ROE V. WADE (2021)

Title: ROE V. WADE

Year of Release: 2021

Director: Nick Loeb, Cathy Allyn

Genre: Drama

Synopsis: The story of Roe V. Wade, the historic 1973 decision legalising abortion in the United States, and Dr Bernard Nathanson, prominent American abortionist.

Within a film history context: Movies which tackle the topic of abortion have been present in cinema since the silent era. One of the earliest noted films was Harry Pollard's THE MIRACLE OF LIFE (1915). Starring silent screen heroine Marguerite Fischer in the lead role, it was about a newlywed young woman who discovers she is pregnant, and wants to abort the child, but a dream leads to a mind change on her impending motherhood. WHERE ARE MY CHILDREN? (1916), directed by Phillips Smalley and Lois Weber, took matters in an entirely different direction. Opposition to abortion is found in the local district attorney, and his stance makes him uncomfortable with the community, in this drama. The same directors also made THE HAND THAT ROCKS THE CRADLE (1917), but this time, with another point of view. A woman supporting birth control faces difficulties in her professional life, landing her in trouble with the police for her beliefs about abortion. 

An abortion is averted in MASTER OF HIS HOME (1917), directed by Walter Edwards. Here, a young woman is urged by her mother to abort her child, leading to the young woman's husband leaving her, but she decides to keep the baby, and makes up with her husband. Samuel Brodsky's THE HOUSE WITHOUT CHILDREN (1919) features a character who advocates birth control, causing dissension with her husband, but eventually changes her mind, this saving her marriage. THE SCOFFER (1920), directed by Allan Dwan, had a decidedly more religious tone. An honest doctor is set up by a crooked fellow practitioner as having performed an abortion, and is subsequently sent to jail. He has lost faith in the world, but a chain of events, including an operation on a young boy, reaffirms his belief in a higher power. In a more exploitation vein was Norton Parker's THE ROAD TO RUIN (1928). A wayward young woman indulges in different forms of promiscuity and falls pregnant, aborting the baby, but pays the price for her licentiousness. It was remade in 1934 by directors Dorothy Davenport and Melville Shyer, with lead actress Helen Foster reprising her role from the 1928 silent film. There were several Hollywood films in the 1930s that, in the main, intimated abortion as a topic.

CHANCE AT HEAVEN (1934), directed by William Seiter, had a character who undergoes an abortion, at the behest of her mother, who disapproves of her daughter's relationship with a mechanic. S. Roy Luby's grindhouse film RACE SUICIDE (1938) focused upon an abortion ring which takes impressionable young women into their clutches. With the advent of the Hays Code in the early 1930s, motion picture content underwent a drastic change from beforehand. Mention of abortions became non-existent after this period, and this is reflected in the lack of films dealing with the topic. While foreign films did deal with the issue in many instances, Hollywood largely shied away from it. An exception was the American film STREET CORNER (1948), directed by Albert Kelley. A young girl falls pregnant, and becomes involved with an abortionist. Curtis Bernhardt's THE DOCTOR AND THE GIRL (1949) also featured an abortion plot, but handled in a more edifying manner than STREET CORNER. Both these films were the exception, though, rather than the rule in this era for this kind of content. Into the 1950s, films about abortion appeared on a more regular basis in American films.

A PLACE IN THE SUN (1951), directed by George Stevens, had a character who sought an abortion to appease her boyfriend, but it was not distinctly stated. The abortion theme had a larger component in William Wyler's DETECTIVE STORY (1951). In this movie, a hardened detective pursues an abortionist who was suspected of causing a woman's death. PEYTON PLACE (1957), directed by Mark Robson, among its myriad of stories, featured a young woman who was raped by her stepfather, and wanted an abortion to rid herself of his child. More controversial was Philip Dunne's BLUE DENIM (1959). Two young people find solace with each other, and the young girl falls pregnant, which causes them to seek an abortion, which is thwarted by their parents. In contrast, the glossy THE BEST OF EVERYTHING (1959), directed by Jean Negulesco, also had a character who wanted an abortion, but this is avoided in a tragic manner. The 1960s began to have even franker portrayals of abortion on screen than beforehand.

Karel Reisz's SATURDAY NIGHT AND SUNDAY MORNING (1960) also had a character considering an abortion, in this realistic account of life in Nottingham. THE TOUCH OF FLESH (1960), directed by R. John Hugh, was about a promiscuous young woman who tries to convince her doctor, being her father, to assist her in having an abortion. In Daniel Petrie's touching A RAISIN IN THE SUN (1961), a character wanted to have an abortion to avoid the financial strain of another child; a different, and tragic angle theretofore not presented until that time in film. Also potent in content was PATTY (1962), directed by Leo Handel. A young woman is raped, and falling pregnant, finds immense difficulty in procuring an abortion, which were still illegal at the time. With Bryan Forbes's THE L-SHAPED ROOM (1962), a young woman is so astounded by her doctor's statement that she either abort her child, or marry its father, she has the child, but remains unmarried. Abortion is a small component of LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. A young woman falls pregnant to a musician, and both seek an abortion, but do not proceed with this. 

In Jack Clayton's THE PUMPKIN EATER (1964) a woman does go through with an abortion, but also, a sterilization, in order to avoid having more children, one of the many issues causing problems in her marriage. THE YOUNG LOVERS (1964), directed by Samuel Goldwyn Jr., featured a university student falling pregnant to her boyfriend, and thinking about abortion, but not going ahead with it. The lead character of John Schlesinger's DARLING (1965) has an abortion in order to maintain her libertine and bohemian lifestyle, vastly different from other entries such as THE PUMPKIN EATER. In ALFIE (1966), directed by Lewis Gilbert, a character does go through with an abortion, but there are many emotional repercussions for both the woman, and her lover. A high-grossing major movie, Mark Robson's VALLEY OF THE DOLLS (1967), showed a character who underwent an abortion to avoid having a physically impaired child, as her husband suffered from a medical condition. UP THE JUNCTION (1968), directed by Peter Collinson, also had an abortion that had devastating effects for the woman involved. Mark Robson's DADDY'S GONE A-HUNTING (1969) was more sinister in its narrative. A young woman falls pregnant to a man, but aborts the baby when she discovers an unsavory side to him. Marrying another man and giving birth to his baby, she is taunted by her former lover to kill her baby in revenge for her past abortion. Into the 1970s, more challenging depictions of abortion began to appear on screen, aided greatly by the censorship breakdown of the late 1960s.

END OF THE ROAD (1970), directed by Aram Avakian, had a detailed abortion scene that was startling for its time, in this unconventional movie. In Stephanie Rothman's THE STUDENT NURSES (1971) one of the film's titular nurses sought an abortion, and despite some opposition, eventually went through with one. With MAKING IT (1971), directed by John Erman, a young man tries to obtain an abortion for his girlfriend, believing she is pregnant. When it is uncovered that she is not expecting, he instead arranges the abortion for his mother, who undertakes the procedure. Ken Loach's FAMILY LIFE (1971) portrayed parents who force their daughter into abortion when she falls pregnant, and charts the fallout from this event. In TO FIND A MAN (1972), directed by Buzz Kulik, matters were vastly contrary. The efforts of a young man assisting his friend in obtaining an abortion, and their blossoming relationship, are explored in this sensitive movie. 

With Frank Perry's PLAY IT AS IT LAYS (1972) an actress with psychological issues aborts her baby without any recriminations. In UP THE SANDBOX (1972), directed by Irvin Kershner, a woman fantasizes about having an abortion, one of a number of her daydreams in the film. A character dies after having an abortion in Peter Hyams' OUR TIME (1974), which was set in 1950s America, one of many events in the movie. THE GODFATHER II (1974), directed by Francis Ford Coppola, had main character Kay admit of an abortion to her husband, which sabotaged her marriage irreparably. David Miller's BITTERSWEET LOVE (1976) had a character wishing to abort her child for a tragic reason - she has unwittingly married her brother, and they are half-siblings. This was more complex than other narratives, whereby unwanted babies, or rape were not the reason characters wanted to abort their children. More insidious was COMA (1978), directed by Michael Crichton. A patient in a hospital is pronounced brain dead after having undergone an abortion in this suspenseful movie. Into the 1980s, there were other interesting variations on the topic of abortion.

With Alan Parker's FAME (1980) a character considers abortion, a small part of this movie about aspirants in the performing arts. A satirical take on lifestyles, and abortion, was offered by POLYESTER (1981), directed by John Waters. Here a woman aggressively seeks an abortion, and is hindered at every turn, attempting suicide, but eventually miscarries her child. A young woman in Amy Heckerling's FAST TIMES AT RIDGEMONT HIGH (1982) has an abortion after her promiscuity leads to unhappiness, and takes a more celibate approach to her personal affairs as a result. HEAT AND DUST (1983), directed by James Ivory, contrasts two characters with regards to abortion. While one of them has an abortion, the other decides to not go ahead with it, in this tale of life in both 1920s, and 1980s India. The protagonist of Peter Sasdy's THE LONELY LADY (1983) has an abortion when she discovers that her lover does not want any part of her baby. With a more period atmosphere, the main character of RACING WITH THE MOON (1984), directed by Richard Benjamin also obtains an abortion, in this story of love in 1940s America. 

Emile Ardolino's high-grossing DIRTY DANCING (1987) featured a subplot with a character having an abortion which was somewhat overshadowed by the film's romantic and dancing segments, but still has punch. In FOR KEEPS (1988), directed by John G. Avildsen, a young woman finds herself pregnant, and wants to have an abortion. Both her parents, and the parents of her boyfriend, direct the couple to either abort, or adopt the child, with the young woman giving birth to her child in the end. LISTEN TO ME (1989), directed by Douglas Day Stewart, differed from other movies in that a debate over abortion took place during the film by its characters, who were part of a college debating team. Chris Thomson's THE DELINQUENTS (1989) followed the romance of two teenagers in the Australia of the 1950s. Finding herself pregnant, the young girl and her boyfriend run away from their parents, as they want to keep the baby, but police and their parents catch up with them, and force the girl to have an abortion. The 1990s also had diverse presentations on the abortion topic, as with other decades. 

FALLING OVER BACKWARDS (1990), directed by Mort Ransen, had a character who mused about getting an abortion as she is in a new relationship, and pregnant to an old boyfriend. In Phillip Borsos' BETHUNE: THE MAKING OF A HERO (1990), a woman undergoes an abortion as she believes having a child will do nothing for her marriage to her surgeon husband. BITTER MOON (1992), directed by Roman Polanski, had a woman who was coerced into an abortion by her cruel boyfriend, one of a number of indignities she endured in this relationship. Stephen Gyllenhaal's WATERLAND (1992) painted a portrait of a man and his wife who had experienced a bad abortion which left his wife infertile. More pungent was RAIN WITHOUT THUNDER (1993), directed by Gary Bennett. In this science fiction film, women are being convicted, and sent to jail for aborting their babies, which takes a number of twists and turns with the law. In a shorter narrative scope, one of the stories in Clement Virgo's RUDE (1995) focused upon a young woman who had an abortion, with depression an after-affect of this. 

Irreverent could very well describe CITIZEN RUTH (1996), directed by Alexander Payne, and its treatment of abortion. A wayward woman unexpectedly rises to national prominence as she becomes involved in the abortion debate, and many try to manipulate her, but she manages to give as good as she receives in this comedy. In Jeff Abugov's THE MATING HABITS OF THE EARTHBOUND HUMAN (1999), a man and his girlfriend clash over her pregnancy, with him not wanting the baby. He has a change of heart, and finally discourages her from having an abortion, thus ensuring a renewal of their relationship. Guilt about abortion comes to the fore in THE HAUNTING OF HELL HOUSE (1999), directed by Mitch Marcus. This horror film examines the feelings a man experiences after the death of his girlfriend, whom he had pressed to have an abortion, and the unsettling dreams he consequently has of her. The 2000s also featured varied interpretations on the abortion theme for audiences.

Tamra Davis' SKIPPED PARTS (2000), set in the 1960s, was about a young woman who falls pregnant, but considers an abortion. In the end she does not have the abortion, and keeps her child. A truly different take on the abortion theme was presented by PARSLEY DAYS (2000), directed by Andrea Dorfman. A woman does not want to have her boyfriend's child, but does not wish to have an abortion due to the waiting time for one. Her friend suggests she go on a diet of parsley as a way of losing the child. A contradiction is also apparent in the movie as to the attitude of the baby's father to abortion. While he spouts pro-choice ideals, he surreptitiously does not support these, as his actions with his girlfriend during their lovemaking suggest a pro-life stance. In a film about the adult film industry, Richard Glatzer and Wash Westmoreland's FLUFFER (2001), a character has an abortion as she is pregnant, and believes her boyfriend will not be able to help her, as he is mixed up in drugs, and adult movies. With BABY BOY (2001), directed by John Singleton, a reckless and sexually irresponsible young man makes his girlfriend have an abortion, which is symptomatic of his selfishness and lack of concern for anyone but himself. Alejandro Inarittu's 21 GRAMS (2003) had a character whose past abortion was discovered by her husband at a much later date, and this led to a breakup of their marriage with him leaving her, similar to THE GODFATHER II.

PALINDROMES (2004), directed by Todd Solondz, had a complicated storyline which included a young woman who had an abortion, unknowing that she cannot have children after this. There is also a character who despises those who procure abortions, and kills the practitioners who provide them. In comparison, Mike Leigh's VERA DRAKE (2004) was the character study of a woman who assists young women in having abortions, but is imprisoned for her activities, in 1950s London. THE LAST KING OF SCOTLAND (2006), directed by Kevin Macdonald, was based upon the life of Idi Amin, whose wife suffered a terrible end after undergoing an unsafe abortion, attempting to hide the result of her extra-marital affair. Jason Reitman's JUNO (2007) has a young woman initially seeking an abortion, but who has a change of mind, with many relationship twists and turns occurring. THE LIFE BEFORE HER EYES (2007), directed by Vadim Perelman, focused upon a woman remembering the abortion she had in her youth. An abortion is seen by the wife in a marriage as a solution as her relationship is on shaky ground in Sam Mendes' REVOLUTIONARY ROAD (2008), but leads to a shocking result for the wife when she performs it on herself. A distinctly radical line on abortion was pursued in MESSIAH COMPLEX (2009), directed by Hale Mednik. A preacher with extreme views on curbing certain freedoms becomes president, with one of these being abortion, in this barnstorming movie. The 2010s, as with preceding decades, brought with it equally gripping variations on the abortion theme in cinema.

Derek Cianfrance's BLUE VALENTINE (2010) had a character who, like many other protagonists, decided to forgo an abortion, and gave birth to a daughter. Abortion played a major role in FOR COLORED GIRLS (2010), directed by Tyler Perry. It is one of several topics the film examines, with a woman recalling her abortion at the hands of a treacherous female abortionist. Michael Fredianelli's THE SCARLET WORM (2011) had a Dutch man who was an abortionist and bordello owner, but who was marked by execution by a wealthy man. OCTOBER BABY (2011), directed by Andrew and John Erwin, followed a more introspective route with its storytelling. A young woman discovers that her birth mother wanted to abort her, but the procedure was unsuccessful, and that she was adopted, which turns her world upside down. A softer, more benign view of abortion was apparent in Gillian Robespierre's OBVIOUS CHILD (2014). When a woman finds out she is pregnant she determines to have an abortion, the film taking the viewer through events in her life, to her final decision of undergoing the procedure. 

GRANDMA (2015), directed by Paul Weitz, followed the story of a young woman who wants to have an abortion, and the various mishaps and relationship issues she encounters along the way. With Stephen Fingleton's science fiction THE SURVIVALIST (2015) a woman attempts to perform an abortion on herself, but baulks at the last moment. A pro-life stance was the crux of VOICELESS (2015), directed by Pat Necerato. A war veteran comes to live in Philadelphia, and voices his vocal opposition to an abortion clinic which has opened across from his residence. In total contrast, Bruce Isacson's SOUTH DAKOTA (2017) involved two characters who became pregnant, and experienced anguish with what to do about their predicaments, the narrative balancing opposing views on abortion within its context. ASK FOR JANE (2018), directed by Rachel Carey, had a major concentration upon the topic of abortion in its narrative. Examining the subject through the eyes of women teaming together to give other women the opportunity of having an abortion, albeit illegally, in 1960s America, it treated abortion in a more exhaustive manner than others of its time. 

Cary Solomon and Chuck Konzelman's UNPLANNED (2019) detailed the life of one-time Planned Parenthood director Abby Johnson, and her subsequent change to being pro-life. Much tenser was SWALLOW (2019), directed by Carlo Mirabella-Davis. A woman's life becomes nightmarish as she attempts to live up to the ideals of her family, and develops an eating disorder. When she falls pregnant, this becomes a point of contention between her husband and herself, finally taking an abortion medication, causing her to abort her baby. A delicate treatment of abortion can be found in Eliza Hittman's NEVER REALLY SOMETIMES ALWAYS (2020). A young woman's odyssey in having an abortion, with her cousin at her side, was unraveled by the director in a telling, and sympathetic manner. THE GLORIAS (2020), directed by Julie Taymor, was the biography of feminist Gloria Steinem, and explored abortion within its filmic boundaries, specifically Miss Steinem's beliefs on the topic, and her own abortion during her fellowship. ROE V. WADE was possibly closer to late 2010s films such as ASK FOR JANE and UNPLANNED in terms of its focus upon an abortionist lead character, but deviated greatly in other arenas.

ROE V. WADE featured a male abortionist, something not uncommon from past pictures such as PLAY IT AS IT LAYS, but where the movie strikes a conflicting note is in the attention it affords this character. While ROE V. WADE has a combination of medical and legal themes, it is also a character study, in its case, of real-life abortionist Bernard Nathanson. Where the other movies treated the abortionist character in a perfunctory manner, specifically someone who just performs the abortion, and does not have a further role in the movie, the life, passions, and loves of Dr Nathanson are left, right and center in ROE V. WADE. This provides ROE V. WADE a point of difference in that the abortionist is given a background, is fully fleshed out, and not a character who falls into the trap of being just either good, or bad. It is admirable that he is presented warts and all, as a person with real flaws, and virtues, unlike the evil abortionist from DETECTIVE STORY. Other facets of ROE V. WADE also made the film edifying viewing.

Aside from Dr Nathanson, the other characters are also three-dimensional, making clear their motivations in the film, and what makes them tick. This is one of the refreshing qualities of ROE V. WADE, in that the characters are relatable. One main example stands out in the movie. It is fascinating how there are snippets, in the case of attorney Sarah Weddington, who fights for the right for womens' access to abortions, and her personal connection to this issue. This can also be said of Dr Nathanson, as the movie intimately follows his views on abortion, and how events over time change his mind on the topic. The film has an emotive quality without ever going too far, making the viewer feel for its characters, and not resorting to cheap melodrama to present its points. There are no cardboard villains or do-gooders, which raises the film's credibility. A respectable example of a multi-character narrative, showing the impact of abortion on different people, ROE V. WADE is a quality addition to the ongoing debate about the issue, bringing with it moments of enlightenment.

Overview: For directors Nick Loeb and Cathy Allyn, ROE V. WADE marks their directorial debut. Mr Loeb has credits in acting and producing, while Miss Allyn has producing and writing credits. As this is the inaugural film for both directors, and there is no other film as yet in their filmography to which it can be compared, this review shall closely examine ROE V. WADE. With ROE V. WADE, Mr Loeb and Miss Allyn have made an auspicious first film. They have crafted a movie which tackles the sensitive subject of abortion in a thought-provoking, fluent manner. In the main, there is a balancing of both sides of the topic, being both the the pro-choice, and the pro-life groups. In this respect there were neither large gaps, nor staginess present in the film, with the scenes evenly distributed in terms of telling a good story in an effective manner. There is an easy combination present of pathos, tragedy, drama and, surprisingly, lightly comic moments, in the movie. The humor was not antic-based in its intentions and delivery, and provided an appropriate reprieve from the more emotion-filled sequences. Aside from this, there are other reasons why ROE V. WADE works as a movie. A movie which has its foundations in both legal, and medical territory may have become bogged down in difficult mumbo-jumbo that would put off its intended audience. ROE V. WADE, though, has been written in a way to make it understandable to a wide audience, not only those familiar with legal and medical terminology. While the film has a great number of virtues, there are some ellipses which stand out when considering the movie as a whole.

The introduction of Dr Nathanson's first wife is abrupt, and something which takes one aback when she first appears. There was no prologue or prelude to her introduction, which is surprising as the movie has generally been careful with such details. The viewer has just witnessed the death of Dr Nathanson's girlfriend several minutes prior, and he is now married to another woman. There are some other scenes which are incongruous in ROE V. WADE, and slightly confusing. Dr Nathanson's wife, in addition to the above, did not have a clear opinion of her husband's occupation after her first scenes. Without a clearly defined role, her character served a small purpose, minus a voice, which would have added some complexity to the movie. Having the couple converse more about his job would have revealed further insight about the doctor's personal life, and what impact it had on his professional life. While the film has not as such delved deeply into Dr Nathanson's private life, it would have been revealing to have seen his wife's thoughts on his work. Another scene in ROE V. WADE seems out of place when looking at the film in its entirety.

The sequence with Dr Nathanson and his partner Larry on the beach, speaking with two women, was jarring. While it gave both characters a chance to boast about their achievements in their field, which gave depth to the doctors, it posed a number of questions. Who exactly were these women, and why were Dr Nathanson and Dr Lader admitting these things to what seemed like strangers in the context of the movie? It could be inferred that these women were mistresses of the doctors, but there was no explanation as to their role. Aside from this, there is another lapse which must be mentioned. On the whole the film had a balance between both sides of the abortion debate, but in the last half-hour it seemed to be slanted towards the pro-life movement. While ROE V. WADE was faithful to Bernard Nathanson's life, and how many things changed irrevocably after a certain event, it would have been good to have seen more of the pro-choice group, consisting of Larry Lader, Betty Friedan, and Sarah Weddington. This would have given the film more uniformity in terms of covering both sides of the abortion spectrum. All in all, though, some things can be said about ROE V. WADE. It is an ambitious, thoughtful, compelling film that is a credit to its first-time directors, and it would be interesting to see more stimulating motion pictures from them in the future.

Acting: ROE V. WADE has a number of performances which deserve recognition. Nick Loeb, as Dr Bernard Nathanson, the movie's lead protagonist, projects sincerity as the doctor who has a lot going on both personally, and mentally. He does an excellent job with his character, who is a mixture of sympathy, greed, self-deceit, charm, and guilt, to name a few emotional traits. As Dr Mildred Jefferson, Stacey Dash is thoroughly convincing as the determined, upright doctor. It is interesting how Miss Dash says so much with her eyes without uttering a word; one can understand exactly how she feels, so forthright is her performance. On the other hand, Greer Grammer was great as Sarah Weddington, one of the two attorneys responsible for winning women the right to an abortion in the United States. A lovely actress with an easy manner, Miss Grammer also brings pathos in the scenes which examine why Sarah Weddington was so adamant about legal abortions. Four other actors likewise make an indelible impact in ROE V. WADE.

As Justice Warren Burger, Jon Voight lends his considerable presence to his role as a judge with major qualms about abortion. While Mr Voight does not have a lot of screen time, he nevertheless makes his mark, his concern about abortion deeply etched on his face. Tom Guiry, as Father James, representing the religious side of the abortion debate, does a wonderful interpretation of the well-meaning, thoughtful priest. An actor of energy and passion, it would have been lovely to have seen more of him in the movie. Joey Lawrence, as Robert Byrn, also falls into this category. As the pro-life university professor, Mr Lawrence offers a savvy performance, seeming at home in the lecture theatre. The final acting of note in ROE V. WADE was by Lucy Davenport as Betty Friedan. An engaging actress who brings Bette Davis to mind with her acting, Miss Davenport was highly watchable as the unique quirky Betty Friedan, pushing boundaries with a lazy smile, and an inimitable way about herself.

Soundtrack: ROE V. WADE has an unobtrusive musical score throughout the entire movie which works to give the film a pensive, contemplative aura. Properly emphasizing what is taking place onscreen without ever being overpowering, it adds an appropriate touch of urgency to the movie.

Mise-en-scene: Cinematography by Alan McIntyre Smith bathes ROE V. WADE in a warm orange light, which suggests the 1970s, when the majority of the film's action occurs in a subtle, appropriate manner. Period atmosphere is also pleasing, with costuming another highlight, the cast well-adorned in garments of the time. Sets, such as Dr Nathanson's home, also are of the era without being heavy-handed, with homewares and accessories appearing authentic.

Notable Acting Performances: Nick Loeb, Stacey Dash, Greer Grammer, Tom Guiry, Jon Voight, Joey Lawrence, Lucy Davenport.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

Trailer

MADE FOR EACH OTHER (1971)

Title: MADE FOR EACH OTHER

Year of Release: 1971

Director: Robert B. Bean

Genre: Comedy, Drama, Romance

Synopsis: Two people meet at a group therapy session, and find love despite their personal, and cultural differences.

Within a film history context: Movies which focus upon an interfaith relationship were largely non-existent before MADE FOR EACH OTHER in 1971. They appeared on a slightly more regular basis after the film was released, with Sydney Pollack's THE WAY WE WERE (1973), the popular love story of a Jewish woman and a Christian man set in World War II United States, and EVERY TIME WE SAY GOODBYE (1986), directed by Moshe Mizrahi, about the love affair of a World War II Christian pilot, and a Jewish woman in Jerusalem, two notable movies in the genre. There were, though, several examples of interfaith relationship movies, beginning from the 1920s, which are of interest in cinema history. One of the first was Swedish film, THE AVENGER (1915), directed by Mauritz Stiller. In this picture, a young Christian man has a relationship with a Jewish woman, and leaves her pregnant, but does not want to marry her on account of their religious differences. 

A comic take on interfaith relationships was served up by James W. Horne's silent KOSHER KITTY KELLY (1926). Here, a number of misunderstandings set in motion prospective relationships between Jewish and non-Jewish characters, but status quo ensues, and first loves between characters of the same faith prevail. More progressive in matters of the heart was ABIE'S IRISH ROSE (1928), directed by Victor Fleming. Charting the relationship, and marriage, of an Irish-American Catholic woman and a Jewish-American man, with various consequences for both, it was based upon a popular stage play that also spawned a critically savaged 1946 film remake. Into the 1960s, Otto Preminger's EXODUS (1960) featured the romance of an American nurse with an Israeli soldier, in this story of simmering racial tensions in 1948 Middle East. MADE FOR EACH OTHER had more in common with the lighter-hearted films such as KOSHER KITTY KELLY and ABIE'S IRISH ROSE, but also, shared the pathos of THE WAY WE WERE.

MADE FOR EACH OTHER had the same type of love story/story structure with THE WAY WE WERE and ABIE'S IRISH ROSE. In the case of MADE FOR EACH OTHER Panda, a Jewish woman and Giggy, an Italian man, find their way toward each other throughout the course of the movie. It was reminiscent of THE WAY WE WERE with its lively, unconventional female lead, but Giggy in MADE FOR EACH OTHER is equally as quirky as Panda, both in terms of personality, and family background. Giggy, though, is the polar opposite of the more intellectual Hubbell from THE WAY WE WERE, this giving the film a point of difference in its lead male character. MADE FOR EACH OTHER also goes much further than the others in painting a portrait of two people not only hampered by the particular mindsets of their families but also, their own idiosyncrasies. This brings out the humor, and quieter scenes the movie exhibits. Apart from this, MADE FOR EACH OTHER, more so than the other films, is also an exploration of Jewishness, Italianness, family, religion, sex, psychology, and relationships, subjects the other films did not always touch upon. The tackling of these themes gave the film a more topical edge over the other movies, in that MADE FOR EACH OTHER provided exhaustive attention to these issues which, by and large, had not been addressed until that time. Other features of the movie are also deserving of discussion.

MADE FOR EACH OTHER traverses much more into psychological territory than its predecessors, ensuring that the audience knows exactly where Panda and Giggy are coming from. The viewer gets to know them as real people, rather than two-dimensional figures. This is something the other films only briefly examined, which makes MADE FOR EACH OTHER more in-depth in terms of the intimate dissemination of its characters' emotions. The delicate nature of the male-female pairing, with them loving, fighting, and reuniting, was also evident in THE WAY WE WERE with its own love duo. Where THE WAY WE WERE diverted from MADE FROM EACH OTHER is in the soothing, more romantic aura it exuded, in comparison to the broader, more rambunctious antics of the latter movie. MADE FOR EACH OTHER capitalizes on the ethnicity of its characters, and the raucous nature of the interaction of the families within the film, which provides quite a few amusing moments. An introspective take on interfaith relationships, MADE FOR EACH OTHER is an entertaining film which makes for good viewing.

Overview: Robert B. Bean was the director of a single film in his career, being MADE FOR EACH OTHER. This being the case, and with no other movies in his filmography with which to compare and contrast, this overview will focus specifically upon MADE FOR EACH OTHER. Mr Bean has crafted a movie that, on the surface, is well-made, and overall satisfactory. The scenes flow well, and are connected between one segment and the next with assurance. Robert Bean has constructed a film that gets into the heart and soul of its characters, and the viewer thereby a full understanding of what makes them tick at all times. The characters and their motives are never a mystery to the viewer, which gives the film a feeling of warmth and comfort. It is unalike other films of the 1970s which many times left character motives, and their psychology up to the viewer to interpret, brimming with gray areas. While this works on one level, it can also be seen to detract from the film's impact as a whole.

By being precise, and emotionally true to the story and its characters, MADE FOR EACH OTHER, in many instances, feels overloaded. Scenes are overlong at times, and the stretching out of these can sometimes make for frustrating viewing. Points could have been made in a more consice manner, for example, with less dialogue, and more non-verbal facial expressions. A case in point is the scene where Giggy introduces Panda to his family. It seems to go on forever, and what, at the outset, is a witty scene, becomes overwrought with shouting and wailing. This is a tendency the film possesses that can be grating for numerous reasons.

MADE FOR EACH OTHER attempts to produce a comic-tragic effect in its execution, but it falls flat on occasion. The insistence on sending up situations, and characters, makes their pain, and the effect of these, seem risible. This does not appear to have been the film's intention, but it effectively hurts the movie. If there were extra scenes of interpersonal interaction such as revelations delivered in a muted tone, these would not have been out of place. The sequence where Panda discovers her boyfriend in a threesome with two other women, and her reaction to this, was among the most honest, heartrending moments in the movie. Again, Panda's lack of response to Giggy's shouting at the end is another emotional piece de resistance for the film, making one wish for more of these sequences. Any which way, despite having quite a few shortcomings, MADE FOR EACH OTHER should be praised for attempting to make a movie about a interfaith relationships, albeit in its disparate, sometimes brassy fashion.

Acting: There are several performances in MADE FOR EACH OTHER which stand out. As Pandora, Renee Taylor shines as the sympathetic woman looking for love, but somehow missing the mark in many instances. A carefully shaded acting part that Miss Taylor delivers in a moving and understated manner, it is the best contribution in the film. Joseph Bologna, as Giggy, works well with Miss Taylor, his fieriness a dramatic foil to Renee Taylor's more meditative style. As Pandora's mother, Helen Verbit exuded sensibility and humor in equal manner, with a touch of class. The final acting of note was by Paul Sorvino as Giggy's father. Mr Sorvino lends his authority, and earthiness, to a small part that definitely would have benefitted from longer screen time, but he does very well despite this.

Soundtrack: The instrumental theme music by Trade Martin is soft and easy on the ears, sweeping in a beautiful way that complements the story. The main diegetic music is played during Panda's nightclub performances that work, especially during Pandora's imitation of Marlene Dietrich.

Mise-en-scene: The cinematography by William Storz gives MADE FOR EACH OTHER a mellow, polished feel, in keeping with the bittersweet nature of the material. Colour is neither too bright nor washed out, but just right. The homes of the characters reflect their respective personalities, the production design greatly emphasizing this. Special mention must be made of Pandora's funky apartment, with its assortment of knick knacks and items, making perfect sense in terms of her character, and zany life. There is quite a lot of outdoor location filming which gives the film a freshness and zing, particularly Pandora and Giggy's final scene at the New York waterfront, something that a studio setting could not quite duplicate for its authenticity.

Notable Acting Performances: Renee Taylor, Joseph Bologna, Helen Verbit, Paul Sorvino.

Suitability for young viewers: No. Adult themes.

Overall Grade: C

Link: IMDB Page

THE BUTTERCUP CHAIN (1970)

Title: THE BUTTERCUP CHAIN

Year of Release: 1970

Director: Robert Ellis Miller

Genre: Drama, Romance

Synopsis: Two cousins, born of identical twin sisters, long for each other, and bring others into their cocoon as substitutes, creating an emotional love quadrangle.

Within a film history context: Unlike love triangles, love quadrangles have not been prominent in cinema, but films about these have appeared from time to time. One of the first dealing with the subject was Marshall Neilan's THREE MEN AND A GIRL (1919). In this lost film, silent screen actress Marguerite Clark starred as a young woman who causes romantic waves for three men, with complications aplenty occurring as a result of her coquettish behavior. In another silent movie, WOMEN MEN FORGET (1920), directed by John M. Stahl, an intricate series of events with a married couple and two outside parties ensues, but where a happy end takes place for the couple. An early sound comedy with a love quadrangle scenario was Victor Schertinger's FASHIONS IN LOVE (1929). A married concert pianist embarks on an affair with another woman, but the husband of the other woman becomes involved with the pianist's wife in this early sound film. THREE LOVES HAS NANCY (1938), directed by Richard Thorpe, was entirely different in approach. A young woman proceeds to New York in search of her fiancé, and becomes involved with two men, in this vehicle for the sprightly Janet Gaynor, with Franchot Tone and Robert Montgomery as the men in question. In a similar vein, George B. Seitz's LOVE FINDS ANDY HARDY (1938) had the charming Andy Hardy squiring three young women in this entry in the series, including Judy Garland, Lana Turner, and Ann Rutherford.

WHEN LADIES MEET (1941), directed by Robert Z. Leonard, followed a lady novelist who loves her  womanizing married publisher, but is in turn loved by another man, who tries to dissuade her from this infatuation by introducing her to the publisher's wife. Forward into the 1950s, with Douglas Sirk's INTERLUDE (1957) a young American woman in Munich falls for a married man, but is also pursued by a doctor, thus making up the four characters in this love quadrangle with an international flavour. Matters were definitely of a lighter manner in THE GRASS IS GREENER (1960), directed by Stanley Donen. An Earl and his Lady encounter a young woman and an oil tycoon during the guided tour of their estate to visitors, this causing romantic derring-do for these aristocrats and their would-be new flames. In comparison to these movies, THE BUTTERCUP CHAIN varied vastly from these films with its original approach to the love quadrangle subject.

Many of the above examples featured married couples with love troubles, such as WOMEN MEN FORGET, INTERLUDE, or THE GRASS IS GREENER, or a single person being pursued by three other parties, with THREE LOVES HAS NANCY, and LOVE FINDS ANDY HARDY the prime examples. Matters were dissimilar in THE BUTTERCUP CHAIN as the central protagonists, Margaret and France, were cousins, a man and a woman born to sisters, but raised as siblings. This incest angle added a forbidden aspect to the film, and the movie touches upon this delicate subject in a careful way. Unlike the people in the other pictures who were unrelated, in THE BUTTERCUP CHAIN, having a pair of cousins long for each other accents a tragic depth in the proceedings that was lacking from previous samples. It brings out other considerations, such as Fred and Manny, who enter the lives of Margaret and France. 

Fred and Manny's function in the movie is to substitute sexually with Margaret and France respectively, as the cousins cannot be with one another because they are related. This adds a complex undertone to the events which is at odds with the more conventional, straight-laced narratives of the other films. While THE BUTTERCUP CHAIN could have been at risk of becoming lurid with this subject matter, the handling takes into account the feelings of the characters, which packs an emotional wallop after a pivotal scene takes place. This is another area where the movie diverts from others in the genre. The breakdown in censorship at the time allowed for a more in-depth, and honest view of these relationships that could not have occurred previously. An original entry into the love quadrangle genre, THE BUTTERCUP CHAIN is of note for its sensitive, tense handling of a controversial topic.

Overview: Robert Ellis Miller was an American director with eleven feature films on his resume, and one movie on which he partly participated. His inaugural film, ANY WEDNESDAY (1966) was a comedy romance about a young woman caught between both a married and a single man, starring Jane Fonda and Jason Robards in the main parts. Next came SWEET NOVEMBER (1968), with Sandy Dennis as a woman who ingratiates herself into the lives of several men for a special reason. One of Mr Miller's most famous films, THE HEART IS A LONELY HUNTER (1968) was his third effort. Charting the blossoming relationship between a man and a young woman, it had a tragic undertone that was expertly delivered by a cast headed by Alan Arkin, and Sondra Locke in the lead roles. Mr Miller followed this with another comedy, THE GIRL FROM PETROVKA (1974), which was about the romance between a Russian ballerina and an American journalist. From herein, Robert Ellis Miller's output was not as varied, or memorable as his earlier films. 

BIG TRUCK AND SISTER CLARE (1974) focused on two Israeli truck drivers picking up a nun from her convent and other assorted incidents. BALTIMORE BULLET (1980) starred James Coburn and Omar Sharif in the escapades of two pool hustlers. REUBEN, REUBEN (1983) was a return to the whimsical romance style of his first few films, about the love a poet has for a young woman. In total contrast HAWKS (1988), was a comedy drama about two terminal hospital patients seeking a good time in their remaining time on earth. BRENDA STARR (1989) was a costly, loss-making film about a comic book artist who becomes part of his book, and involved with his female character. Robert Ellis Miller's final movie, BED & BREAKFAST (1991), was about three women running a bed and breakfast whose life changes with the entrance of a man, played by Roger Moore, into their lives. THE BUTTERCUP CHAIN, his fourth movie, was one of Robert Ellis Miller's most interesting, subtle works.

Based upon the novel of the same name by Janice Elliott, Mr Miller has done an admirable job directing THE BUTTERCUP CHAIN. Robert Ellis Miller has crafted a film that flows very well, and moves from one character, and situation to the next, with ease and grace. The transitions are smooth in this regard, and never abrupt. It has a romantic, ethereal quality shared by Mr Miller's first few movies such as ANY WEDNESDAY, SWEET NOVEMBER, and THE HEART IS A LONELY HUNTER. In terms of a comedy-drama balance, THE BUTTERCUP CHAIN had comic moments within its narrative structure, but these were subdued in tone, and never comedy for the sake of comedy. These were natural to the characters, and have a place in the movie without ever being forced. They are about expressing characters' feelings for each other, stolen moments, and are in a sentimental vein. There are other sound qualities of the film which warrant mention.

At first glance, THE BUTTERCUP CHAIN seems to have a series of events that appear casual upon initial examination, but the second half of the movie puts everything that has occurred into perspective for the viewer. All the intimate, unhurried moments between the characters, and privileged conversations add up to an unexpected, highly charged scene in the nightclub sequence. The film explores the psychological excesses of its characters' lives of freedom, and infidelity, in this shattering segment, and with it comes a tone of reflection, and repent, for mistakes made. This is the best part of the film, and what gives it power. There are, though, some aspects which may be misunderstood for their presence, and seem frivolous.

The flashes of both male, and female nudity, and the sexual merry-go-round played among the four main characters is something that seems unnecessary on the surface, and somewhat exploitative. Looking closer at the story, though, these features are utilized to emphasize the uninhibited, candid nature of the relationships in the movie, and how free love does not always have positive consequences for all. This is what lifts the movie from being something sudsy and empty, to having meaning. A highly satisfactory picture with its heart in the right place, THE BUTTERCUP CHAIN is a pensive film which shows off its director, and cast, in a flattering light.

Acting: The film has five main performances which are all distinctive, and support the movie's message exceedingly well. As France, Hywel Bennett adds another interesting portrayal to his list of performances. With his biting line delivery and smoky voice, he is both adept at showing bitterness, but also, sensitivity with finesse. As Margaret, France's cousin, Jane Asher has a relaxed manner and attractiveness that nicely offsets France's offhandedness, and the two actors work together convincingly as the tragic cousins. Leigh Taylor-Young always has an allure that appears well on film, and here is no exception. As the object of desire of not only one, but three men in the movie, Miss Taylor-Young makes this romantic escapade understandable for the audience with her interpretation of the wistful Manny. Two other actors make an impact in the film with their acting.

Adding jauntiness to the proceedings is blonde, handsome Sven-Bertil Taube as Fred, who becomes involved with both Margaret, and Manny. An actor who adds joy and life to the film, Mr Taube is fine in the comic sequences, but performs equally well in the dramatic segments, particularly the nightclub sequence. Despite been showcased in a state of undress for much of the film, Mr Taube rises above this with his intelligence, and nous. The final acting of note in THE BUTTERCUP CHAIN was by Clive Revill as George, a man interested in both Margaret and Manny. A performer whose face is like a canvas, expressing happiness and sadness, allowing the audience in on his intimate thoughts, this eloquent actor happily rounds out the great acting in the movie.

Soundtrack: The movie has a sweeping musical theme that is employed at both the film's start, and at its conclusion. It has a softness and sensitivity in keeping with THE BUTTERCUP CHAIN's thoughtful presentation.

Mise-en-scene: THE BUTTERCUP CHAIN is beautifully photographed by Douglas Slocombe, with many exquisite scenes captured, the highlight being Margaret sitting in a field of buttercups. The outdoor locations are all well-chosen and naturalistic, ranging from the United Kingdom, Spain to Sweden, giving the film an international flair. Costuming is appropriate to the characters, with France's idiosyncratic fashion sense complementing his volatile personality, and Margaret's garments elegant, but never overpowering, emphasizing her aspirational nature.

Notable Acting Performances: Hywel Bennett, Jane Asher, Sven-Bertil Taube, Leigh Taylor-Young, Clive Revill.

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

Overall Grade: B

Link: IMDB Page

Trailer