THE SPORTING CLUB (1971)

Title: THE SPORTING CLUB

Year of Release: 1971

Director: Larry Peerce

Genre: Comedy, Drama, Black Comedy

Synopsis: The chaotic, facetious goings-on of a Michigan shooting club, as seen through the eyes of one of its members, businessman James Quinn.

Within a film history context: Movies which have the activities of a sports club at their core have not been a common occurrence on cinema screens. One of the first documented was James Tinling's CHANGE OF HEART (1938). Charting the relationship between a married couple, the wife being a golf player, who lures her husband into the sport, it was a film which was filmed at an actual country club, giving it authenticity. PAT AND MIKE (1952), directed by George Cukor, afforded the audience some peeks at several sporting clubs in California, including golf, and tennis clubs, with several colorful characters among the comedy and romance. In total contrast, Ron Winston's BANNING (1967) was in a dramatic vein. A professional golf player assumes the job of instructor at a ritzy golf club, his financial problems forcing him into situations he never expected, with an eye on the ladies at the same time. THE SPORTING CLUB was the one film in the genre where viewers were shown a sporting club in detail, in its case, a shooting club.

While the other movies, particularly CHANGE OF HEART, and PAT AND MIKE, were casual with regards to the depictions of the inner workings of a sports club, with THE SPORTING CLUB, the personalities who inhabited this club were front, left and center. With the afore-mentioned movies, romance and comedy were the motivators of the narrative. In THE SPORTING CLUB, the irreverent, violent, eccentric, and anti-social behaviour, and tendencies, of club members were highlighted, the other movies conventional in comparison to the free-for-all of the shooting club members. BANNING had an increased concentration on country club comings and goings, similar in a small way to THE SPORTING CLUB, but BANNING's glossy presentation, and emphasis on romance, was nothing like THE SPORTING CLUB's farcical, over the top narrative. One of the most curious, strange movies about a sporting club ever made, THE SPORTING CLUB is mainly of interest due to its vast differences from the small number of films on the subject before its release in 1971.

Overview: Larry Peerce is an American director of fifteen motion pictures, an all-rounder who has tackled different types of movies with generally above-average results. Mr Peerce's first film, ONE POTATO, TWO POTATO (1964) was a realistic study of a woman who divorces her husband, and marries an African-American man, her former husband suing for custody of their child, motivated by racism. The next of Mr Peerce's important films was THE INCIDENT (1967). A tightly-directed, tense account of two thugs terrorizing passengers on a New York subway train, it offered its diverse cast excellent acting opportunities. More prominent was GOODBYE, COLUMBUS (1969). The tale of a young man who falls for an upper-class young woman, with all their difficulties and obstacles presented to humorous, yet maximum effect, it was one of the most popular films of the year. A SEPARATE PEACE (1972) was the introspective story of two roommates at a private boarding school in 1940s New Hampshire, starring John Heyl, and Parker Stevenson in the lead roles. 

Entirely different in tone was ASH WEDNESDAY (1973). A woman embarks on plastic surgery to save her rocky marriage, but her choice leads to more than a few surprises along the way. Next came THE OTHER SIDE OF THE MOUNTAIN (1975), one of Mr Peerce's most commercially-successful movies. A young skiing champion ends up paralyzed after a tragic accident, and finds her way back to another kind of normalcy for herself, and her family. Based upon the real-life story of skier Jill Kinmont, it was popular enough to lead to a sequel, THE OTHER SIDE OF THE MOUNTAIN (1978), also directed by Larry Peerce. Thoroughly contrasting, and violent in nature was TWO-MINUTE WARNING (1976). A crazed sniper causes mayhem at a football game, with much derring-do and heroics captured by the movie. At the end of the 1970s arrived THE BELL JAR (1979). Based upon Sylvia Plath's 1963 novel set in the 1950s, which focused upon a young woman's mental breakdown in New England, it was one of Larry Peerce's most artistic, serious movies.

Larry Peerce directed four movies in the 1980s, concentrating more on television after this era. WHY WOULD I LIE? (1980) was the character study of a self-deceiving, dishonest man who becomes a social worker. His involvement in the life of a young boy, though, leads to romance with the boy's mother. LOVE CHILD (1982) was based upon the real-life of Terry Jean Moore, a woman in trouble with the law who does time in jail. Falling pregnant to a prison guard, there is a struggle to keep the baby, in light of these extraordinary circumstances. Mr Peerce's penultimate movie was HARD TO HOLD (1984). A musical which was a vehicle for singer Rick Springfield, it was also a romance, with a pop star falling for a child psychologist, but finding opposition from his former flame. Larry Peerce's final film, WIRED (1989) delved again into real-life territory, this time the life of John Belushi, but with low box office returns, and mixed critical reaction. As Larry Peerce's fifth movie, THE SPORTING CLUB holds the distinction of being his most disappointing motion picture for a number of reasons.

When seeing Mr Peerce's films such as THE BELL JAR, THE INCIDENT, THE OTHER SIDE OF THE MOUNTAIN and its sequel, and GOODBYE, COLUMBUS, to name several examples, one is struck by their strong structure and presentation, and attention to narrative events and continuity. With THE SPORTING CLUB, unfortunately, this is not the case. The story of a shooting club, and its wayward members could have been much better than what transpired on screen, but what is presented is unsatisfactory. To be fair to the director and screenwriter, the source novel was one which would have remained better unfilmed, and something that could not be adapted in a proper manner. They may have tried to be as faithful to the book as possible, but this does not wash away the sentiment that the final result is a mishmash of details and execution. Many examples of this abound in THE SPORTING CLUB.

Scenes that seem promising at the outset go nowhere fast, plot points are introduced only to be discarded and rejected, without any regard for events moving from point a to point b. There is a feeling that all the running around by the characters may have been seen as amounting to comedy, but, it never gels. The sexual content, while slight, is also out of place, and not only absurd but also, tasteless. For example, the movie begins with a character in a compromising position, but one never finds out who she is, and why it occurred. The climactic orgy is similarly low on the appropriateness scale, emerging out of nowhere. For these reasons, THE SPORTING CLUB is an incredibly frustrating experience as a film to witness, as one of the only things it is adept at is not providing a satisfying, fluent time for the spectator. 

It is difficult to believe that a director such as Larry Peerce, and screenwriter Lorenzo Semple Jr., could have come up with such a hodgepodge of a film. It begs questions; maybe there was the view at the time that this might have been the next big thing, in light of its jitteriness and irreverence, but, it is a lamentable failure. Notable as one of the most convoluted films ever made, and not a high point on the filmographies of both its director and screenwriter, THE SPORTING CLUB is a movie which makes the viewer grateful for their other work, but also, shaking one's head at how such talented people could be involved in such a dire production in the first place.

Acting: THE SPORTING CLUB has several meaningful performances which are of note. In the lead role of mixed-up, sociopathic Vernur Stanton, Robert Fields contributes another striking acting portrayal to cinema. A dynamic actor who excels no matter the part or movie in which he appears, Mr Fields' Vernur is one of the film's strongest assets. As his friend James, Nicolas Coster does a good job, but the movie does not display his strength as a player. An actor who added zest to his work in film and, particularly, in soap opera Santa Barbara, here his intelligence has not been properly utilized. It does not wash that Vernur would push James around and get away with it, something which would not have occurred elsewhere. In contrast, William Roerick as Fortesque adds his inimitable persona to the movie. While his role is small, he makes an impact with his authority, and the charming way he trails off when delivering dialogue is always fun. The last acting of note was by Jack Warden as Earl, the sporting club gardener. As with Mr Roerick his appearance is too limited, but Mr Warden makes his presence felt in the dramatic, and especially, the comic sequences.

Soundtrack: THE SPORTING CLUB has a lean soundtrack with a minimum of music featured, but the tunes appropriately reflect what is taking place onscreen, in an ironic manner. The song 'For the Dear Old Flag I Die' is most notably showcased during the movie's opening credits sequence, after the explosion segment, and also, its closing credits. 'Great Balls of Fire' is played in the campfire scenes with Earl Olive and his entourage, an allegory for a number of outrageous sexual hijinks occurring alongside him.

Mise-en-scene: THE SPORTING CLUB has a very good grasp of mise-en-scene, with particular attention to the woodsy sporting club, which seems real, and the many outdoor segments set in the forest, and lakeside. The explosion of the sporting club is well-done, and effective as a set piece. For a film in such a frivolous vein, the colour is subdued, never garish, and easy on the eyes, a credit to cinematographer John Courtland.

Notable Acting Performances: Robert Fields, William Roerick, Jack Warden.

Suitability for young viewers: No. Male nudity, female nudity, adult themes, medium-level violence.

Overall Grade: E

Link: IMDB Page

BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME (1971)

Title: BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME

Year of Release: 1971

Director: Jeffrey Young

Genre: Drama

Synopsis: Beatnik student Gnossos Pappadopoulis makes waves, and rubs many people up the wrong way in an American college in 1958.

Within a film history context: Movies which feature a beatnik protagonist were present to a small degree in cinema before 1971. One of the first was Howard Koch's UNTAMED YOUTH (1957). In this movie, two unruly young women are sentenced, and sent to a farm to straighten out after indulging in illicit activities in this irreverent film. Another movie in a similar style was DADDY-O (1958), directed by Lou Place. Here, an unconventional young man working as a truck driver is challenged by a young woman in a sports car to a race, but is arrested and loses his license. He then begins work singing in a nightclub, and becomes caught up in intrigue and drug dealing. More blatant in its intent was Charles Haas' THE BEAT GENERATION (1959). A misogynistic beatnik responsible for the rapes of women in Los Angeles is pursued by a detective who becomes obsessed with catching him at all costs. Slightly different in mood was A BUCKET OF BLOOD (1959), directed by Roger Corman. Featuring a number of beatnik characters, it was about a busboy who, after seeing the clay statue of a dead cat, begins to carry out murderous acts to produce further works of sick art, in this black comedy. Exploitation was also prevalent in Julian Roffman's THE BLOODY BROOD (1959). The story of a psychotic beatnik who becomes mixed up in mayhem, and murder, with other beatniks gave Peter Falk a showy lead role. Another wild film about beatniks was in the form of A COOL SOUND FROM HELL (1959), directed by Sidney J. Furie. A young beatnik becomes enmeshed in drug dealing and other activities, pining for a promiscuous eatnik young woman, while his true love lays low for him. Into the 1960s, further movies about beatniks and their adventures were on cinema screens.

Ranald MacDougall's THE SUBTERRANEANS (1960) had a male novelist fall for a beautiful beatnik, and become involved with her crowd, with romantic problems occurring due to their incompatibility.  The lead character of WILD FOR KICKS (1960), directed by Edmond T. Greville, was a viper whose dealings with beatniks brought her nothing but trouble. A humorous look at beatniks, though, was in Henry Koster's TAKE HER, SHE'S MINE (1963). A young American woman in Paris studying at college hooks up with beatnik friends, as described to her father in her letters to him, and he determines to extricate her from them, with many moments of hilarity unravelling. At the other end of the spectrum was THE FAT BLACK PUSSYCAT (1963), directed by Harold Lea. Revolving around the murders of three young women, linked by their wearing of high heels, and the investigator attempting to solve the case, but finding difficulties dealing with the world of beatniks into which he is plunged in the process. 

The positing of beatniks as evil was evident in Guy Hamilton's THE PARTY'S OVER (1965). In a similar manner to TAKE HER, SHE'S MINE, but lacking its comedy angle, a young American woman falls in with beatniks in England, the lines blurring between fantasy and reality, which leads to tragedy. The exploitation BLOOD BATH (1966), directed by Jack Hill and Stephanie Rothman, had a number of beatnik characters, with their café hangout one of the locales in this horror movie. Thoroughly contrasting was George Seaton's unconventional WHAT'S SO BAD ABOUT FEELING GOOD? (1968). This film had a beatnik man living a wacky life in a New York loft, and having many zany adventures along the way. In comparison to the majority of movies dealing with beatnik themes, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME was of a more serious nature.

It lacked the sensationalism that marked films such as UNTAMED YOUTH, DADDY-O, and THE BEAT GENERATION, and many others which had beatniks involved in mayhem, murder, and other illicit, and illegal activities. While Gnossos, the protagonist of BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME, creates controversy with his actions and behaviour, as the saying goes, stirring the proverbial pot wherever he is, the film is a character-driven piece more than one founded on spectacle, or eye-catching set pieces. The viewer gets to know Gnossos on an intimate level, and while one may not agree with what he does, and says in many instances, there is an innate understanding as to why he acts as he does. It is a deep, intense characterization than the more casual, shallow interpretations of beatniks in titles such as A BUCKET OF BLOOD, which oftentimes can be two-dimensional in scope. Related features of BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME set it apart from other movies about beatniks.

The concentration upon a central character is something that other entries such as A COOL SOUND FROM HELL, WILD FOR KICKS, and THE PARTY'S OVER share, but in BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME there is a broadening of narrative events which displays Gnossos in many different lights. BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME has a blend of romance, drama, tragedy, student politics, political intrigue, and whimsy, that moves beyond trapping its beatnik character as being either good or bad, nice or nasty. It is a much more ambitious storyline than others in the genre, taking in a variety of events, and away from stereotypical views of beatniks as just people who read poetry, and take recreational drugs. While there are some scenes of Gnossos using drugs, these are the sequences that are possibly the most out there in the movie, utilizing psychedelic colour schemes and fuzzy camerawork. These scenes, though, are in the minority overall. A film with some thoughtful moments, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is an interesting movie which tries to make its beatnik character a more fully-rounded person than previous pictures in the genre.

Overview: Jeffrey Young was an American director of a sole feature film, being BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME. As this is the case, this overview shall concentrate on Mr Young's directorial contribution on this movie. In looking at the picture overall, Jeffrey Young has done a satisfactory job with BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME. Adapted from Richard Farina's 1966 novel, it is about a radical student attending a conservative college in the late 1950s, and his clashes with almost everyone in the story, due to his counterculture ideals. Mr Young has made a film that has a nice flow to it, and a solemn mood that provides the movie a pensive atmosphere which assists it. The scenes are suitable in length, deftly delving into not only the mindset of its protagonist but also, the supporting characters. While the film does have a number of favorable points, there are certain weaknesses discerned when the movie is examined in further detail.

In trying to cover all the bases, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME, unfortunately, becomes overloaded. Possibly this has occurred as the director has attempted to be as true to the book as he could, but the sheer number of elements renders the film ubiquitous. This takes place many times in cinema and is probably not the intention of the filmmakers, but excising segments would have considerably strengthened the movie. BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is at its best when it follows Gnossos, particularly during the parts where he rebels against the conventions of the college, indulging in student politics, and his romance with Kristin, which has a touching ring to it. His intimate conversations with other such as Beth are also interesting, and add dimension to the life of Gnossos. These are the scenes that have the most weight in the movie. 

The more humorous scenes such as Gnossos seducing a young woman at the beginning, his part with Father Pettis, and Gnossos cooking in the nude worked on another level, giving the character depth, and not only being a non-conformist in a confrontational manner. What does not work as well is the opening sequence, where the viewer is led to believe that they are in AMERICAN GRAFFITI-style nostalgia territory, and the film's last scenes of political intrigue, set in Cuba. This last stretch is the most threadbare of the entire film, and does nothing for it. What distinguishes this segment is that there is no sense of tragedy present, or that the lead character has really learned anything here. It goes off on a tangent, without any real effect. If the film could have ended earlier, such as Gnossos leaving the college, and having a big emotional scene, it would have worked better. As it is, the film leads nowhere at the end, which is a disappointment. A movie bursting with aspiration, but not able to deliver an entirely coherent viewing experience, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is notable as a movie that could have been much better with suitable streamlining.

Acting: BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is a film with great performances, and others where, unfortunately, some actors are not fully utilized. Barry Primus is excellent as Gnossos Pappadopoulis, the protagonist of the movie. An actor able to project many emotions, creating a thoroughly rounded, realistic character, his acting propels the movie, making what is at times a turgid film into one with power. Linda De Coff, as Kristin, Gnossos' girlfriend, perfectly matches with Mr Primus, their relationship one of the brightest spots of the movie. Her relaxed Kristin is a contrast to the passionate, intense Gnossos, and works. As Beth, Cynthia Harris provides some striking moments in her brief screen time as Gnossos' friend, who imparts some home truths to him. Marian Clarke, as Pamela Watson-May, the woman Gnossos tantalizes at the film's start, is played with sincerity and charm by the actress. On the other hand, Bruce Davison is wasted in a small role as Fitzgore, one of Gnossos' friends. While he does very well in his part, one wishes that he would have been showcased more in the film. Susan Tyrrell succumbs to a similar fate in a tiny role as Jack, an acquaintance of Gnossos. An actress with a distinctive look and manner, as with Bruce Davison, there is a definite yearning to see more of her in the movie, as she could have contributed further than what appeared in the finished product.

Soundtrack: BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME has a lean soundtrack, mainly consisting of musical pieces at the beginning and end of the movie. There are some diegetic 1950s tunes played at the start of the film which give a nice feel of the era without being too overpowering.

Mise-en-scene: The picture employs both its indoor, and outdoor locations very well. Cinematography by Urs Ferrer is subtle, neither washed out, nor too bright, but properly measured, suiting the movie's thoughtful tone. The indoor scenes of Gnossos and his friends at the university, and in his small bohemian apartment, all appear authentic, his home especially reflective of Gnossos and his wayward life. Location filming is also excellent, with college milieu effectively conveyed to the viewer, and the lakeside sequences of Gnossos and Kristin are beautifully shot and executed.

Notable Acting Performances: Barry Primus, Linda De Coff, Cynthia Harris, Bruce Davison, Marian Clarke.

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

Overall Grade: C

Link: IMDB Page