THE CAST OF THE BUS IS COMING (1971) - WHERE ARE THEY NOW?

I recently critiqued the 1971 film THE BUS IS COMING on the blog, and was intrigued by its cast. In particular two cast members who have largely disappeared from view. I sincerely hope that these actors are well, and happy in whatever they are presently doing.

Burl Bullock, as the volatile, electric Michael, was a performer who stood out in the film. An actor of distinctive appearance and personality, he was perfect in his role as the multi-faceted Michael. Unfortunately this appears to have been his only motion picture acting credit, but it would have been wonderful to have seen him in further movies.

In addition to Burl Bullock, Sandra Reed was also great as Miss Nickerson, the vindictive, traitorous nursery school teacher. An engaging actress whose only other film credit was JOHNNY TOUGH (1974), in THE BUS IS COMING she runs through a gamut of emotions as the treacherous Miss Nickerson. 

CAN SHE BAKE A CHERRY PIE? (1983)

Title: CAN SHE BAKE A CHERRY PIE?

Year of Release: 1983

Director: Henry Jaglom

Genre: Comedy, Drama, Romance

Synopsis: A woman is abandoned by her husband, and finds love with a man she meets at a café. 

Within a film history context: While there have been many films dealing with wives who leave their husbands, or unhappy marriages, movies which focus upon husbands leaving their wives have been much fewer in number. One of the most notable examples was James Whale's SHOW BOAT (1936). In this film, a woman is left by her husband due to his gambling losses, with another woman also abandoned by her husband, and falling into alcoholism. There is, though, a happy ending for the first woman who reconciles with her husband at the story's conclusion. THE MOON AND SIXPENCE (1942), directed by Albert Lewin, had a man leaving his wife at the film's start, becoming a painter, and involved in a complex series of events which lead to his downfall. In utter contrast, an exploitation tone was employed in Ken Kennedy's THE VELVET TRAP (1966). In this movie, a waitress is raped by the cook at the diner where she works, and later marries a man who frequents the diner, only to abandon her the morning after the wedding. A tale of a woman's road to ruin, it is notable for the woman's moral descent, and that the male characters were largely unsavory without any redeeming facets. 

Matters were of an entirely contrary nature in BED AND BOARD (1970), directed by Francois Truffaut. This time around, a married man with a young child embarks on an affair with a woman. His wife discovers his indiscretion, and will not share a bedroom with him, this leading to him moving out of their apartment, and leaving his wife. In a more domestic, realistic vein than the previous entries, it was another of the director's explorations of male-female relationships. Roman Polanski's TESS (1979) charted a young woman's life odyssey, with her husband deserting her upon discovering her past relationship with an insidious man who left her pregnant. Set in the late 1800s, it was an artistic triumph for the director, and a box office success. HEAD ON (1980), directed by Michael Grant, was the tale of a married woman and her lover, and their kinky sexual exploits. Her shenanigans with her lover are discovered by her husband in a most unexpected manner, leaving her as a result. CAN SHE BAKE A CHERRY PIE? was in its own league in terms of its treatment of the husband leaves wife theme, with original touches not evident in the other movies previously mentioned.

It is very slightly comparable to THE VELVET TRAP with consideration to its irreverent narrative, but diverts greatly with its lighter, comical atmosphere. THE VELVET TRAP is closer to melodrama and tragedy than CAN SHE BAKE A CHERRY PIE?, which, while having dramatic segments, does not become bogged down in heavy scenes. The abandonment of Zee is depicted in a scene at the beginning of the film, outlining how her marriage has gone awry, and that her husband is leaving her. The viewer follows her as she learns to move on, and meets Eli, who changes her life. While their love affair is humorous and screwy, it lacks the furtiveness of the characters in HEAD ON who play dangerous games which not only have an impact on themselves but also, others. Other aspects of the movie are also noteworthy in hindsight.

In CAN SHE BAKE A CHERRY PIE? Zee and Eli are only out to become closer to each other, and their blossoming union, warts and all, is what the picture concentrates on. They have more than enough problems and issues to deal with than having extra participants, or third parties, intrude on their relationship. While there is the introduction of a third parties for a small time in the movie, this is only to reaffirm their union to one another, instead of causing more heartache. With its domestic milieu it shares elements with BED AND BOARD in the backwards and forwards style of storytelling which resembles real life. People fight, make up, fight, and make up again which makes for insightful viewing. A film that explores the husband leaving wife theme in an interesting manner, CAN SHE BAKE A CHERRY PIE? is an entertaining movie with many thoughtful moments.

Overview: Henry Jaglom has directed twenty-one films in his career over forty-five years, and helming an extra segment in a multi-story movie. His movies are character-driven stories that explore various situations in depth, mainly with reference to the characters and their feelings. Mr Jaglom's first film, A SAFE PLACE (1971), was a fantastical film that centered around a young woman, and her vision of the world. Starring Tuesday Weld in the lead role with Jack Nicholson in support, it was a surreal, original viewing experience. Next came TRACKS (1976) with Dennis Hopper. A view of life seen through the eyes of a Vietnam veteran, and his relationship with a young woman, were clearly delineated by the director in this intense, disturbing movie. ALWAYS (1985) followed a married couple's plans to divorce, but a family 4th of July celebration makes them question their decision. With Mr Jaglom both directing and starring in the lead role, it was a revealing, thoughtful movie. Mr Jaglom worked with an all-female cast in EATING (1990) with an ensemble including Frances Bergen, Mary Crosby and many others, in a story about women talking about their lives at a birthday party. DEJA VU (1997) charted the love story between a store proprietress and an Englishman, with a mostly British cast including Vanessa Redgrave, Anna Massey, and Rachel Kempson in her final film role. OVATION (2015) centred around a theatre actress who falls in love with a smooth television star. Mr Jaglom's most recent film, TRAIN TO ZAKOPANE (2017) was an adaptation of his own stage play, dealing with racism and anti-semitism in Europe of the 1920s and beyond. CAN SHE BAKE A CHERRY PIE? was Henry Jaglom's fourth full-length movie, and a sound example of his character-based narratives.

CAN SHE BAKE A CHERRY PIE? is a movie that takes its time in making clear to the audience the feelings and emotions of its characters. One gets to know the protagonists on an intimate level, the dialogue and action, and of course, the performers, assisting in this. CAN SHE BAKE A CHERRY PIE? is not a movie where there are mysteries about the characters and their motives. The suspense level in this arena is very low, and meant to be this way, as it is not that kind of movie. This is a feature of Mr Jaglom's other efforts such as EATING, where people talk about themselves, their lives, what they like, what they dislike, which gives the movie a genial, friendly atmosphere. While the characters in the film admittedly talk a lot, it is never boring, with the viewer gaining valuable information into what makes the people in the movie tick. This, though, is the double-edged sword of CAN SHE BAKE A CHERRY PIE? On the one hand, the unrestricted nature of the film works well, but it also exposes certain deficiencies that could have improved the final product if present.

In the opening scenes we see that Zee's husband is leaving her, but we are not given much information as to exactly why they drifted apart, and why he elected to separate from her. It would have been helpful to have had some flashbacks possibly showing them in happier times, contrasting with their marital undoing. While small scenes showing Eli's ex-wife and child were good, it is the only time we see them, as with Zee's husband. It is admirable that CAN SHE BAKE A CHERRY PIE? showcases Zee and Eli greatly, but adding scenes with her husband returning to their apartment to pick up something he forgot, or Eli's wife ringing him at an inopportune moment for him, would have provided further emotional depth to the characters and their plights. What is missing from the film is the material that would have given it a further ring of truth.

An associated issue with the movie is that is lacks an aura of tragedy in its proceedings. Zee and Eli are likable together, but there is not a sense of all or nothing to them. Having Zee being tempted by Larry, though, was interesting as it provided a counterpoint to Zee and Eli together all the time, but nothing much came out of this. If the film contained more misery for them, splitting their union again during the course of the narrative, it would have been more emotionally striking. As it is, the picture is more in a jokey vein, without greatly compelling events to make the audience feel more for its characters. Despite these ellipses, CAN SHE BAKE A CHERRY PIE? should be recognized as a satisfactory movie for director Henry Jaglom, and one of his most appealing motion pictures.

Acting: The acting in CAN SHE BAKE A CHERRY PIE? is one of its strongest assets. As Zee, the woman whose husband leaves her at the film's start, Karen Black is in one of her best roles. She makes the beleaguered but humorous Zee hers, despite the film sometimes being too talky, and ensures that her character is believable at all times. As Eli, Zee's new love, Michael Emil is a perfect match for Miss Black, their odd couple pairing appearing unlikely on the surface, but their acting making it all work. In the case of Larry, the pigeon-handler, Michael Margotta shows another string in his acting bow. Generally cast in intense roles, here things are of a different nature. In CAN SHE BAKE A CHERRY PIE? Mr Margotta exhibits a quieter aura as the man whose charm causes relationships to become shaky all of a sudden. Just seeing Mr Margotta bring out the insecurities of another man without doing much, except show off his pet pigeon to the other man's girlfriend is one of the movie's highlights. The final player of note is Frances Fisher as Larry's girlfriend Louise. With very little dialogue spoken during the movie and mainly using her face to express emotion, Miss Fisher's Louise was a subtle surprise in the film, and, likewise with Mr Margotta, it would have been great to have seen more of her in CAN SHE BAKE A CHERRY PIE?

Soundtrack: CAN SHE BAKE A CHERRY PIE? has an eclectic soundtrack. The opening credits feature diegetic use of the tune 'Can She Bake A Cherry Pie?' performed by a band in the park as Zee passes by, and continues in a non-diegetic basis until the end of the scene. The song is also used at the end of the movie during the closing credits with Zee and Emil walking on the street. In addition to this, the closing credits also utilize the Jerome Kern song 'The Way You Look Tonight' with home movies of Emil's family playing as the movie concludes. Other uses of music in CAN SHE BAKE A CHERRY PIE? are also interesting. There are segments of Zee singing at home and in the club, watched by Emil, which reveal information about her character. The concert which Zee and Emil attend, where the New York Philharmonic Orchestra perform 'Scheherazade', is an example of diegetic music which continues into the next scene, and is an allegorical comment on the characters, and their non-traditional romance.

Mise-en-scene: CAN SHE BAKE A CHERRY PIE? contains a vast amount of outdoor location filming, which gives the movie freshness and realism. Zee and Emil's café chats, walking together in the street, deep in conversation, and Larry's pigeon-handling sequences work well in the New York City streets. Indoor locations such as Zee's apartment, with its assortment of knick knacks and paraphernalia, is evocative of her state of mind, and turbulent personal life.

Notable Acting Performances: Karen Black, Michael Emil, Michael Margotta, Frances Fisher.

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

Overall Grade: C

Link: IMDB Page

Trailer

THE BUS IS COMING (1971)

Title: THE BUS IS COMING

Year of Release: 1971

Director: Wendell Franklin

Genre: Drama

Synopsis: A black Vietnam veteran returns home to discover his brother has been murdered by racist white policemen, and seeks to find his killers and bring them to justice.

Within a film history context: Racism directed toward African-American characters has been a prevalent theme in motion pictures. One of the first documented films on the topic was Oscar Michaeux's  THE SYMBOL OF THE UNCONQUERED (1920). Passions erupt as it is discovered a black man owns lands where there is an oil field, and then a dangerous game to make him sell unfolds. Interracial relationships and adultery were explored in BORDELINE (1930), directed by Kenneth MacPherson. With Paul Robeson in the lead role, a black woman has an affair with a white man, this causing emotional problems for his wife, with an outpouring of racism resulting. One of the most famous stories exploring racism was John Stahl's IMITATION OF LIFE (1934). A white woman with a daughter befriends, and lives with a black woman whose daughter wishes to pass for white. A classic treatment of a Fannie Hurst novel, it was remade in 1959 in a much glossier Ross Hunter produced version, helmed by Douglas Sirk. Similar themes were evident in PINKY (1949), directed by Elia Kazan. In this movie, a light-skinned black woman does not reveal to her doctor amour her true race, which causes a number of issues in their relationship. Stanley Kramer's THE DEFIANT ONES (1958), focused upon the uneasy relationship between two escaped convicts - one white, and the other black. A showcase for both Tony Curtis and Sidney Poitier, it was a memorable film experience. Into the 1960s, further views of racism against African-American character can be found.

A RAISIN IN THE SUN (1961), directed by Daniel Petrie, was a film about a black family, and the impact of an insurance payout on them, with racism ensuing when they attempt to move to a neighborhood with white neighbors. Robert Mulligan's TO KILL A MOCKINGBIRD (1962) devoted a large part of its narrative to the trial of a black man accused of raping a white woman. A sobering indictment of racism, it featured the stunning performance of Brock Peters as the accused. ONE POTATO, TWO POTATO (1964), directed by Larry Peerce, looked at what happened when a white woman marries a black man, and the custody battle instigated by her ex-husband for their child. In the subsequent court case racial tensions emerge and become heated. More inspirational was James Clavell's TO SIR WITH LOVE (1967). The race card is again employed here, this time with a black high school teacher finding difficulties with the students in a London school. With Sidney Poitier in the lead role, it was a winning film. IN THE HEAT OF THE NIGHT (1967), directed by Norman Jewison, was another movie with Sidney Poitier. This time around, Mr Poitier was a detective investigating a murder in the South, and clashing with a racist police chief about the crime. Yet another Sidney Poitier vehicle could be found in Stanley Kramer's GUESS WHO'S COMING TO DINNER (1967). Also starring Spencer Tracy and Katharine Hepburn, it followed a family whose daughter brings home her new fiancé, who happens to be the genial Mr Poitier. Misunderstandings and realizations ensue in this insightful comedy-drama. More irreverent was PUTNEY SWOPE (1969), directed by Robert Downey Sr. Tensions rise when votes for an advertising agency's new chairman lead to the agency's only black man, the eponymous Putney Swope. Gordon Parks' thoughtful THE LEARNING TREE (1969) followed lead character Newt battling racism and ignorance in a small town. A beautiful film that made its points with poise, it was one of Mr Parks' best films. Several films in the 1970s focused upon racism directed toward African-American characters before THE BUS IS COMING. 

TICK, TICK, TICK (1970), directed by Ralph Nelson, followed a small Southern town, and what happens when an African-American man is appointed sheriff. It was another challenging role for Jim Brown, again in the middle of explosive racial tensions in this film. William Wyler's THE LIBERATION OF L.B. JONES (1970) had a larger African-American cast of actors than TICK, TICK, TICK. A soft-spoken black funeral director is murdered, with the racism of corrupt police and other town citizens exposed for the audience to consider. Racism, adultery, rape, and homicide were just some of the topics here explored with vigor by Mr Wyler. Much lighter in tone was WATERMELON MAN (1970), directed by Melvin Van Peebles. Here racism took on another dimension as a white man becomes black, and becomes the target for racist taunts. The intention here was to promote understanding of black issues, and how white people are not always cognizant of these problems, but with humor to make things palatable. Martin Ritt's THE GREAT WHITE HOPE (1970) gave James Earl Jones a tremendous role as a black boxer with a white girlfriend, facing racism in the rough, white dominated world of boxing. No holds barred could aptly describe SWEET SWEETBACK'S BAADASSSSS SONG (1971)), directed by Melvin Van Peebles. An African-American man becomes involved in crime, and is hotly pursued by both police, and bikers in this arresting movie containing many strong moments of overt racism. THE BUS IS COMING had elements in common with examples such as THE LIBERATION OF L.B. JONES in terms of its multi-character narrative, and sympathetic treatment of racism, but diverted from these in various ways.

With THE LIBERATION OF L.B. JONES, a murder occurs which casts a pall over the characters in the film's second half, and is influential to the movie's climax. In THE BUS IS COMING, the funeral of a black man at the film's start is the impetus for a black Vietnam veteran to find his brother's killer. This is a story that continues for the entirety of the movie, and is resolved in a satisfactory manner. It is also notable as one gets to witness the film's characters, both black and white, reveal sides of themselves regarding this event, with many surprises abounding for the viewer, likewise with THE LIBERATION OF L.B. JONES. Other features of THE BUS IS COMING are also worthy of analysis.

As with THE LIBERATION OF L.B. JONES, THE BUS IS COMING takes its time in building character relationships, and situations, which fare well for it until its unexpected conclusion. One becomes intimately acquainted with the characters, which fosters understanding of their behavior and mindsets. Another common thread in both films is the treatment of black people by the police, but the police force in each film has a different purpose. In the case of THE LIBERATION OF L.B. JONES officers commit heinous crimes against black people, and one of the officers in question has serious guilt issues with his part in the crimes. In THE BUS IS COMING, there is an upstanding chief of police who is not racist, but his subordinates, unlike the example from THE LIBERATION OF L.B. JONES, do not back down from their racist stance, with absolutely no remorse for their actions. The contrast is telling, giving each film individuality in this area. There is another reason why THE BUS IS COMING is a striking film with its racism theme.

Unlike many of the other films in the genre, such as SWEET SWEETBACK'S BAADASSSSS SONG and WATERMELON MAN, whose narratives can often be fanciful, the characters and settings in THE BUS IS COMING could really have been in existence, giving the film an air of authenticity and verisimilitude. It harks back more to films such as A RAISIN IN THE SUN, THE LEARNING TREE, and ONE POTATO, TWO POTATO in its evocation of a small town, and realistic milieu. While for some viewers a more down-to-earth presentation in this respect may seem staid, the overall effect is refreshing for those seeking less escapism. The nursery school, the police department, the row of stores in the town, for example, carefully establish settings that only instills further confidence in the film. One of the best films dealing with racism toward African-American characters, THE BUS IS COMING is a thoughtful, sincere viewing experience.

Overview: Wendell Franklin was assistant director on many notable films such as McHALE'S NAVY (1964), THE GREATEST STORY EVER TOLD (1965), MADAME X (1966), FUNNY GIRL (1968), and MEDIUM COOL (1969). THE BUS IS COMING was Mr Franklin's directorial debut, and, unfortunately, his only credit as director. Judging by this film, it would have been interesting to have seen further evidence of Mr Franklin's output, as it is a compelling movie. An examination of racial tensions in a small town between its white, and African American residents, Wendell Franklin has done an admirable job with THE BUS IS COMING. 

Mr Franklin has crafted a movie that presents a balanced number of both white, and African-American characters in well-drawn roles, the movie giving all players adequate coverage. The characters either rail against racism directed against them, or perpetrate further racism, which gives the narrative punch and power. THE BUS IS COMING contains many unexpected moments within its running time that lift the film from what could have been an average movie, into one that is definitely above average. Characters are complex, and not stereotypes, another of its great features. It is a film that keeps one guessing as to what will happen next, keeping its cards close to its chest, which works from both a story, and a suspense viewpoint. One believes events will go one way, but they go in an entirely different direction. Other features of the film are of interest, and warrant dissection.

THE BUS IS COMING is also to be lauded as it works well within the boundaries of the GP rating of its time, the current United States' Parental Guidance, or contemporary PG rating. It has a vividness and candor that R rated films have, but without the sex, violence and nudity these sometimes possess. Including these elements would have eventuated in a lesser film, than the sincere, solemn result of the movie. Where the film falters slightly is in the wrapping up of the fate of its characters for the audience. One has invested time in the characters and their outcome, but to not see it satisfactorily resolved is disappointing. On the one hand the ending relates to the beginning, wrapping this up for the viewer in a subtle manner which is a valid move. On the other hand, not knowing what happened to Billy, John, and Miss Nickerson, to name a few examples, is disheartening. Despite this, THE BUS IS COMING should be recognized as an ambitious anti-racism film that has its heart in the right place.

Acting: THE BUS IS COMING has convincing performances that make the movie compelling viewing. Mike B. Sims, as Billy Mitchell, does well as the pacifist young man searching for his brother's killer, not seeking violence, but nevertheless finding thus. As with many of the actors in this film he only performed in this movie, but his contribution was essential. Burl Bullock, as Michael, provides some of the most striking acting in the film. Playing a volatile character with an unpredictable streak, Mr Bullock definitely knows how to make his presence felt, his short fuse giving his scenes electricity. In complete contrast, Jack Stillman, as Billy's friend John, excels as the sensitive, vulnerable young soldier. Better known as gay and heterosexual pornographic model Jack Wrangler, Mr Stillman is perfect in the role, and makes one wish he had acted in more mainstream films. Three other actors also make their mark in THE BUS IS COMING.

As Chief Jackson, Robert Brubaker is excellent as the even-handed policeman with integrity, whose character can be contrasted with the corrupt officers the movie showcases. Morgan Jones, as racist policeman Tim Naylor, is someone the viewer loves to hate. Committing unspeakable crimes, and motivated by burning racism, Mr Jones plays his role with a calm veneer that can explode at a moment's notice. The final acting of note in THE BUS IS COMING is by Sandra Reed as Miss Nickerson. While Miss Nickerson appears to be an acidic viper on the surface, Miss Reed gives her character a depth that, as she did in JOHNNY TOUGH, makes one consider the reasons for her disturbing behaviour, and actions, in the movie.

Soundtrack: THE BUS IS COMING's theme song, performed by O.C. Smith, is played during the opening credits, and during the movie's final scenes. This is in line with other films of the 1970s featuring a theme song at the both the beginning, and end of a film. It serves the purpose of viewers having certain expectations at the start, others when the movie ends, and what has been learned in the interim by watching the film. The picture also contains incidental music, particularly the jazzy piece played during key moments, such as Michael and Dobie's shoplifting, and the more thoughtful scenes between Billy and Tanya, with a more romantic tune employed.

Mise-en-scene: THE BUS IS COMING has true-to-life attention to detail in its mise-en-scene. Outdoor sequences such as the cemetery where Billy's brother is laid to rest, the shoplifting segment in the block of shops, the exterior of the nursery school, and the rights protest, to name a few examples, are all well-orchestrated, and exude authenticity. Interiors are likewise, such as the house where Michael and his fellow militants congregate, Billy's house, with its familial atmosphere, and the church funeral service standing out. Costuming is appropriate to the characters and their environs, such as Tim Naylor's police uniform, and Miss Nickerson's conservative attire which is in contrast to her deceitful and adulterous nature.

Notable Acting Performances: Mike B. Sims, Burl Bullock, Jack Stillman (Jack Wrangler), Robert Brubaker, Morgan Jones, Sandra Reed.

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

Overall Grade: B

Link: IMDB Page

Trailer