THE MARRIAGE OF A YOUNG STOCKBROKER (1971)

Title: THE MARRIAGE OF A YOUNG STOCKBROKER

Year of Release: 1971

Director: Lawrence Turman

Genre: Comedy, Drama

Synopsis: A stockbroker's voyeuristic tendencies cause a wedge between him and his wife, his vocal sister in law another of the thorns in their relationship.

Within a film history context: Films which explore voyeurs, and voyeurism, can be found in cinema over the years. While many films feature fleeting voyeurism within their structures, movies that focus more intensely on the topic were present from the 1950s. One of the first to deal with voyeurism was Alfred Hitchcock's REAR WINDOW (1954). A man with a broken leg watches his neighbors through a telescope, and witnesses many and varied events. VIOLENT SATURDAY (1955), directed by Richard Fleischer, among its various stories, had a bank employee watching a woman undressing by the window in the evening. More blatant in the treatment of its themes was Michael Powell's PEEPING TOM (1960). In this movie, a psychopathic man lures women in front of a camera, and records their reactions to the impending deaths. Somewhat violent for its time, and accused of tastelessness by many, it nevertheless set a precedent for cinematic explorations of voyeurism, obsession, and murder. In a similar style, but with less of a concentration on voyeurism than PEEPING TOM, PSYCHO (1960), directed by Alfred Hitchcock, featured a scene in which Norman Bates spies on Marion Crane while she is undressing. A much more comical take on voyeurism was on show in H. Haile Chace's PARADISIO (1962). In this bawdy comedy, a professor owns sunglasses which allow him to see through the clothes of other people, with a number of consequences for the lascivious professor.  Several other films of the 1960s, and early 1970s looked at voyeurism in different ways.

BLOW-UP (1966), directed by Michelangelo Antonioni, was about a photographer who takes images of two lovers in a park, only to discover that he has inadvertently photographed a murder. Similar to REAR WINDOW in that a voyeuristic protagonist utilizes equipment to spy, and discovers something more sinister than he ever expected, BLOW-UP is one of Mr Antonioni's best-regarded films. Brian de Palma's GREETINGS (1968) had a main character, a filmmaker, Jon Rubin, with a penchant for peeping on women. This was continued by the director in his follow-up, HI, MOM! (1970), charting the further furtive adventures of his character Jon Rubin. An entirely contrasting tone was employed in CARRY ON CAMPING (1969), directed by Gerald Thomas. A small voyeuristic component was evident in the peeping by the male characters into the female changing rooms at the camping site, with hilarious results. It was the one film in the list where matters were more of a comical nature. Milton Moses Ginsberg's COMING APART (1969) had more in common with PEEPING TOM in the treatment of technology for voyeuristic purposes. A psychiatrist has a hidden camera in his home, and thus films his unsuspecting patients, capturing their innermost thoughts, and encounters with him, for his own sexual obsessions. COVER ME BABE (1970), directed by Noel Black, again uses technology, this time with a filmmaker whose voyeuristic eye films incidents such as a couple making love in a car, and others, for a film he wishes to make. THE MARRIAGE OF A YOUNG STOCKBROKER had an openly voyeuristic character as its lead, but deviated from the above examples in terms of its story.

The film, of all the above movies, is the most telling, thoughtful, and realistic of the voyeur genre. It is closest to real life, relationships, and emotions than other examples such as COMING APART and GREETINGS. In these films, the voyeurism is something that drives the narrative, but is not examined in terms of being particularly destructive to relationships, an arena in which THE MARRIAGE OF A YOUNG STOCKBROKER thrives. In THE MARRIAGE OF A YOUNG STOCKBROKER, voyeurism is treated as a problem for the characters concerned, but the film's unique handling of the matter, intermixing humorous and serious moments, gives the film both an edifying, but also, a lighter feel. It has not been intended as being a social problem picture, nor a comedy, but balances a fine line between the two in maintaining both entertainment value, and a sense of social conscience. Other features of the movie merit discussion.

In the case of THE MARRIAGE OF A YOUNG STOCKBROKER there is a nod to other films, such as the employment of a telescope in REAR WINDOW, and a camera in COMING APART, where the main characters use apparatus to view unsuspecting people. With THE MARRIAGE OF A YOUNG STOCKBROKER, though, William peers through binoculars to look at women, but, in the majority of other sequences, with just his eyes. It is a voyeurism that is out in the open for all to see, such as the bank employee's actions in VIOLENT SATURDAY, and largely not hidden from view. In addition, there is less of a sleazy subtext to William's actions than in films such as HI, MOM!, GREETINGS, PYSCHO, and COVER ME BABE. It is not voyeurism for the sake of voyeurism in THE MARRIAGE OF A YOUNG STOCKBROKER. There is more of an examination as to why William is peeping at other women, even though he is married. 

The reasons why William peeps are psychological in nature, and linked to deep-seated insecurities. Even though he is married to a sympathetic woman and has a high-paying job, he feels that something is missing, and thus indulges in this behavior. It is also revealed that this tendency began before he was married, which gives William's situation extra dimension. It is something acknowledged as occurring for some time, but William is unable to control it. Going beneath the surface of a situation is something the film does exceptionally well, and not treating the voyeurism as a gimmick. While it could be stated that the film ties up William's predicament too neatly at the end, one can witness events that make him change his view on life, such as his extramarital affair, and verbal sparring with the psychiatrist. The film's backwards and forwards plot movements provide unexpected twists and turns that make sense for the characters, giving it a true-to-life feel. The best of the movies dealing with voyeurism, THE MARRIAGE OF A YOUNG STOCKBROKER is a picture with depth, and one that justifies a higher reputation than what it has, and for its director.

Overview: Lawrence Turman is a prolific movie producer with many notable films to his credit, such as PRETTY POISON (1968) with Tuesday Weld and Anthony Perkins, I COULD GO ON SINGING (1963), starring Judy Garland, THE FLIM-FLAM MAN (1967) with George C. Scott, THE GREAT WHITE HOPE (1970), a showcase for James Earl Jones and Jane Alexander, and the box office success THE GRADUATE (1967). This film launched Dustin Hoffman's career, and was one of the pivotal movies of New Hollywood for its fresh approach to its subject of youth disenchantment. As director Mr Turman helmed two movies in his career, the second being SECOND THOUGHTS (1983), a comedy drama starring Lucie Arnaz as a woman involved in a complicated love triangle with two men. His first film, THE MARRIAGE OF A YOUNG STOCKBROKER, is the best of his two motion pictures for various reasons.

On first impression, THE MARRIAGE OF A YOUNG STOCKBROKER would appear to be a light romantic comedy, without a deep level of insight into its subject, but this is quickly dispelled once the entire movie has been seen. An adaptation of Charles Webb's novel to the screen by Lorenzo Semple Jr., it is a film that deftly balances comedic and dramatic elements with assurance, never becoming boring, but always real. The director has ensured that the action takes place in a rapid manner, but always with an attention to the feelings of his protagonists, making them understandable at all times. Mr Turman has also wisely steered away from making his main character into someone unrelatable and villainous. The viewer is with William throughout the whole film, and the best part of the film is seeing his feelings towards his life, wife, and voyeurism alter during the course of the movie. The film offers a message of hope to people whose marriages are in jeopardy that things can change for them, only if they change, will their lives improve. There are other features of the movie which warrant examination.

In an era when there was a loosening of on screen content in American movies, Mr Turman has succeeded in keeping THE MARRIAGE OF A YOUNG STOCKBROKER away from prurient and lurid aspects, which would have resulted in a much lesser movie. There is frank talk of sex, and life, which have a place in the movie, never seeming as if they are there for shock value, or the titillation factor. It is natural to the characters and their function in the narrative. The scene of adultery is handled excellently, without resorting to nudity and other tactics to draw in the viewer. In addition, the sequence at the adult film theatre is also well orchestrated and logical. While a scene from an adult movie is shown, much of it is obscured, mainly concentrating upon William's reaction to it, and what it means to him. The film does not have to go down the slippery slope of sex and nudity to make its points as it has a story, and involvement in the characters' journey takes precedence over everything else. The film is psychological in intent, and the spare, candid approach taken by the director makes it a winner. The best examination of voyeurism in film, THE MARRIAGE OF A YOUNG STOCKBROKER makes one wish that Lawrence Turman had directed further films in his career.

Acting: The trio of lead actors in THE MARRIAGE OF A YOUNG STOCKBROKER help to make it a thoroughly convincing film. In the lead role of William Alren, the stockbroker of the title, Richard Benjamin gives a mutli-faceted performance. Whether William is peeping, collecting his emotions, or battling his demons, Mr Benjamin is excellent no matter what the situation. As his wife Lisa, Joanna Shimkus provides the movie's most understated acting. This works as she is often a pawn between liberated older sister Nan and husband William, and her quiet contemplations and protests is a real contrast in the sparring and warring of Nan and William. As always, Elizabeth Ashley creates another full-blooded character in Nan, whose machinations and schemes give the film its spice and allure. An actress who knows how to make an indelible impression with her strong personality, this is a great showcase for Miss Ashley. Three supporting actors also contribute to THE MARRIAGE OF A YOUNG STOCKBROKER with their roles.

Adam West, as Nan's husband Chester, exhibits an ease and charm which makes him a delightful foil to the intrigues of Elizabeth Ashley's Nan. It would have been great to have seen even more of him in the film, but his limited appearance nevertheless has appeal. Tiffany Bolling, as the mysterious, monosyllabic woman who lures William into her apartment, is a distinctive performance that makes a definite mark. Hardly stringing together a single sentence in the time she is on screen, Miss Bolling is striking as the woman who makes William change his tune on his life, and wife. The final acting of note was by Patricia Barry as psychiatrist Dr Sadler. An actress who has a great facility with words, Miss Barry scores as the smarmy, emotionally manipulative doctor in her cameo role.

Soundtrack: Fred Karlin's pleasant score is typical of late 1960s and early 1970s filmmaking in its thoughtful, somber tone. An instrumental version of the tune 'Can It Be True' is played during the opening credits of THE MARRIAGE OF A YOUNG STOCKBROKER, and a version with lyrics performed by Linda Ronstadt at the film's conclusion. Incidental music as with many films is scattered through the movie, in scenes such as William being harangued by another driver in his car, and preparing for a peeping session on the beach some of the more prominent examples. 

Mise-en-scene: Laszlo Kovacs' cinematography is beautiful, especially highlighting the locations which the film spotlights, such as the pretty California beaches, and coastal town environs. Interior sets reflect the high socio-economic profile of its characters, with Nan and Chester's elegant mansion the standout. Costuming is naturalistic but elegant, in keeping with the characters and their distinctive personalities. Lisa's clothes are more demure than Nan's, whose apparel is more revealing, with short dresses and skimpy swimwear some of the outfits she sports, befitting her individualistic, headstrong persona.

Notable Acting Performances: Richard Benjamin, Joanna Shimkus, Elizabeth Ashley, Adam West, Tiffany Bolling, Patricia Barry.

Suitability for young viewers: No. Brief female nudity, adult themes.

Overall Grade: A

Link: IMDB Page

Trailer

RANCHO DELUXE (1975)

Title: RANCHO DELUXE

Year of Release: 1975

Director: Frank Perry

Genre: Comedy, Contemporary Western

Synopsis: The exploits of two cattle rustlers, and associated characters, in Montana.

Within a film history context: Contemporary, or neo-westerns, have often been featured in cinema history before RANCHO DELUXE. One of the first with a contemporary setting was Lew Landers' ADVENTURES OF GALLANT BESS (1948). The story of a man whose love for a wild horse gives him both great joy, and heartache, it also contained a romance component along with the drama. THE WALKING HILLS (1949), directed by John Sturges, was about a group of men searching for treasure in California, starring iconic western actor Randolph Scott in the lead role. One of the most famous of contemporary westerns was John Sturges' BAD DAY AT BLACK ROCK (1955). The tale of a man who comes to a small town in search of another man, loaded with secrets, gave lead actor Spencer Tracy a splendid role, with support from Robert Ryan, Anne Francis, Dean Jagger, and others. More modern in its execution was THE MISFITS (1961), directed by John Huston. The story of an over-aged cowboy, and his relationship with a divorcee, and his cowboy friend, was a triumph for Mr Huston, and cast Clark Gable, Marilyn Monroe, and Montgomery Clift. Despite being a box-office failure at the time of its release, it is now seen in a much better light for its direction, and performances. 

David Miller's LONELY ARE THE BRAVE (1962) was a character study of a cowboy, and Korean War veteran, who tries to aid the escape of his old friend by being arrested, and himself landing in jail. The surprise is that his friend is not willing to leave jail, which leads to a number of consequences for the cowboy. An excellent example of a contemporary western was HUD (1963), directed by Martin Ritt. In this movie, a reckless cowboy rubs everyone the wrong way in his pursuit of control over the family farm in Texas. A wonderful showcase for a cast including Paul Newman in the lead role, Melvyn Douglas as his harried father, Patricia Neal as their domestic assistant, and Brandon de Wilde as Mr Douglas' grandson, it is a well-regarded cinematic jewel. Several other movies were of note in the contemporary western genre.

Serge Bourguignon's THE REWARD (1965) was about a man who discovers that his friend is a wanted man, and wants his share of the money for his capture, but things become complicated as money people being involved in this situation, all seeking a share of the reward money. Interesting cowboy character portraits were provided by THE ROUNDERS (1965), directed by Burt Kennedy. Charting the rollicking adventures of two cowboys in Arizona, it gave leads Glenn Ford and Henry Fonda plenty of fun moments on screen. Peter Tewksbury's STAY AWAY, JOE (1968) was entirely different in outlook. Starring Elvis Presley as an American Indian rodeo rider, and his hijinks at the reservation, it included music and comedy elements, giving the film spice and fun. In a similar, but more irreverent vein, ZACHARIAH (1971), directed by George Englund, again combined music and comedy, but with a rock music background. The journey of two young men through the American west was handled with grace and good humor by the director, with philosophical interludes that gelled perfectly. 

Stuart Rosenberg's POCKET MONEY (1972) was similar to THE ROUNDERS in content, but, in its case, focused upon a cowboy becoming involved with an unscrupulous rancher, and cattle herding. JUNIOR BONNER (1972), directed by Sam Peckinpah, was among the more soft-pedalled of the contemporary westerns. This exploration of a rodeo cowboy, and his family and romantic conflicts, was a departure for its director from his heavier works. The fluid escapades of the main character, and supporting cast, were captured by Mr Peckinpah with grace and good humor. RANCHO DELUXE had more in common with ZACHARIAH in terms of its original approach to the contemporary western genre, but did not share that film's delivery of a solid storyline.

RANCHO DELUXE was eclectic with its story, having many characters and concepts, but, unfortunately, did not follow through with their execution in a decisive manner. Where examples such as HUD, JUNIOR BONNER,  and ZACHARIAH concentrated upon a central protagonist, the action flowing from them and their actions, in RANCHO DELUXE there were a number of characters, but, with its multi-character narrative, things became muddled in the lack of a clear point of view. Events occur, but impact is lost as the movie jumps from one incident to another in quick succession. This has the effect of making the film jarring, and convoluted in retrospect, lacking the necessary elements to make transitions smoother.

One never really gets to know characters such as Jack, despite the one scene which explains a little as to why he does what he does. The best scene that explored a relationship was the one where Henry Beige stops daughter Laura from singing at the dinner table, but such insightful views into characters are few and far between in RANCHO DELUXE. It feels as if the movie does not wish to spare the time to let viewers become more intimate with its characters, and feel for their journey. This is something that ZACHARIAH achieved with its philosophical leanings over the course of that movie, likewise with JUNIOR BONNER's exploration of his family woes. RANCHO DELUXE tries to be novel and offbeat, but barely succeeds with this ambition. If it reined in its excesses, such as the antics and forced humor, making the characters more understandable, and relatable, it would be a much better experience. Regrettably, the film is one of Frank Perry's lesser motion pictures, and a letdown when held up against his excellent early films.

Overview: Frank Perry directed fourteen feature films between 1962 and his final one being released in 1987. He generally made films which were character-driven in nature, peering deep into the psychology of his protagonists, making audiences understand situations on a more profound emotional level. His first motion picture, DAVID AND LISA (1962) was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963) which was centered around the effect of a possible nuclear attack on the students and personnel of a school. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964) and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). 

One of Frank Perry's most beautiful, thoughtful films was THE SWIMMER (1968). With Burt Lancaster in the lead role, it was a powerful, touching story of a man whose life had faltered, the viewer sharing his many past triumphs but also, his failures. Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969) made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on a lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before they divorced in 1971, but they made one more together which was notable in film history.

DIARY OF A MAD HOUSEWIFE (1970) told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, Mr Perry took on another story of emotional torment, PLAY IT AS IT LAYS (1972). In the intense style of DAVID AND LISA and LAST SUMMER, this movie showcased Tuesday Weld as an actress who has a nervous breakdown, and surveyed for the audience what led to her stay in a mental health facility. The remainder of Mr Perry's output was varied, ranging from the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford, to Mr Perry's final film, HELLO AGAIN (1987), a comedy-fantasy of a woman who dies, but is reincarnated by her sister. RANCHO DELUXE was not one of Frank Perry's best films, for a number of reasons.

It lacked that compelling emotional appeal that made his films such as THE SWIMMER, LAST SUMMER, and LADYBUG LADYBUG, to name a few examples, so memorable. The movie was intended to be more of an irreverent western with comic asides, but this consequently brought forth a number of issues. The lack of palpable human emotion, with the exception of several scenes, made the film hollow, and largely an exercise in tedium. There is a leaning towards comedy antics and while this can work in many cases, in RANCHO DELUXE it has the opposite effect. Events occur which should be amusing or funny to the spectator just fall flat. Certain plot points, such as Jack's sex romp with Betty, do not spin out as would be expected, or provide any further understanding of the characters. These mainly serve as cheap thrills for the moment without any regard for their impact on characters, and story. 

On the surface, RANCHO DELUXE seems to be hip and all over the place, busy and filling the screen with noise and activity, but, going nowhere special. This is due to having too many characters, and not properly spotlighting these in a measured manner. While other multi-character narratives, such as BAD DAY AT BLACK ROCK work, by offering audiences opportunities to get under the skin of their many characters, here matters are of a more slapdash, casual nature. If the film pruned back a number of characters, and consequently eliminated unnecessary scenes, thereby tightening the movie, RANCHO DELUXE would have been a much better viewing experience. It felt as if someone else had directed the movie instead of Frank Perry, making it unrecognizable as one of his films. Unfortunately one of Frank Perry's most disappointing movies, and a motion picture with little to recommend it, RANCHO DELUXE could have been better with a much firmer hand.

Acting: RANCHO DELUXE offers some of its performers excellent opportunities to shine, despite the film's lackadaisical presentation. Jeff Bridges, as Jack McKee, delivers a good performance in the film, but the role is a disservice to his considerable talents. He tries his very best to make the part better than what it is, but cannot overcome the inadequate writing of his character. Patti D'Arbanville, as Betty Fargo, also tries hard in the movie, but it seems more interested in showcasing her naked than getting to the heart of who she is, and why Betty is with Jack in the first place. Likewise, Sam Waterston is an interesting performer, but he also suffers from a lack of development in his character's actions. He could have been given meatier material to display his talent, but this never occurs. There are three actors, though, whose roles are more fleshed out in the movie, thereby assisting their performances.

Harry Dean Stanton, as Curt, gives another wonderful performance. As the lust-struck Curt, Mr Stanton puts his emotions on view for the audience to witness, as with his other movies, with excellent results. As Cora, wife of cattle man John Brown, Elizabeth Ashley commands the screen with her characteristic flair and timing. Whenever she is on it is akin to a breath of fresh air, and Miss Ashley adds intrigue and sass to the film that without her presence would have been even more turgid. The last performance of note was by Charlene Dallas in RANCHO DELUXE. As the seemingly prim Laura Beige, with a delicious name that speaks volumes of her character, Miss Dallas projects passion and conviction in her small role, this rounding out the prominent acting contributions in the film.

Soundtrack: The majority of tunes in RANCHO DELUXE are performed by Jimmy Buffett, most notably the theme 'Rancho Deluxe' at both the film's beginning, and end. 'Livingston Saturday Night' is featured in the bar dance scene, with Jimmy Buffett himself performing in this diegetic sequence. The remainder of the songs are played in a non-diegetic basis in the film which gives the film a western aura, with some unrelated incidental music scattered throughout the movie's run time.

Mise-en-scene: William A. Fraker's cinematography is beautiful, especially highlighting the vast landscapes featured in many scenes of RANCHO DELUXE. The color stock is natural, neither being washed out, nor too bright. One of the film's other authentic aspects is its mise-en-scene. Locations such as the interiors, and exteriors, of John and Cora Brown's farm, the western bar, and the town diner, for example, all work to give the viewer a clear visual canvas, and appropriate settings for the action.

Notable Acting Performances: Elizabeth Ashley, Charlene Dallas, Harry Dean Stanton.

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

Overall Grade: D

Link: IMDB Page

Movie Excerpt

INTERVIEW WITH ACTOR MITCHELL LICHTENSTEIN

I have the great pleasure of welcoming a very special guest, actor Mitchell Lichtenstein, to CINEMATIC REVELATIONS for an interview. Mitchell has acted in various motion pictures over the years, most notably in feature films such as THE LORDS OF DISCIPLINE, CRACKERS, THE WEDDING BANQUET, STREAMERS [my review of the film can be found here] and FLAWLESS, to name a few examples. Mitchell today will be discussing his role in STREAMERS, acting, and his role as film director.

Welcome to CINEMATIC REVELATIONS Mitchell!

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

Mitchell: In college. I had intended to major in “creative writing”, but took an acting class my first year with a great teacher – Larry O’Dwyer – and wound up never taking a single writing class.

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Athan: Where did you study acting?

Mitchell: First at that college – Bennington College in Vermont, than at the Yale School of Drama. And later on I studied with various teachers including Mira Rostova, who, infamously, had been Montgomery Clift’s acting coach, Marilyn Fried (who had taught Diane Keaton) and Milton Katselas.

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Athan: Your performance as Richie in STREAMERS was an excellent, nuanced portrait of a person who was, by and large discriminated against by the other characters, but always responded with understanding, and a lack of malice. How did you become involved in this project?

Mitchell: Through the customary route: auditioning. Altman later told me that he hired me for the role because I could blush on cue.

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Athan: The final sequences when Michael Wright, as Carlyle, lost his balance and embarked on a deadly rampage were shattering to witness in STREAMERS. From your point of view, how did you find filming these difficult, emotionally charged scenes?

Mitchell: The scenes leading up to – spoiler alert! – Billy’s murder were genuinely difficult emotionally for me and, I believe, for the other actors as well. More so than in other films because we were such a small, close group, and because we shot in sequence, so we lived the story in a way an actor really can’t in a normal film shoot. Shooting in sequence was financially possible for Altman because we were working in a single location (set).

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Athan: What did you most enjoy about the experience of making STREAMERS?

Mitchell: Robert Altman. All actors loved working with him. He had a genuine love for actors, for their work, their invention, their quirks – he appreciated and encouraged it all. Because of that, and because we trust his eye, actors are never more free than when working with Altman.

Also, I made some life-long friends on that shoot.

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

Mitchell: I’d say, my scenes with Michael Wright. Both because of the emotional complexity of David Rabe’s writing, and the genius of Michael’s performance.

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Athan: STREAMERS was shot in a limited, realistic set that intensified the action for viewers watching the movie. How did you feel about working in such a restricted film set without outdoor locations?

Mitchell: Just as the single location intensified the action for viewers, it intensified the action for us, too, so it helped us to feel the reality of what our characters were going through. It helped us to focus, too. No pauses in filming while moving from location to location, no distractions.

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

Mitchell: For years, I kept in contact with many, but some are gone now. David Alan Grier and I were in the same class at Yale, so I was already friendly with him. And Albert Macklin (who played Martin) and I became good friends.

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Athan: STREAMERS was directed by the renowned Robert Altman, and was one of his best-ever movies. What was the experience of being directed in the film by Mr Altman?

Mitchell: I touched on this a few questions back. I’ll just reemphasize that you’d be hard-pressed to find an actor who didn’t love working with Altman because of his love and support of actors, his artistic sense, and the relaxed yet focused tone of his set.

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Athan: STREAMERS was set during the Vietnam War in the late 1960s. Did acting in the movie prompt you to research this turbulent era in the United States?

Mitchell: I didn’t do any special research on the war, because Richie (and the other young characters) are pretty clueless about it themselves. I already knew a lot more about the war than Richie did, having grown up in that period. I marched on Washington against the war, and just missed the draft by a couple of years.

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Athan: You have directed three motion pictures so far, being TEETH (2007), HAPPY TEARS (2009), and ANGELICA (2015). What for you are the most satisfying aspects of directing a full-length movie?

Mitchell: Creating a world is what’s satisfying to me. So choosing and collaborating with all of the artists who help to do that is what makes movie making a satisfying and (mostly) joyful experience. Sometimes it’s border line surreal to watch actors I’ve long admired embodying characters I’ve invented (or adapted) and saying lines I’ve written: Parker Posey, Rip Torn, Demi Moore, Janet McTeer among them.

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

Mitchell: I’m writing a screenplay. And I’ve written a play, so if there is ever a post-Covid 19 when theater becomes possible again, I look forward – for the first time -- to creating a world on stage.

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Thank you so much today for your time Mitchell, and for the insight you have provided into the art of acting, STREAMERS, and film directing. It has been lovely to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Mitchell Lichtenstein links

+Mitchell Lichtenstein website

+Mitchell Lichtenstein IMDb Actor Page

+STREAMERS IMDb page

INTERVIEW WITH ACTOR DOUG MCKEON

Today I have the happy pleasure of welcoming a very special guest, actor Doug McKeon, to CINEMATIC REVELATIONS for an interview. Doug has acted on television and in various motion pictures over the years since childhood, most notably in feature films ON GOLDEN POND, NIGHT CROSSING, COME AWAY HOME, MISCHIEF [my review of the film can be found here] and UNCLE JO SHANNON, to name a few examples. Doug today will be discussing his role in MISCHIEF, acting, and his role as film director.

Welcome to CINEMATIC REVELATIONS Doug!

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

Doug: Athan, thank you for inviting me here. I first realized I wanted to be an actor after my stint on a soap opera called The Edge of Night. I played the role of Timmy Faraday over a three year span from the age of eight to eleven. The soap opera was a great experience for me, and I started to care more about the craft.

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Athan: Where did you study acting?

Doug: I never formally took any acting classes. Again, I credit The Edge of Night for challenging me as a young actor. My character, Timmy, was uniquely written at the time: His mother was mentally ill. After the parents got a divorce, she killed her husband and is sent to an insane asylum. Timmy is then adopted by friends of the family.

This narrative solicited many emotional scenes for my character, and it forced me to hone my ability as a thespian. The soap opera was an acting class in and of itself for me. I took much of what I learned at the time and applied it to other roles moving forward.

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Athan: You have been acting since childhood, making your debut on classic daytime suspense soap opera The Edge of Night. How did you balance acting and your school studies?

Doug: I was very fortunate to have the support of my school and faculty members. They understood my circumstance as a young actor was unique. I lived in New Jersey, but often worked in New York City. In the case of doing the Edge of Night, my teachers would provide me the homework assignments ahead of time and I would turn in the work a day later. However, if I had to leave school for an extended period of time (i.e. a month or two) in order to perform in a film, I would have a tutor with me and complete the lesson plans from my teachers during that time.

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Athan: Your performance as Jonathan in MISCHIEF was naturalistic and exuberant, a thoroughly convincing portrayal of a sympathetic teenager. How did you become involved in this project?

Doug: Even though I lived in New Jersey, I would occasionally fly out to California for a series of auditions. The same week I auditioned for Mischief I also auditioned for the film Mask (starring Cher). Actor Eric Stoltz and I landed up being considered for both movies. In the end, he was cast in Mask and Iwas cast in Mischief.

I remember actor Chris Nash was already cast in the role of Gene. I also knew the director, Mel Damski, from a short-lived television series I did called Big Shamus, Little Shamus with actor Brian Dennehy. Mel had directed our pilot episode. Both he and Chris were at my audition for the role of Jonathan. I flew back to New Jersey and was offered the job a week later.

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Athan: I was struck by the chemistry between Jonathan and Gene, and the sibling-like respect shared between Jonathan and Bunny in MISCHIEF. It felt as if I was watching real interactions in the film, and this was especially palpable during the final scenes with Jonathan, Gene and Bunny. What was the experience of working with Chris Nash and Catherine Mary Stewart?

Doug: Mischief was the most fun I’ve had making a movie. All the people involved, both cast and crew, were great to be around, and it felt like “one big family”. The camaraderie that all the actors shared during that time, in front of and behind the camera, was special. When we weren’t working, we enjoyed going to the movies together, shopping, dining, etc. The fact that I’m still close friends with Chris and Catherine is a testament to the bond we have after all these years.

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

Doug: I turned 18 years of age towards the end of the production. Even though I was an emancipated minor before officially becoming an “adult”, it was still a unique time in my career and personal life. I appreciated being on my own for the first time while making a film.

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Athan: What for you were the most demanding, but emotionally satisfying moments of filming MISCHIEF?

Doug: There isn’t one particular scene that stands out for me. I spent most of my scenes working with Chris, and I’m glad audiences can see how our characters grow throughout the story.

I think one of the most demanding aspects of making ANY film are the odd hours actors sometimes work. When filming “night scenes” we often are working until 4 A.M. I remember how cold it was outside when we were shooting the “chicken” scene between Gene (Chis Nash) and Kenny (D.W. Brown). Mischief had it’s fair share of night scenes and it required us to work long hours.

However, for me, the most satisfying thing about Mischief is how it still resonates with audiences even today. When you’re making a comedy you never know how well it’s going to be received (i.e. Is the audience laughing at this moment, or in this scene, etc.) and I’m glad people still enjoy watching the movie.

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Athan: Shooting MISCHIEF in a recreation of 1950s Nelsonville, Ohio must have been a memorable experience. For me as a viewer, apart from the acting, locales, production design, costuming, and soundtrack added just the right touch without feeling overpowering. How did it feel going back in time with the filming of MISCHIEF?

Doug: I love recreating the 1950’s. For me, it feels like “Innocence” personified. I grew up watching and enjoying the TV show Happy Days. To be able to dress in those clothes, listen to 50’s music, drive the old classic cars… it was a special time in our culture, and it’s fun as an actor to get a little lost in it.

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

Doug: Yes. While we were all close shortly after making the film, I’ve stayed in touch with Chris Nash and Catherine Mary Stewart to this day. I understand Jamie Gertz and her husband are owners of the Atlanta Hawks basketball team and I couldn’t be happier for her. However, it was heartbreaking for me when I learned Kelly Preston had passed away. She was a beautiful person and actress. Unfortunately, I didn’t see Kelly very often over the years as she led a more private life, but it was nonetheless shocking for me when I heard the news.

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Athan: Noel Black did a wonderful job writing the screenplay for the film. Did you have the opportunity of meeting Mr Black, the screenwriter for MISCHIEF?

Doug: Yes, I met Noel during the filming of Mischief. He was wonderful, as were all the producers, John Davis, Jere Henshaw, Michael Nolan and Sam Manners. The group, along with director Mel Damski, made the making of the film so enjoyable for all of us.

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Athan: You mention on your website that your favourite movies are THE GODFATHER Part 1 and 2, something with which I definitely agree. Why do you love THE GODFATHER movies?

Doug: For me, the films that were produced in the 1970’s were incredible, and they “spoke” to me. They were visually interesting, entertaining, with great actors and directors attached to them. I was too young to see The Godfather in the movie theater, but my older sister snuck me in to see The Godfather II (it was a different time back then going to the movies). I can’t say I understood everything going on in the movie at the time, but I was hooked. Of course, years later, I re-visited watching both movies (over and over again), and I think they’re both classics.

Mario Puzo’s characters, Coppola’s direction, the incredible cast of quality actors, the cinematography, the ICONIC music (theme)…The Godfather and it’s narrative reflects a microcosm of Americana, warts and all. How audiences can root for the Corleone Family, a group firmly ensconced in organized crime, and side with their love of family, honor and duty is quite a feat.

Yes, if you close enough, there are flaws (i.e. James Caan beating up actor Gianni Russo throwing “phantom” punches), but the overall achievement is impressive, and it stands the test of time.

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Athan: Being a foodie, I was interested in seeing that you enjoy Italian food, especially veal parmigiana and lasagne. What is it about these delectable meals that give you great gourmet satisfaction?

Doug: Although I’m not Italian myself, my mother always made wonderful Italian meals growing up. In my house, every Sunday is “Italian Dinner”, and it’s a great way to always have the family gathered around to eat and catch up on things.

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Athan: You have directed two motion pictures so far, being THE BOYS OF SUNSET RIDGE (2001) and COME AWAY HOME (2005) in which you also acted. What led you to begin directing movies?

Doug: As a young actor I absorbed the filmmaking process. I understood the importance of storytelling in the hands of a talented director. The challenge of taking something from the written page and bring it “to life”, to communicate those things “visually”, working closely with the other artists (i.e. actors, cinematographers, etc.). I attended the University of Southern California as an English major with an emphasis on Creative Writing. I felt that if I was going to be a director, I needed to concentrate on writing first, and it has served me well.

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

Doug: I wrote a screenplay, Silent Knights, about an All-Deaf college football team. It’s inspired by true events, largely based on Gallaudet University, the ONLY college deaf school that plays football in the NCAA. Academy Award winner Marlee Matlin is attached to star in the film. I have several other projects I’ve written that I hope to direct in the near future.

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Thank you so much today for your time Doug, and for the knowledge you have provided into acting, MISCHIEF, film directing and of course, delicious food. It has been a delight to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

Doug. My pleasure. Thank you for having me.

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Doug McKeon links

+Doug McKeon website

+DougMcKeon IMDb Actor Page

+MISCHIEF IMDb page

+Doug McKeon Twitter page

+Doug McKeon Facebook Fan page

CISCO PIKE (1971)

Title: CISCO PIKE

Year of Release: 1971

Director: Bill Norton

Genre: Drama

Synopsis: A musician, and former drug addict, is coerced by a crooked policeman to sell drugs again.

Within a film history context: Movies about characters who deal in drugs have been spotlighted many times in cinema. One of the first to deal with the issue was Leslie Pearce's THE FALL GUY (1930). In this film, a pharmacist becomes involved with the underworld, and is set up by a gangster who gives him a suitcase containing alcohol, actually being narcotics, with interesting repercussions. In BEHIND THE MASK (1932), directed by John Francis Dillon, the kingpin of a drug smuggling outfit is behind the scenes, carrying out many insidious deeds, and sought out by a federal officer played by stalwart Jack Holt. With William A. Connor's THE COCAINE FIENDS (1935) matters were of a different nature. The film explored the consequences of drug addiction, with a drug dealer meeting two siblings, and through him become hooked on drugs. More exploitation fare than a serious examination of drug addiction and its attendant issues, it nonetheless contained enough melodrama to hold the attention. Drug pushers are again highlighted in ASSASSIN OF YOUTH (1938), directed by Elmer Clifton. In this movie, a young woman becomes involved with drug dealers, a gang which a newspaper reporter attempts to break to help save the young woman from further harm. Unlike THE COCAINE FIENDS, there is more of a positive spin to ASSASSIN OF YOUTH, with less violence, and a more upbeat ending. Later films also looked at the drug dealer theme in varying ways.

An adventure-filled take on drug dealers was provided by Julien Duvivier's CAPTAIN BLACKJACK (1950). In the title role of the drug smuggling villain, George Sanders mixed devilish deeds, romance and action, alternately being pursued by a drug trafficker, and a police officer. With the action occurring in the Mediterranean, a point of difference was provided by its exotic locale. FINGER MAN (1955), directed by Harold D. Schuster, was concerned with revenge in its narrative. A man sought to identify the drug lord responsible for his sister's downfall, a theme also evident in later films such as HIT! (1973). In Otto Preminger's THE MAN WITH THE GOLDEN ARM (1955) former addict Frankie, played by Frank Sinatra, released from jail, battles to stay away from drugs, but finds himself pulled back into narcotics by various characters, including a drug dealer from his past. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, also featured a drug dealer who supplies a Korean War returning soldier with morphine, which causes mayhem in his marriage. In Irvin Kershner's STAKEOUT ON DOPE STREET (1958) intrigue and murder follow two teens who become involved in drug dealing, with an unscrupulous dealer on their trail. A more heart-stopping view of a drug dealer was served by CITY OF FEAR (1959), directed by Irving Lerner. A drug dealer escapes from jail, believing that he is carrying heroin in a canister, which is actually a radioactive substance. A complicated chain of events ensues, with the race to avoid the release of this substance on the public. The 1960s had equally varied depictions of drug dealers.

More in an exploitation vein was Joseph Mawra's OLGA'S GIRLS (1964). An odious woman deals in drugs and white slavery, and keeps young women on a string by feeding them drugs, but they learn to fight back. SOL MADRID (1968), directed by Brian G. Hutton, was similar in style to OLGA'S GIRLS. This time the drug dealer was a man, pursued by both an agent, and a prostitute, with a number of hairy incidents occurring. Much more open about drug dealing was Dennis Hopper's EASY RIDER (1969). A pair of bikers go cross country in their quest to find freedom, but things do not quite go as planned for them. Their involvement in both drug dealing, and drug use is captured by the movie, probably the most detailed in its depictions up until that time. Revenge was the main focus in THE WILD PUSYCAT (1969), directed by Dimis Dadiras. In this film, a woman unleashes her fury on the drug dealer who led her sister into narcotics, and subsequently suicide. Into the 1970s, further movies highlighted the drug dealer theme for audiences.

Jerry Schatzberg's THE PANIC IN NEEDLE PARK (1971) was an unsparing movie about addicts and drug dealers in New York City. Notable for its honest, close up presentation of the subject, and sympathy for its characters and their plights, it gave Al Pacino and Kitty Winn, as well as its supporting actors, substantial roles. More in an investigative light was CLAY PIGEON (1971), directed by Lane Slate and Tom Stern. This time around, a former addict is assigned by a Federal agent to break up a drug dealing racket which other Vietnam veterans such as himself have been involved. One of the best, and most famous films with drug dealing as its main topic was William Friedkin's THE FRENCH CONNECTION (1971). Two New York City police officers pursue a French drug lord, leading them on an odyssey which takes up the majority of the screen time in this suspenseful, action-packed movie that still packs a punch today. A more romantic take on the drug dealer theme was found in HONKY (1971), directed by William A. Graham. A young black woman, dealing in drugs, becomes involved with a young white man, in this tale of interracial love and narcotics. Ivan Passer's BORN TO WIN (1971) was akin to THE PANIC IN NEEDLE PARK, with a drug addict and dealer's life exposed for viewers to contemplate. What distinguished BORN TO WIN from other films on the drug dealer theme, particularly THE PANIC IN NEEDLE PARK, was in its black comedy aspect, something which provided the film some oomph between heated stretches. CISCO PIKE contained elements of many anti-drug movies, but also added some of its own original touches to the drug dealer genre.

In a small way, CISCO PIKE harks back to the anti-drug movies such as THE COCAINE FIENDS, later films such as THE MAN WITH THE GOLDEN ARM, A HATFUL OF RAIN, and THE PANIC IN NEEDLE PARK, in depicting the effect drugs has on the main protagonist, and associated characters. While CISCO PIKE is more concerned with the drug dealing segment than the effects of narcotics on its characters, it is still present in an affecting manner. The scene of an overdose in the movie is well-handled, with emotions running high as a result of this event. It leads to a number of consequences for the main character, particularly to do with his live-in relationship. The film, though, does not go as far as THE PANIC IN NEEDLE PARK. It does not present scene after scene of drug addicts and needles being inserted, or physical, and emotional aftereffects. CISCO PIKE has a less edifying view of the effect of drugs, in line with late 1960s, and early 1970s more relaxed depictions of drugs, such as in EASY RIDER. Other facets of the movie also deserve examination.

As in the vast majority of films, the drug dealer is shown as a real person in CISCO PIKE, and not a shadowy figure of mystery as in BEHIND THE MASK. Where CISCO PIKE diverts from these films is that the drug dealer is a policeman, which is a twist on the other movies where the dealer is from the underworld. In addition, it is implied that the policeman has become corrupt due to a lack of financial and prestigious standing as an officer, and has resorted to drug dealing to supplement a meagre income. This is in complete contrast to the other films where the drug dealer was a wanton individual whose only motivation was to lead others to destruction. In CISCO PIKE, frustration had led a police officer to a way of life that is contrary to his position as protector of society. Making character motivations clear in this film for the police drug dealer, and subsequently more of a three-dimensional, realistic figure, puts CISCO PIKE on a par in this respect with BORN TO WIN's somewhat sympathetic, but misguided, main character. For these reasons, CISCO PIKE stands out as a diverting take on the drug dealer theme.

Overview: Bill Norton directed four features in his film career, being more active in television helming telemovies and episodic television. His second film, MORE AMERICAN GRAFFITI (1979) was the sequel to 1973's AMERICAN GRAFFITI, picking up with many of the same characters several years after the first movie. Not as warmly remembered as the 1973 mega-hit, it still made money, though not in the same league as its seminal predecessor. His third film, BABY: SECRET OF THE LOST LEGEND (1985) was a family oriented adventure about a paleontologist and her husband's adventures, specifically involving dinosaurs in Africa. Mr Norton's final movie, THREE FOR THE ROAD (1987) was a comedy-drama of a liberal daughter and her conservative senator father clashing over their beliefs, and his attempt to have her committed to a mental health facility. CISCO PIKE was Bill Norton's directorial debut, and an interesting film for a number of reasons.

The director has succeeded in capturing the life of the protagonist over the course of the film, with a number of events happening to him, and his involvement with various characters who bring out different sides to him. CISCO PIKE has a documentary feel, akin to reality television, charting the life of a talented musician who becomes enmeshed in drug dealing through a crooked police officer. One gets a feel for his live-in life with his girlfriend, their relationship presented clearly to the audience in the space of just a few scenes. Cisco's musical career is also delineated well, with his gigs, stints in the recording studio, and interactions with the personnel of these charted in detail. The character's other relationships, such as with groupies and his best friend, are also examined in pithy scenes. CISCO PIKE, while providing a close up view of drug dealing and the consequences of drug use on its characters, does not as such glamorize this social issue, which is one of the film's best aspects. Where the film is lacking, though, is in certain details which would have made an average film much better.

The film admittedly has an agreeable freewheeling mood, but the casual treatment of many of its plot points leaves much to be desired. The central relationship between Cisco and Sue could have benefitted from much more showcasing in the movie. As it is, one can discern their chemistry, but how, and why they came together as a couple is not divulged. While their teaming does serve a purpose in the narrative, one does not feel for them greatly as a couple, apart from several important scenes. Some elements would have assisted in making their pairing more moving. If Sue found out about Cisco's two-timing ways this would have created more friction between them, but this is never explored. On the one hand, having too much going on can detract from a movie, making it top heavy. On the other hand, certain dramatic possibilities could have added richness to the proceedings that is lacking. Not having key scenes thus robs the characters of depth that would have made them even more realistic, and the actors of scenes they could portray to the hilt. Another lost opportunity is the character of Officer Leo Holland, one of the film's strongest points. 

Leo Holland is a mixed bag of emotions, a disaster waiting to happen who should have provided some dynamite moments, but his infrequent appearances blunt the dramatic potential in CISCO PIKE. Leo Holland is blackmailing Cisco, and some drama is wrung out of their scenes together, but not having more of Leo in the film makes it dramatically too placid. Having Leo threaten Cisco on a more regular basis, not only physically but also, verbally, would have added much-needed tension to the film. As it is, Leo Holland is just a character who drops by to make his presence felt, then disappears. Similarly, the movie could have made much more of Jesse Dupre, Cisco's best friend. Whenever the character is present the film contains touching segments, especially to do with Jesse's insecurities and Cisco's reaction to these. Limited scenes, though, means less of characters who could have provided the movie with further edges and scope. If the film tightened certain scenes, and gave greater coverage to the emotions of its characters, it would have been a much more compelling viewing experience. As it is, CISCO PIKE contains both very good and average elements, but, with some tweaking, could have been a much better final product.

Acting: The director has assembled a talented cast of actors for CISCO PIKE who help make it an entertaining experience. In the lead role of Cisco Pike, and in his acting debut, Kris Kristofferson does a great job as the musician with a penchant for attracting trouble. His warmth and unaffected nature lends much to the movie. As Cisco's girlfriend Sue, Karen Black provided authority and sparkle in the few scenes in which she appears, and is well matched with Kris Kristofferson. Viva, as Cisco's fling Merna, furnishes some of the comic moments in the film with her deadpan dialogue delivery, making her world-weary character lovable. 

Harry Dean Stanton, as Jesse Dupre, Cisco's best friend, supplies the film's most heartfelt performance. A man who lays bare all his anxieties in such a stirring manner, but cannot control his fatalistic urges, Mr Stanton shines in his small role. The final acting of note is by Gene Hackman as Leo Holland, the bent police officer hot on Cisco's trail. This is one of Mr Hackman's great performances, even though he is not on screen for a long period. Here he displays a delicate sensuality not evident in his other movies, and a sympathy that makes him difficult to dislike, despite the character's rough edges. Mr Hackman here has created one of the most well-rounded, fascinating villains ever shown on film.

Soundtrack: The movie has an easy-going soundtrack that is in keeping with its laid back, casual mood. Most notably, the piece 'Lovin' Her Was Easier' is played during the film's credits, in the opening few minutes, and 'The Pilgrim' at the movie's end. Both tunes provide a useful non-diegetic commentary on what is taking place on screen. Several other tunes performed by Kris Kristofferson are featured throughout the picture, especially during the concert sequences, and some incidental music is scattered through the film.

Mise-en-scene: CISCO PIKE offers a vivid background for its characters which says much about them in a low-key manner. Cisco and Sue's small house is slightly scruffy and disheveled, which speaks volumes of their seesawing relationship, and bohemian way of life. The places Cisco visits, such as the recording studio, the outdoor locations such as the car yard, and the sleazy bar, suggest different sides of the character and his activities. There is also a view of Los Angeles, with urban decay, graffiti on display, also adding a non-verbal view of the story world. Vilis Lapenieks' cinematography is naturalistic, emphasizing the unglamorous, tumultuous life of the film's protagonist.

Notable Acting Performances: Kris Kristofferson, Karen Black, Gene Hackman, Viva, Harry Dean Stanton.

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

Overall Grade: C

Link: IMDB Page

Trailer