BUS RILEY'S BACK IN TOWN (1965)

Title: BUS RILEY'S BACK IN TOWN

Year of Release: 1965

Director: Harvey Hart

Genre: Drama, Romance

Synopsis: Bus Riley returns home from the Navy to his family, and finds things for him have changed on many fronts.

Within a film history context: While there are plenty of films dealing with U.S. Marines, or Navy sailors during the wars, there are less movies on the topic of them returning to civilian life after participating in the service. One of the first was John Ford's THE BLUE EAGLE (1926). In this movie, two friends in the Navy return to their home after completing their stint in the Navy. As civilians they compete for the love of a young woman, which is settled via a boxing match between the two men, and they become involved in other activities. Another film about life away from the Marines, but in a lighter vein, was HAPPY-GO-LUCKY (1936), directed by Aubrey Scotto. A woman sees a man in a nightclub who resembles her Marine husband, believed dead, this leading to much intrigue. Mystery and suspense dominate Anthony Mann's STRANGERS IN THE NIGHT (1944). An American Marine who has been discharged due to injuries suffered in World War II seeks to meet the woman who sent him a book, and wrote to him when in hospital, but finds danger and dirty deeds awaiting him upon his return home to the United States. A light touch was evident in the comical SNAFU (1945), directed by Jack Moss. An irreverent take on returning Marines, it is about a teenager who signs up for the Marine Corps, and sent to battle. Once it is realized by his parents where he has been, and what he has done, he is sent home, but finds difficulties in assimilating back to his old life. 

PRIDE OF THE MARINES (1945), directed by Delmer Daves, was the real-life story of Marine Al Schmid, who returned a hero from fighting overseas during World War II. The film covered his recovery from not only his physical wounds, but also, his psychological scars, and, his marriage to his wife. In a similar, but more romantic slant, was Charles Martin's NO LEAVE, NO LOVE (1946). As with PRIDE OF THE MARINES, a young Marine returns home a hero, but in this film, he becomes involved with a radio singer, and subsequently in both musical, and comic interludes. Suspense ruled STEP BY STEP (1946), directed by Phil Rosen. A returned Marine falls into a web of lies, mystery, and murder, with Lawrence Tierney in a sympathetic part playing against type from his usual role as the heavy. Another biography of a Marine was presented in Francis D. Lyon's CRAZYLEGS (1953). The story of sports star Elroy Hirsch, it mainly followed his sporting achievements rather than his military service. Another biographical account of a real-life figure was THE OUTSIDER (1961), directed by Delbert Mann. The story of Native American Marine Ira Hayes was dramatized with Tony Curtis in the lead role. The movie charted Mr Hayes' triumph upon returning home, to his eventual decline through alcohol abuse. BUS RILEY'S BACK IN TOWN contained elements of other films featuring returned Marine and Navy soldiers, but diverted greatly in other areas.

In BUS RILEY'S BACK IN TOWN there is a focus on a returned Marine protagonist, essentially a character study, something shared by entries such as STRANGERS IN THE NIGHT, SNAFU, PRIDE OF THE MARINES, CRAZYLEGS, and THE OUTSIDER. Where BUS RILEY'S BACK IN TOWN moves away from these is in the depiction of its lead character. Compared with the above films, which largely dealt with the psychological repercussions of being in the Navy, or in the Marine Corps, Bus in BUS RILEY'S BACK IN TOWN is remarkably well-adjusted. While he has his moments, he does not fall apart, but reacts to life's ups and downs in a more muted manner. He does not become involved in intrigue or danger, but has enough issues with finding himself as a person upon his return to life as a civilian. There is no trumped-up peril for him, only the challenge of everyday life knocking on his door. It is refreshing seeing Bus, for example, trying to avoid the advances of his ex-flame, who decides she wants him again, looking for employment, and, being a member of a family as the only male among three women. This gives BUS RILEY'S BACK IN TOWN a more relatable, naturalistic feel than the more suspense-oriented titles such as STRANGERS IN THE NIGHT and STEP BY STEP. For these reasons, BUS RILEY'S BACK IN TOWN distinguishes itself as one of the most true-to-life, agreeable views of a returned Marine in film.

Overview: Harvey Hart was a Canadian director who sometimes made films in Hollywood, but much of his output was produced in Canada. The director of eleven movies, they are notable for their bold presentation, and challenging subjects. Mr Hart's second film, DARK INTRUDER (1965) was the tale of a man with supernatural powers who is called upon the solve the murders of women in San Francisco.  Next came THE SWEET RIDE (1968) a drama about various bohemian characters surfing, and riding their way around life, with a young woman providing the spice. One of Mr Hart's most-remembered works was the controversial FORTUNE AND MEN'S EYES (1971). The screen adaptation of John Herbert's stage play about his personal experiences in jail, it was a challenging journey through homosexuality and brutality in jail, but with excellent performances from Wendell Burton, Danny Freedman, and David Zooey Hall seminal as the complex, compelling Rocky. The distinctive MAHONEY'S ESTATE (1972), in utter contrast, followed a young man who wanted his slice of happiness in a rundown home in the country, with Alexis Kanner fine in the lead. 

Harvey Hart's best film was the excellent, unsparing SHOOT (1976). With shades of DELIVERANCE and SOUTHERN COMFORT, it focused upon a confrontation between two sets of men across a lake, and how armed retribution, and retaliation in general, does not always bring a better set of circumstances for those involved. A change of pace was evident in the pleasant GOLDENROD (1976). The story of a rodeo champion, and his marital, and familial problems, was handled in an inspiring manner, with Tony Lo Bianco in the main role, and Gloria Carlin as his harried wife. Into the 1980s, 1983 brought UTILITIES, Harvey Hart's final film to the screen. In this comedy-romance, a social worker becomes fed up with the shenanigans of utility companies, taking these on, and along the way falls for a policewoman. While not up to the standard of Mr Hart's earlier works, it nevertheless had some insightful moments. BUS RILEY'S BACK IN TOWN was Harvey Hart's debut motion picture, and a notable film on various grounds.

With BUS RILEY'S BACK IN TOWN, Harvey Hart has successfully made a film which seamlessly combines drama, pathos, and comedy, in its overriding character study of eponymous lead character Bus Riley. Based upon a play by William Inge, it adroitly explores the life of a young returned Marine, specifically dealing with his family life, romantic pursuits, employment travails, and mission for acceptance back home. The movie portrays Bus' life with sincerity, without casting aspersions on either himself, or those with whom he comes into contact. BUS RILEY'S BACK IN TOWN thus sweeps the viewer along for the ride with its careful, non-judgmental approach, making sure that character actions are always understandable to the spectator. This character-driven leaning gives the movie a likability and drive which assists it all the more. In particular, the scenes of the loving Riley family have a realism about them which makes the characters, and what is taking place, believable. Unfortunately, there are some aspects of the film which let it down slightly.

While the relationship between Bus and his mother, his younger sister Gussie and himself, both stand out in the movie, the union of Bus and his other sister Paula is not as well-drawn. While there is some conflict between Paula and Bus that plays out during the movie, it pales in comparison to the full-blooded repartee between siblings Bus and Gussie. In addition, there is another segment of the movie that could have been fleshed out more than it was. The beautiful connection of Bus and Judy is given some time in the film, but not enough. There was a lot of soul-stirring to be found here which was a great contrast to the shenanigans of Laurel trying to sink her hooks into Bus. Laurel and Bus together was another great part of BUS RILEY'S BACK IN TOWN, but it would have been nice to have witnessed more of Bus and Judy's scenes, these having a magic feeling to them. All in all, though, some things can be said about the film, despite its deficiencies. BUS RILEY'S BACK IN TOWN is a well-constructed, and directed movie that is reflective of Harvey Hart's keen approach to his characters and storytelling, making it a thoughtful viewing experience.

Acting: BUS RILEY'S BACK IN TOWN has a cast who all deliver distinctive performances. As Bus Riley, Michael Parks is a dynamic performer. Utterly believable as a young man searching for his identity and moral place in the world, Mr Parks does a great job. Laurel, the young woman who loves to twist Bus around her little finger, is finely portrayed by Ann-Margret. An actress who is on fire when the material calls for her to exude passion, and vulnerability, she is wonderful as the vampy, but also, needy Laurel. The film's maternal figure is played by the beautiful Jocelyn Brando, as Bus' mother Mrs Riley, the movie's moral core, and its most centred character. Her wise and thoughtful personality is in sharp contrast to many of the film's female characters, who are variously self-absorbed, and self-deceiving. The movie's most delightful acting is by Kim Darby as Gussie, Bus' sister. An impish, self-confident performer who brings pleasure to the film, the appealing Miss Darby makes all her scenes count in both the dramatic, and comic moments. Unfortunately Mimsy Farmer, as Paula, Bus and Gussie's sister, is not shown as effectively as her onscreen siblings. While there is some friction present in Bus and Paula's interactions, the actress is not around long enough to fully play this out, which is a disappointment. There are, though, several other performances in BUS RILEY'S BACK IN TOWN which are worthy of mention.

As the sensitive Judy, Gussie's best friend, and Bus' true love, Janet Margolin is wonderful. An ethereal presence who graced several films and much television, Miss Margolin shines as the unlucky Judy. There are also a number of actors in BUS RILEY'S BACK IN TOWN with small roles which have impact. As Judy's mother Mrs Nichols, Nan Martin makes the most of her small but pithy role as the attractive, but inebriated woman who tries to come on to Bus. Unfortunately, Brett Somers, as schoolteacher Carlotta, is not given the opportunity to create a deeper character. While Carlotta is a nod to Rosalind Russell's schoolteacher in PICNIC, there is nowhere near the depth of that character in Carlotta, which is a shame. The refined Ethel Griffies, as Mrs. Spencer, mother of the undertaker from whom Bus seeks work, is commanding in a brief role that has credence. Brad Dexter's interpretation of the smooth-talking vacuum cleaner salesman Slocum is another unique performance in the movie. With his deep voice and confident persona, Mr Dexter is thoroughly convincing in his role. Larry Storch, as barman Howie, Bus' friend, is earthy and realistic, bringing out another side of Bus. Mr Storch nicely rounds out the great acting contributions in BUS RILEY'S BACK IN TOWN.

Soundtrack: Richard Markowitz' perceptive score adds immeasurably to the success of BUS RILEY'S BACK IN TOWN. Comical in the lighter moments and solemn in the more serious stretches, it is always measured without being overpowering. 

Mise-en-scene: BUS RILEY'S BACK IN TOWN has excellent production values which give the movie an air of sophistication. While the movie is predominately set-bound, the sets are appropriate to the action, adding authenticity. Some examples stand out in particular for their veracity. The Riley family house is homey and warm, especially the living room and kitchen where much of the movie takes place. In contrast, Laurel's home is splashy, with expensive accoutrements befitting the wife of a successful businessman. Costuming in BUS RILEY'S BACK IN TOWN is also of a high grade, with the outfits worn by players suitable to the characters, and their personalities. Special mention must be made of designer Jean Louis'  stylish creations for Ann-Margret, and Rosemary Odell's for the remaining actors. In a more technical vein, Russell Metty's colour cinematography is first-rate, bathing the movie in a beautiful glow, and making everything appear special.

Notable Acting Performances: Michael Parks, Ann-Margret, Jocelyn Brando, Kim Darby, Janet Margolin, Ethel Griffies, Brad Dexter, Larry Storch, Nan Martin.

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

Overall Grade: B

Link: IMDB Page