I started studying acting at around age 22.  I had actually had a bit of an aversion to acting before that as I did not want to enter my parents’ profession.  But perhaps because I moved to Laurel Canyon, Hollywood rubbed off on me in spite of myself. 

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Athan: Where did you study acting?

Manuela: I studied method acting with Estelle Harman for several years and Guy Stockwell after that before joining Ralph Waite’s L.A. Actor’s Theatre.

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Athan: What did you find most exciting about the experience of making CHANGES?

Manuela:  Truthfully, I had a mad crush on Kent [Lane], and that certainly made working on the picture titillating.  In addition, it was my first film and that made every moment a new and exhilarating experience.   

A day that was more than a little exiting was when I had to walk into the ocean to drown myself.  I had nearly drowned in the ocean as a teenager and I was terrified of the waves.  That was a helicopter shot and so there was nobody down there on that rocky beach but myself.  Plus it was freezing in Big Sur (I think it was February), and I had to do the scene several times in clothes that were soaking wet.  I was glad when that day was over.

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Athan: Your performance as the loving, sensitive Bobbi in CHANGES, who makes a decision which irrevocably changes her life, was excellent. For you, what was the most demanding, but emotionally satisfying segment of filming CHANGES?

Manuela:  When I had to cry.  I hadn’t cried in my personal life in years.  To conjure those tears took some doing, especially in front of the whole crew, but it felt really good to have been able to do that.

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

Manuela: No, I have not, though I have occasionally tried to google one or two of them to see what they were up to.

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Athan: CHANGES was directed by Hall Bartlett, also notable for films such as ALL THE YOUNG MEN, THE SANDPIT GENERALS, and JONATHAN LIVINGSTON SEAGULL. What was it like being directed by Mr Bartlett in CHANGES?

Manuela:  At the time, I was young, self-obsessed and foolish and had no idea what a truly extraordinary man I was working for. Hall struck me as an all round decent human being and he was kind to me, as he was to everyone, but I had little appreciation for the talent he had and what a true artist he was and continued to be.  Nor had I been aware that he had graduated Phi Beta Kappa from Harvard, which I only found out when I read about him in the Wikipedia.

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Athan: You have worked on the stage in various productions years ago, also writing several plays. What for you most stood out when comparing the theatre, and film?

Manuela:  My mother started out to be a stage actress, and she had had a love for that, which I think prompted me to want to try it.  It’s really impossible to compare the two mediums.  Stage acting requires perhaps more agility, for if you forget a line, or someone else does, you have to be quick on your toes and work around that.  But there is also a lot of repetition of the same script over and over, even given the small variations night to night.  In film acting, you have to let your emotions show in a way that stage does not demand, and although you sometimes have to do retakes, the action moves much faster. And for closeups, there is no cheating allowed.

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Athan: You have been a photographer for many years, your photos capturing both the beauty, and different facets of cities such as Barcelona, Spain, Cologne, Germany, and Paris, France, to name a few examples. What is it that you find most exciting about photography?

Manuela:  I wrote a poem about that, I think I posted it on my website.  In photography, you can capture a split second in time.  I often feel like a thief, though I rarely know what I actually stole until I get home and have a chance to review what I shot on the computer as I shoot digitally.  That keeps it adventurous and exciting for me.  

I find by studying the faces of strangers (for I shoot random people on the streets more often than not), I get more understanding and compassion for our misbegotten species with all its flaws and imperfections.  

As for scenery, the sky and the circumstances constantly change, so like with expressions, capturing of a moment in time that will never repeat.

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Athan: Your website features poetry and writing pieces by you, dealing with a number of themes, especially your thoughts on life. How does poetry, and writing make you feel?

Manuela:  Writing, whether in journals, small essays, one act plays or poetry, has been a great emotional salve for life wounds I would otherwise not have had a chance to allow to heal.  I highly recommend it as a therapeutic tool for anyone working through emotional distress.  It has a way of putting confusion into a more rational perspective.  Also, by sharing those experiences with others, there is a kind of cleansing, and a way of ingraining into my subconscious what I have learned and continue to learn each day, for the journey doesn't stop until we stop breathing, once and for all. What happens after that remains a tantalizing mystery, does it not?

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Athan: You have also taught in the California Department of Corrections, and as a Suicide Prevention Counselor. What it is that you found most enriching with these challenging, but rewarding positions?

Manuela:  At the Suicide Prevention Center I only worked as a volunteer counselor for around 8 months, and I had to quit when I started to get too many nightmares, specifically about callers which worried me when they hung up, which they did once in a while. But it helped me get insight into my own suicidal impulses as well as later when I worked in the CDC to be able to recognize those potential impulses in my students.

I worked for the California Department of Corrections for 15 years, and I loved that job.  I have never been good with bureaucracies and I riled against the administrative aspect of of the job, but I was fond of my students (for the most part) and of my fellow teachers. It was kind of like being stranded on an island together once those bars clinked shut.  

I learned a great deal about crime and punishment and the counter productivity of the American penal system.  The experience has given me an appreciation for the Restorative Justice model of corrections.  The U.S. had more people incarcerated per capita than any place in the world.  Think of that.  The land of the free and the home of the brave?

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

Manuela:  I have another local exhibit coming up and my husband and I just opened a gallery here in Guanajuato featuring my photography but other local artists as well. In addition, I am working to finally gather all my poems and put them in a book. I will keep my website updated.  If you are ever in Guanajuato, come and share a coffee with us at our gallery.  And thank you, Athan for taking an interest in my work and asking me to participate in this interview.

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Thank you so much for your time today Manuela, and for the insight you have provided into the art of acting, CHANGES, cinema, theatre, photography, poetry and writing. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Manuela Thiess Garcia links

+Manuela Thiess Garcia IMDb Actress Page

+CHANGES movie IMDb page

+Manuela Thiess Garcia Official Website

+Manuela Thiess Garcia Instagram page

+Manuela Thiess Garcia Facebook page

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Manuela Thiess Garcia clip from Death Valley Days

CHANGES (1969)

Title: CHANGES

Year of Release: 1969

Director: Hall Bartlett

Genre: Drama, Romance, Counterculture

Synopsis: A young man seeks to find himself, taking to the road, and having a number of experiences, and relationships, along the way.

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was a confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies, it has a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating, to name a few. It led to a sequel in 1970, being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. 

Another raucous picture was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. SKIDOO (1968), directed by Otto Preminger, was an all-star comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, but not a financial success in its original release. Bob Rafelson's HEAD (1968) was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a deaf young woman looking for her brother in San Francisco, and how through this search she encountered wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. CHANGES distinguished itself from the other movies with its lusher, more romantic, clean-cut orientation, but still shared some elements from the previous counterculture movies.

The movie very lightly touched upon the counterculture movement with its main character, university student Kent, railing against authority, and what he perceived were his parents', and the generation of his parents', preoccupation with the straight and narrow, money and status. This was seen to be to the detriment of freedom, spontaneity, and happiness. This in-depth narrative treatment was a contrast to the more frivolous, shallow views of counterculture ideals espoused by examples such as GREETINGS, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS. The characters in these movies, in some cases, were two-dimensional, in comparison to the full-blooded characterization of Kent, and his emotional battles. It was not rebellion just for its own sake in CHANGES. The rebellion was a culmination of feelings, perceptions of the world, and personal experiences which make Kent want to abandon the safety of his world, and experience unfamiliar things in life. Other facets of the movie are also worth discussing for how they are unlike those of other counterculture movies.

While many of the films in the genre utilized drugs, and drug-taking, in a somewhat flashy and exploitative manner, to appear fashionable or trendy, such as THE TRIP, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS, in CHANGES they receive fleeting attention. It appears that Kent did experiment with drugs at one stage, which he admits to his shocked mother, but drugs are not given the exhaustive treatment the other movies provided. In CHANGES, drugs were something Kent tried but did not continue, and, aside from one scene in the movie depicting the use of these, that is where the references to narcotics end. It is more about a phase that came and went for the protagonist, instead of drugs being the focal point in the movie. In addition, other counterculture themes and motifs receive a different airing in CHANGES. While there are some views of student protests in the movie, and the final credits include images of what was taking place in the world in the late 1960s, CHANGES does not go overboard in this respect. It was mainly about Kent's journey, and what he gleaned from these experiences, rather than a wholesale examination of counterculture values rising to the fore. A novel take on counterculture movies, CHANGES is a great film.

Overview: Hall Bartlett directed nine feature films over a period of twenty-three years, with some action movies, and more thoughtful fare interspersed. Mr Bartlett made his debut with UNCHAINED (1955) which was about a prisoner who wants to go home after serving out his sentence, but is enticed to escape from jail. Next came DRANGO (1957) which was a western set during the American Civil War, and the effect a Union officer's presence has on a small Georgia town. In ZERO HOUR! (1957) various incidents occur in an airplane such as the food poisoning of passengers, which also affects the flying crew, and how a man is forced to take over the operation of the craft. ALL THE YOUNG MEN (1960) dealt with the Korean War, and how a black sergeant takes over a squad of both white, and black soldiers, which brings about much racism and dissent. In total contrast, THE CARETAKERS (1963) charted events in a mental health facility, particularly affecting the patients, and personnel such as psychiatrists, and also, the chief of staff. THE SANDPIT GENERALS (1971), set in Brazil, was the examination of disadvantaged young people, and the dangerous, illicit activities in which they indulge. One of Mr Bartlett's most famous films was JONATHAN LIVINGSTON SEAGULL (1973), and his penultimate movie. It was the inspirational story of a young seagull whose exploits make him unpopular with his own flock, but eventually finding his way in life. Mr Bartlett's final motion picture, THE CHILDREN OF SANCHEZ (1978) was the character study of a man in Mexico City, detailing his family life, especially his strained relationship with his daughter, who wants to move away from him, and his arduous life. CHANGES was Hall Bartlett's sixth film, and one of his best efforts, sharing the perceptive thread that marked all his output.

Hall Bartlett has made a ruminative movie, essentially a character study, about a young man in the late 1960s who is seeking to find out who he is, his thoughts about the world, what he wants from it, and discover his place in the universe. CHANGES is a carefully-made narrative which is sensitive to not only its lead protagonist but also, the supporting characters who come into contact with him. The viewer finds out exactly why everyone acts, says, and does what they do, which gives the movie a sense of clarity and comfort. It unfolds in a naturalistic manner, without overt melodrama, but with many emotional, and truthful moments. While the film has a leaning toward the soft, and romantic in its storytelling, this is refreshing in an era when 'everything hung out' in cinema, to use the term. The amorous scenes, and interludes in CHANGES are not empty or schmaltzy, but always backed up by the feelings of its characters, and where they in that particular time. There are no exploitative bed scenes or nudity, which gives CHANGES a feeling of lightness, away from overt permissiveness. The movie could also be seen as a male wish fulfillment story, in that it charts Kent's relationships with three very different women, but the film's grounding in emotions, rather than painting Kent as a Lothario, works. While CHANGES has many virtues, there are some features which reduce what could have been an excellent motion picture, into one which is very good.

The story of Julie and Kent's love affair is the one story which is fully fleshed out, and most satisfying in terms of its execution. In comparison, Kent and Bobbi's relationship, while beautifully portrayed, would have benefitted from extending. One understands why Bobbi takes the decision she makes, but it would have been even better to have seen more of her, and her union with Kent. There was more that could have been showcased in terms of Bobbi's mental state, and slow descent into depression. In addition, Kent's short spell with Kristine was too abbreviated; as with his time with Bobbi, but it may have acted as a bridging device to the next relationship, and learning experience, with Julie. There is the implication that three sides of Kent were explored in CHANGES; with Bobbi he was selfish, with Kristine becoming more rounded as a person, but with Julie, he was considering her more for a long-term union, but was still uncertain of himself. While this may have been the intention of the film, it still leaves Kent and Kristine's story slightly undeveloped. Despite these flaws, one thing is for certain about CHANGES. It is a sincere film that deserves a higher reputation than it has had over the past fifty years, especially with reference to its director, cast and crew.

Acting: The performances in CHANGES make the movie a convincing experience. In the lead role of Kent, Kent Lane is completely believable as the confused young man who wants to find out more about himself, but keeps running into roadblocks. As Bobbi, the first of the young women involved with Kent, Manuela Thiess Garcia vividly creates a loving young woman seeking love from Kent, but finding herself unable to accept his rejection. The most affecting of the acting portraits in the movie, Miss Thiess Garcia's interpretation of the sensitive Bobbi is a standout. The enterprising reporter Kristine is played with ease and charm by Marcia Strassman. While her relationship with Kent is all too short on screen, Miss Strassman does a great job as the clever Kristine. The final acting of note in CHANGES was by Michele Carey as Julie, Kent's last flame in the movie. Her Julie was full of passion, flightiness, humor and fun, and Miss Carey perfectly captured the restless nature of her multi-faceted character.

Soundtrack: CHANGES features a number of introspective late 1960s tunes on its soundtrack. One of the most notable is Tim Buckley's 'She Is', which is played during the scenes with Kent and Bobbi on the beach. The other tunes are all suitable to what is occurring onscreen without ever being a obtrusive, or blaring.

Mise-en-scene: CHANGES has great attention to detail with what is presented in front of the camera. Cinematography by Richard Moore takes advantage of beautiful California locations, with picture-perfect beaches, mountains, and other landscapes stunningly captured. Costuming is another highlight, with elegant garments worn by actresses courtesy of Angela Alexander, and actors dressed by Wesley Jeffries. The wardrobe department has selected apparel which still appears graceful and stylish after more than a half-century, which is in stark contrast to many films of the period with clothing which seems dated, and of their era. 

There is, though, one section of the movie which is discordant in retrospect. The closing credits are one aspect which does not mesh with the film overall. While it sums up the mood of the epoch in terms of events and subjects, it would have been more appropriate instead having Kent walking on the beach, thinking about his life. It feels slightly forced, as the movie itself included references to what was taking place at that time in the world, and displaying it in this manner is unnecessary.

Notable Acting Performances: Kent Lane, Manuela Thiess Garcia, Marcia Strassman, Michele Carey.

Suitability for young viewers: Parental discretion advised. Adult themes.

Overall Grade: B

Link: IMDB Page