THE GREAT MACARTHY (1975)

Title: THE GREAT MACARTHY

Year of Release: 1975

Director: David Baker

Genre: Comedy, Sport

Synopsis: A rising young football player is recruited by force for the South Melbourne Football Club, and becomes involved with many colorful characters in his journey.

Within a film history context: Movies about Australian Rules Football actually appeared after THE GREAT MACARTHY'S release in 1975, making it the first movie in Australian film history about the topic. The next picture om the subject, Bruce Beresford's THE CLUB (1980) was about the goings-on at an Australian Rules Football Club, particularly emphasizing the schemes taking place among those involved in the club. AUSTRALIAN RULES (2002), directed by Paul Goldman, was entirely contrary. It was about white and Aboriginal people in a South Australian town, and how they find common ground in football, but also, detailed what separated them. Richard Gray's BLINDER (2013) concerned itself with a football player who inadvertently became embroiled in a compromising situation, leaves town, and returns years later to try and mend fences. In a similar vein was THE MERGER (2018), directed by Mark Grentell. A former football player comes back to his hometown to coach a team which is in dire need of inspiration, and how refugees are enlisted to play on the team. Jason Perini's CHASING COMETS (2018) was a comedy with a young football player, and his difficulties not only with the game, but also, his personal life. THE GREAT MACARTHY was the earliest of the films about a football player, and one of the most irreverent.

The movie had an outrageous vibe about it, sending up not only the Australian preoccupation with football, but also, the personalities involved in the clubs who pull the strings, particularly with reference to players. It was a light-hearted take on THE CLUB, which viewed these subjects in a more serious manner, although it had many sharply satirical moments. The club members in THE GREAT MACARTHY could be classified as being cartoonish, while THE CLUB's members, and their behaviour, were based more in reality, and rooted in drama. Aside from this, THE GREAT MACARTHY had elements in common with films such as BLINDER, THE MERGER, and CHASING COMETS, which focused upon the personal life of their main protagonist. This is something THE CLUB shied away from, that is, focusing one character in particular. It was a multi-character narrative in this way, offering various viewpoints rather than concentrating on one key character, something that AUSTRALIAN RULES also did. THE GREAT MACARTHY and its counterparts, in comparison, offered an intimate portrait of the principal character, and how events in the movie revolved around him. The most brazen of the films about Australian football, THE GREAT MACARTHY is a beguiling motion picture.

Overview: David Baker is an Australian director who made two motion pictures, and a segment in an anthology film. He was more active on television, helming episodes of series for a number of years. His inaugural directorial credit was for 'The Family Man' segment in LIBIDO (1973), a film which explored the subject of sex in four parts, all made by various directors. Mr Baker's movie was about a man whose wife was in labour, and how he and his friend invite two women to his beach house, where issues of feminism, masculinity, and sexuality play out. His final movie was BEST ENEMIES (1985) a complicated love quadrangle of a young man, his desire for his cousin and another young woman, and the latter woman's affair with another man. THE GREAT MACARTHY was David Baker's second, and best-known film, one which reflected his ideas of love and romance present across his other contributions.

With THE GREAT MACARTHY, David Baker has created an amusing movie with some surprising moments of periodic introspection. The movie focuses specifically on a talented football player, and how his sporting prowess assists him in also gaining employment not only in an office, but also in a prominent football team. It is a boisterous examination of the effect of fame on a young man, MacArthy, the game of football itself with the shenanigans of a club, and, in particular, his various dalliances with the opposite sex. Mr Baker handles all these differing elements with a sense of style and je ne sais quoi, making this one of the most original Australian films ever made. It is a likable movie that never becomes boring or staid, which is it a credit to the director, and his personnel. On the other hand, when seen on a deeper level, though, the film has certain deficiencies which do not assist it overall.

The mood of irreverence is one that works quite well in THE GREAT MACARTY, but sometimes it can be taken too far. While there is a spirit present of anything goes, and this can be charming, it often tends to be grating. THE GREAT MACARTHY does jump from one situation to another with regularity, and the viewer has to be keen-eyed to keep up with the assorted derring-do. This, in effect, does blunt the emotional power that should have been there in many an instance, making matters cavalier. MacArthy's romantic pursuits, for example, flitting from one woman to another, was presumably intended to be satirical, which is the overall tone the movie promotes, but only one of his amorous relationships has a sense of poignance. MacArthy and his English teacher Miss Russell provide the best moments in the movie in this vein. The remainder of his female relationships are just a display for outrageousness, and overdone sexual frolics. Other aspects of the film do stand out for being overwrought.

The portrayal of the characters involved with the club, and the Ball-Miller family, for example, are sometimes over the top. There is a tendency for dealing in caricatures, and while this does raise a smile from time to time, head shaking often follows when it occurs too often. MacArthy himself, Miss Russell, Andrea, and Stan are notable exceptions to this. Andrea's scenes at the hospital with MacArthy are, though, utterly ridiculous, but thankfully do not impact much on them to a great degree. One does wish for a little more seriousness at times, to get to the heart of things, but it appears in fits and starts. The sense of pathos present in David Baker's other works such as in the LIBIDO segment are largely not in evidence here, sending the movie seesawing from one emotional extreme to another. In saying this, some things can be said about THE GREAT MACARTHY. Even though it is not successful overall in its execution, it is a fun movie that tackles the topic of Australian Rules Football in a breezy, if sometimes exaggerated, manner.

Acting: THE GREAT MACARTHY has several excellent acting contributions. In the lead role of MacArthy, John Jarratt makes a fine film debut. An actor with an amiable, low-key manner, he makes it understandable why three women pursue him in the movie with his effortless charm. As his true love, teacher Miss Russell, Judy Morris provides another thoughtful performance to her collection of excellent interpretations. An actress with a soft voice, subtle mannerisms, and air of mystique, Miss Morris scores in her part. The complete antithesis to Miss Russell can be found in the person of Andrea, MacArthy's second dalliance, played with force and humor by Kate Fitzpatrick. With her dominant manner, strong voice, and ability to chew the scenery with utter control, Miss Fitzpatrick makes another of her distinctive characters come to vivid life with the volatile Andrea. 

As Rerk, a motor mechanic seen in the beginning of the movie, Peter Cummins makes an impression in a small role. An actor with an ebullient nature and livewire attitude, Mr Cummins makes every second count with his too-short screen time. The Ball-Miller family butler Stan is given subtle comic treatment by Max Gillies. A performer with the uncanny ability to keep a straight face in the eye of wacky situations, Mr Gillies rounds out the fine acting in THE GREAT MACARTHY. 

Soundtrack: In terms of its soundtrack, THE GREAT MACARTHY's use of music is just right. Bruce Smeaton's score is featured throughout the movie in a spare manner. Mainly featured in the movie's most farcical moments, there are more serious scenes where music is employed that works. Aside from this, the film uses the same piano musical piece both during the opening and closing credits. It expresses the movie's anything goes feel in an effective, jazzy way.

Mise-en-scene: THE GREAT MACARTHY is convincing on a visual level as a viewing experience. Cinematography by Bruce McNaughton captures the movie nicely, the Eastmancolor stock striking a suitably muted note in a movie which is otherwise given to outrageousness in many an instance. Art direction by David Copping is of a high level, with all interior locations and the furnishing of these excellent. From the football locker rooms to Miss Russell's gothic home, to the grand Ball-Miller home and the office rooms, settings in THE GREAT MACARTHY are one of its best features. Costuming is another standout in the film, with all characters dressed appropriate to their characters' personalities. The outfits worn by Kate Fitzpatrick and Judy Morris are stylish, with the former more glamorous in keeping with Andrea's wealthy status. John Jarratt is also well-outfitted as MacArthy, with his suits and more casual attire reflecting the changes the character undergoes through the course of the picture. 

Notable Acting Performances: John Jarratt, Judy Morris, Kate Fitzpatrick, Peter Cummins, Max Gillies. 

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

Overall Grade: C

Link: IMDB Page

INTERVIEW WITH ACTRESS SUSAN BLAKELY

Today I have the immense pleasure of welcoming a very special guest, actress Susan Blakely, to CINEMATIC REVELATIONS for an interview. Susan has acted in many motion pictures over the years such as THE WAY WE WERE, THE LORDS OF FLATBUSH, REPORT TO THE COMMISSIONER, DREAMER [my review of the film can be found here] THE GENESIS CODE, THE TOWERING INFERNO, and EMILY OR OSCAR, to name a few examples. In this interview Susan will be discussing her role in DREAMER, acting, television, and The Actors Studio.

(Courtesy of Susan Blakely)

Welcome to CINEMATIC REVELATIONS Susan!

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

Susan: As an Army family, we were traveling all around the world when I was a kid. We didn’t have TV until I was a little older, so I was addicted to reading. Often I would identify so much with a character in what I was reading that I felt like I could just step into the part. Also back then no one ever talked to me about what I wanted to do when I grew up so acting seemed like fun. I just thought I would do plays. It never really dawned on me that I would be in films even after I had some game as a model in New York City. I was studying acting during all that time and doing a lot of commercials, so I sort of fell into acting.

*

Athan: Your performance as Karen in DREAMER was admirable, a young woman who knew her own heart and mind, made mistakes, and had regrets about these, which made her all the more real. What it is that drew you to the part of Karen?

Susan: Well you said it perfectly…It was all of those things, a woman who knew her own heart and mind, made mistakes and had regrets about them. In today’s world she would’ve been much further along in her career but at that point in time she had to be smarter and more competent than a man doing the same job...and for less money. But she was also very vulnerable and madly in love with Dreamer. Ironically, even in my acting classes, I was always drawn to characters from rural America. I did get to do some of those types throughout my career but if I had made different choices about big projects and had had a bigger career, I would’ve done many more. Even in "Rich Man, Poor Man" my favorite part of that mini-series was when my character was young living in a small town in upstate New York. Ironically, most of the roles that I have been offered have been for more upscale women. Also fun to do but I feel my heart is with women like Karen.

*

Athan: DREAMER had an excellent cast with yourself, Tim Matheson, and Jack Warden as the main focus in the picture. What was it like working with these performers?

Susan: Honestly, it was such a thrill for me. Tim had already been working as a professional actor for longer than I had and was an incredibly accomplished, and very serious actor. I learned a lot working with him. He was also a very generous actor to work with. Jack Warden was of course, one of the most remarkable character actors of our time. He was also hysterically funny between scenes and after work. DREAMER was filled with so many remarkable character actors. Again, all who had worked much longer than I had… Barbara Stewart, Matt Clark, Richard Schull and Merrya Small who has changed her name to Mews Small. The whole cast and crew stayed at the unassuming local Ramada Inn in Alton, Illinois, so we had a lot of fun together.

*

Athan: DREAMER was set in the world of ten-pin bowling, with its main character striving for success in this sport. The film featured many scenes in the bowling alley, which gave it a sense of realism in this respect. After shooting the movie, did you see the sport in a different light than how you previously envisioned it?

Susan: Somewhat. It certainly was fun to meet some of the sport's stars like Dick Weber, who played himself in the film just to observe the concentration and prowess that bowling demands. But I honestly think that bowling is a difficult sport to make exciting on film. I think Noel’s experience with editing really helped. What I will always remember is the smell of that bowling alley that we worked in…the cigarettes, stale beer, and rental bowling shoes. I loved it because I felt like I was really there in that small town working in that bowling alley.

*

Athan: For you, what was the most demanding, but emotionally satisfying segment of filming DREAMER?

Susan: Well, I just remember it being physically challenging especially when we were shooting on the river because of the humidity and the mosquitoes.

*

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

Susan: I did get together with Barbara Stewart and Jack Warden a few times after shooting, but as so often happens we sort of lost touch later. And I’ve seen Tim Matheson and Mews Small occasionally at events. I think we always mean to stay in touch but we all go on our separate ways. But I have such fond memories of all of them.

*

Athan: DREAMER was directed by Noel Nosseck, who also directed the motion pictures BEST FRIENDS, LAS VEGAS LADY, YOUNGBLOOD, and KING OF THE MOUNTAIN. What was it like being directed by Mr Nosseck in DREAMER?

Susan: He was quite lovely. Very smart, kind, very organized and easy to work with.

*

Athan: You have been very prolific on television over the years, beginning with both instalments of blockbuster mini-series Rich Man, Poor Man, series The Love Boat, Twilight Zone, Hotel, In The Heat Of The Night, Falcon Crest, over thirty telemovies, and more recently in series Southland, NCIS, and This Is Us. What are some of the main differences between film, and television from your perspective?

Susan: I was very lucky to be in some incredible TV -- even groundbreaking TV films, like the mini-series "Rich Man Poor Man" and the movie, "The Bunker," playing Eva Braun opposite Anthony Hopkins as Hitler. And I am grateful for the two films I did with Walter Matthau, "The Incident" and "Against Her Will: An Incident in Baltimore."  I also was pleased to have played Frances Farmer in her own real autobiography, "Will There Really be a Morning?" Of course I loved doing any comedy series like, "Two and a Half Men," and "The George Carlin Show." But a lot of the series that I was offered back then didn’t really excite me whereas TV today is in general incredibly exciting and innovative. I’m quite addicted to watching TV now probably even more so than most of the movies. Especially all of the big action hero franchises that they have out now.

*

Athan: From your standpoint, what is the main difference between film, and television production?

Susan: The main difference is time. Time and preproduction, perhaps for rehearsal or to work with the director and writers and customers, etc. Unless of course it’s a low budget film which then has the same amount of time as most TV movies. Nowadays, some of the best TV shows have a lot more time than they used to. 

In general I think TV now is really exciting because it attracts a lot of the best writers, directors, and actors. I am really addicted to TV now. So many amazing shows not just from the United States but from all over the world. We still have a lot of wonderful movies, but so much of production is Tentpole/action films and franchises. 

*

Athan: You studied acting at The Actors’ Studio, a very prestigious acting school which boasts many equally high-profile alumni such as Eva Marie Saint, Paul Newman, Jack Nicholson, Al Pacino, Jane Fonda, Anne Bancroft, to name a few performers. In retrospect, what is it that you remember most fondly after attending The Actors Studio?

Susan: Actually, I only took classes at The Actors Studio from Lee Strasberg for a couple of years. I never became a member of The Actors Studio because I was also studying with another highly regarded acting teacher at the time -- Warren Robertson. I had been in this wonderful class of his for a few years and then he put me into his advanced class of all professional actors, many of whom were already famous. Actors like Diane Keaton, James Earl Jones, Madeline Kahn, Burt Young and all these other Broadway stars. It was really challenging and I learned a lot but honestly, I was relieved when I started to work in films and had to move to LA because it was so nerve-racking to work with and in front of those incredible actors. But then, of course, one of my first films was with Paul Newman and Fred Astaire and Steve McQueen, Bill Holden and Faye Dunaway. All in one film… The Towering Inferno.

*

Athan: You have been designing jewellery for many years with Susan Blakely Designs, crafting beautiful and original pieces such as necklaces, earrings, and bracelets. The pieces contain semi-precious stones such as ruby, onyx, garnet, amethyst, and peridot, which make these appropriate for either formal, or more relaxed attire. What is it that you most love about creating your jewellery pieces?

Susan: I think what I’ve always loved the most is creating something beautiful out of these gorgeous stones. I love them as accessories to wear with simple basic fashions.

*

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

Susan: No, I don’t have any upcoming projects. I haven’t had any offers lately that have really excited me and I thoroughly enjoy my time off. Reading and watching films and TV, with my husband -- hanging out with our dog and spending time with all of my dear friends. I feel very blessed.

*

Thank you so much for your time today Susan, and for the insight you have provided into the art of acting, DREAMER, cinema, television, and The Actors Studio. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Susan Blakely links

(Courtesy of Susan Blakely)

+Susan Blakely IMDb Actress Page

+DREAMER movie IMDb page

INTERVIEW WITH ACTOR TIM MATHESON

Today I have the immense pleasure of welcoming a very special guest, actor Tim Matheson, to CINEMATIC REVELATIONS for an interview. Tim has acted in many motion pictures over the years such as DIVORCE AMERICAN STYLE, YOURS, MINE AND OURS, MAGNUM FORCE, DREAMER [my review of the film can be found here] NATIONAL LAMPOON’S ANIMAL HOUSE, FLETCH, 1941, and MIDNIGHT HEAT, to name but a few examples from his extensive filmography. In this interview Tim will be discussing his role in DREAMER, acting, television, and his experience with ten-pin bowling in the movie.

Welcome to CINEMATIC REVELATIONS Tim!

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

Tim: I have wanted to be an actor as early as I could remember. Luckily, I grew up in Los Angeles, which was the center of the TV & Motion Picture industry. When I entered the 7th Grade, I started auditioning for small parts and commercials through the agent of a friend and landed a job on my second audition.

*

Athan: Where did you study acting?

Tim: At first I was mostly self study. Then I started taking some classes. As I got older, I realized my limitations and immersed myself in Stanislavsky, Shakespeare, Improv, Vocal lessons, dance, plus numerous other types of classes that were around Hollywood. Some were better than others.

*

Athan: Your performance as Harold ‘Dreamer’ Nuttingham in DREAMER was a splendid interpretation of a young man going for his dreams, and attaining what he sought in life with determination, and integrity. What it is that drew you to the part of Dreamer?

Tim: I love sports movies. And, this was my first chance to star in a movie, so that was exciting. I find sports and acting to be very similar: pressure, technique, performance on cue, and the team effort by all of those on the crew and the team.

*

Athan: DREAMER had an excellent cast with yourself, Susan Blakely, and Jack Warden as the main focus in the movie. What was it like working with these performers?

Tim: I had known and worked with Jack before on JIGSAW JOHN, a series that he had done.  He was so easy and smart about acting, and open about discussing the process with me. He was an early mentor of mine and helped me enormously. Susan Blakely was a lovely partner and fun to be around. Always very positive and professional.

*

Athan: What did you find most exciting about making DREAMER?

Tim: I think the most fun thing was working with my Pro Bowling coaches to try to get it right. Dick Weber and Nelson Burton Junior were big helpers, and spent long hours training me, and telling me about being on the road in tournaments, how some bowlers tried to cheat by “doctoring” their bowling balls, etc. And, like most athletes they were very competitive and did their best to psych out the other players to throw them off of their game.

*

Athan: For you, what was the most demanding, but emotionally satisfying segment of filming DREAMER?

Tim: I think working on my first film as the lead actor in a starring role placed a lot of pressure on me.  I was aware of the responsibility that I had: to the cast, crew, studio, and to myself. I worked extra hard to try to make it believable that I could really bowl that well, and to make the relationships with the other characters deeply personal and real.

*

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

Tim: I see Susan Blakely occasionally in Los Angeles, but otherwise I haven’t been in touch with the other actors. An actor’s life is very like a vagabond's: you get very close to the other actors and crew while on the show, but then careers take everyone in different directions, and you often don’t see those people again for years and years.

*

Athan: DREAMER was directed by Noel Nosseck, who also directed the motion pictures BEST FRIENDS, LAS VEGAS LADY, YOUNGBLOOD, and KING OF THE MOUNTAIN. What was it like being directed by Mr Nosseck in DREAMER?

Tim: Noel was very supportive to me as an actor. Our only differences were about the tone of the movie: I wanted it to be more blue collar, realistic and dramatic like THIS SPORTING LIFE with Richard Harris, or THE HUSTLER with Paul Newman. I think Noel and the studio wanted it to be lighter, sweeter, and more conventional. I think it would have worked better if had had rougher edges.

*

Athan: Aside from cinema, you have also acted in scores of television shows over the years, with LEAVE IT TO BEAVER, MY THREE SONS, HERE’S LUCY, POLICE STORY, and more recently THE GOLDBERGS, EVIL, and HART OF DIXIE. What is the main striking difference for you between film, and television?

Tim: In my youth, television was lighter, simpler, cheaper and more disposable. By that I mean it was done as quickly and cheaply as possible, and the content limited severely by Network broadcast standards.  As for films, they were more adventurous, edgier, and more artistic. Risks were being taken in Independent movies, and I longed to become more involved in those types of projects: ANIMAL HOUSE was my first breakthrough in more dangerous and riskier material.  However, today, television is more on par with riskier, cutting edge type material and movies have become more formulaic and commercialized. The most interesting and dangerous shows typically now are on TV (streaming or cable).

*

Athan: For DREAMER you undertook intensive training for bowling, which was evident in the expertise with which you handled all your bowling scenes in the movie. For how long did you train in preparation for your bowling sequences?

Tim:  I worked out for about 4-5 weeks before we started shooting, and I kept working constantly during production. My thumb was so torn up by constant bowling, but I learned that all of the pros suffered such injuries, and just put Liquid Bandage over the injury and kept bowling.

*

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

Tim: I am doing a wonderful show called VIRGIN RIVER for Netflix. It’s the story of an idyllic small town in Northern California. It’s a place where many people have come to start over after failures in their personal lives, professional lives, and to get away from the pressure and intensity of Urban living.  It’s a place where being in a town surrounded by the wilderness brings comfort, renewal and peace; and a chance to create more rewarding relationships with neighbors and friends than one usually finds in the City lifestyle.

*

Thank you so much today for your time Tim, and for the insight you have provided into the art of acting, DREAMER, cinema, television, and ten-pin bowling. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Tim Matheson links

+Tim Matheson IMDb Actor Page

+DREAMER movie IMDb page

DREAMER (1979)

Title: DREAMER

Year of Release: 1979

Director: Noel Nosseck

Genre: Drama, Sport, Romance

Synopsis: An ambitious young man dreams of becoming a ten-pin bowling champion.

Within a film history context: In film history there have been a number of films which feature a bowling alley as part of the story, but generally as a supporting thread, or where a major scene occurs in the narrative. Generally, these did not present a character who bowled professionally, rather for leisure. One of the first to showcase a bowling alley as an important part of the story was Howard Hawks' SCARFACE (1932). In this movie, there is a pivotal scene in the bowling alley in this classic crime picture. With comedy THE DARING YOUNG MAN (1942), directed by Frank Strayer, a professional bowler unknowingly becomes mixed up in intrigue and espionage. Jean Negulesco's ROAD HOUSE (1948), had a night club owner falling for a singer, with the film's key setting, a roadhouse, including a bowling alley inside. A much darker movie, Stuart Heisler's STORM WARNING (1951) had Ginger Rogers and Doris Day as sisters in this tale of racism, where Miss Day's character worked in a bowling alley, an integral set piece in the film. 

Film noir MAN IN THE VAULT (1956), directed by Andrew V. McLaglen, also had a bowling alley as a central setting in the narrative where a number of events take place. In a much lighter vein was Bob Rafelson's FIVE EASY PIECES (1970). The main character and his friends play ten-pin bowling in this strong examination of a talented, volatile man with definite edges. The well-regarded Canadian film GOIN' DOWN THE ROAD (1970), directed by Donald Shebib, had one of the two main characters work in a bowling alley in this movie of two friends, portraying their lives and dreams. Of a more frivolous nature was Larry Hagman's BEWARE! THE BLOB (1972). This science fiction horror picture had a major scene take place in a bowling alley, as was the case with previous films. Disaster comedy THE BIG BUS (1976), directed by James Frawley, also had a bowling alley within its narrative structure, this time, being a section of the bus, which was the movie's main milieu. DREAMER was a film in which ten-pin bowling, and an aspiring bowler, were its dominant subjects, and where much of its action takes place.

The film was entirely in comparison to other entries where the bowling alley was a small component of the overall movie. With examples such as SCARFACE, ROAD HOUSE, STORM WARNING, BEWARE! THE BLOB, THE BIG BUS, FIVE EASY PIECES, and GOIN' DOWN THE ROAD, important plot events took place in a bowling alley, but lesser in stature with the fourth and fifth examples. These two films highlighted the leisure component of bowling, and employment aspect respectively, which gave these a point of difference. Working in a bowling alley, though, was also a part of STORM WARNING and THE DARING YOUNG MAN. THE DARING YOUNG MAN, in particular, could be seen as being closest in its themes to DREAMER, although the former was a light-hearted take on the latter. 

DREAMER had many serious moments but was not too heavy-handed with its dramatic content. It lacked the spine-tingling suspense scenes in STORM WARNING, but DREAMER was not that type of movie. There was not a sense of danger, peril, or trumped-up melodrama present in DREAMER, being of a more realistic, down-to-earth orientation. DREAMER, instead, closely followed a young man dreaming of becoming a bowling champion, and both his professional, and romantic endeavours. The romantic facets were also in THE DARING YOUNG MAN, if in a more overtly comic manner. Dreamer's relationship with girlfriend Karen had some comical moments, but not of the superficial, slapstick kind. Difference of opinion on matters both drew them apart, but also, their mutual agreement on others brought them together. A sound film about ten-pin bowling and the people who inhabit this world, DREAMER is a sweet movie.

Overview: Noel Nosseck is an American director who has helmed five motion pictures, generally light fare with a concentration on action. Mr Nosseck has, though, been much more prolific on television, directing many telemovies, and series episodes. His first film, BEST FRIENDS (1975), followed two best friends and their amours, with one of the two men less than impressed on the other's impending marriage, and consequently trying to ruin his friend's happiness. His second effort, LAS VEGAS LADY (1975) was a crime movie with action aplenty. The difference in this film is that a woman plans to rob a casino with assistance from two other women, but matters may not be a clear-cut as they first envisioned. YOUNGBLOOD (1978) was about a young black man in Los Angeles involved in gang wars, and fighting against drug dealers, unknowing that his brother is the leader of this outfit. Noel Nosseck's final film, KING OF THE MOUNTAIN (1981), centered around several people who speed drive their cars on Mulholland Drive for fame and monetary gain. Noel Nosseck's fourth movie, DREAMER, was one of his most agreeable, if insubstantial pictures.

In the case of DREAMER, Noel Nosseck has made a likable, innocuous film. The movie is the softest centered of Mr Nosseck's output, his other works being stronger in tone, such as BEST FRIENDS, YOUNGBLOOD, and KING OF THE MOUNTAIN. There is the theme of competition between people for a goal which permeates his films in general, but in the case of DREAMER, it is of a man's struggles in achieving success, without open rivalry from second parties. Taking as its main focus a young man seeking to become a ten-pin bowling champion, it is an enjoyable movie experience. It ably follows the young man in question, Harold 'Dreamer' Nuttingham through his trials, travails, love difficulties, and eventual triumph as a bowling star. It is observant not only of its characters but also, the sport of ten-pin bowling itself. There is a sweetness about the movie which raises many a smile while viewing it, something not to be discounted. Its breezy nature and lack of heaviness is pleasing to witness, but as a film, does work against it somewhat.

To be fair, DREAMER does have a solid storyline, and does not make outrageous plot choices which are out of sync with its characters. Its feel of everyday life gives it a warmth which is becoming. In saying this, though, the movie is dramatically flat at times, when it should have been more forceful and vigorous. It does possess a trio of well-drawn characters, with Dreamer, his manager Harry, and Dreamer's girlfriend Karen, who are all three-dimensional, but the events which occur to them are not overly compelling. The exceptions are when Dreamer and Karen argue, and there is some conflict there. The film's most heated moment is when Karen confronts Harry, and his reaction, and subsequent fate. The aftermath of this, with Karen's emotions overflowing, and guilt coming to the fore, is the best segment in DREAMER. It works as a device to bring Dreamer and Karen back together, and gives credence to the movie's final scenes. If DREAMER only had a sharper pace, and more riveting scenes, it would have been more memorable as a film. A pleasant if too leisurely movie, DREAMER is notable as an entry about the world of ten-pin bowling from director Noel Nosseck. 

Acting: DREAMER has three excellent main performances which greatly assist in its watchability. In the lead role of Dreamer, Tim Matheson is wonderful. An actor who infuses life into his characters, making them real, and motivations clear to the viewer, Mr Matheson does a fantastic job as the ambitious bowling champion. As Karen, Dreamer's girlfriend, Susan Blakely shows why she is a most thoughtful actress. Miss Blakely always takes an in-depth approach to her characters, her Karen a young woman who knows what she wants, being a life with Dreamer but also, on her terms. Susan Blakely's Karen has a spunkiness and fire which are amiable but also, is psychologically complex. Karen's confrontation scene with Harry is the most compelling moment in the movie which has palpable repercussions for Karen, and Dreamer. The final acting of note in DREAMER is by Jack Warden. Jack Warden gives Harry, Dreamer's manager and father figure, his unique personality and irrepressible sense of fun. An actor who made his larger-than-life characters human and real, he gives his Harry not only this but also, a sense of tragedy which is relatable, his absence from the film in the final reels confronting.

Soundtrack: DREAMER has a spare soundtrack which is to its advantage. Bill Conti's jazz theme during the opening credits evokes a classic aura, reflecting the rich history of ten-pin bowling itself. The most notable tune played in the film is 'Reach For The Top', performed by Pablo Cruise. It is utilized at various points, mainly after the opening credits, and closing credits. The song provides a nice inspirational ambience, which is the central aim of the picture itself.

Mise-en-scene: DREAMER has a very good attention to detail in what appears onscreen for spectators. Cinematographer Bruce Surtees employs a naturalistic use of colour without it ever being too bright or pretty. This works well as the movie itself has a homely feeling, and is not glamorous in context. Outdoor locations are all well-selected, and pleasant to witness, such as Harry's home, and outside the bowling alley. Interiors such as the bowling alleys depicted in the movie, Harry's office, and the bar, to name several examples, all ooze authenticity, making it clear that thought and care has gone into these.

Notable Acting Performances: Tim Matheson, Susan Blakely, Jack Warden.

Suitability for young viewers: Parental discretion advised. Slight adult themes.

Overall Grade: C

Link: IMDB Page

Trailer

ELAYNE HEILVEIL FROM PAYDAY (1973) - WHERE ARE THEY NOW?

PAYDAY was a downbeat, excellent character study of a down and out country music singer filled with thoughtful performances. As Rosamond, one of the young women taken along for a tumultuous ride by country singer Maury Dann, the role was played with breathtaking precision by Elayne Heilveil.

A performer who had acted in only two movies in her career, one of these being PAYDAY, but much more on television in prime time drama series such as Family, The Waltons and The Rockford Files, her contribution to the movie is one of its most memorable aspects.

Miss Heilveil takes her groupie character and makes her someone with whom the audience can empathize. Her initial delight in being chosen by Maury Dann as his main squeeze gives way to a sense of trepidation at what is taking place to Maury, and consequently to herself.

Her feelings are written all over her face and in her voice, and Elayne Heilveil makes Rosamond a fascinating figure indeed, one of the best female acting performances of 1970s cinema.

INTERVIEW WITH ACTOR JOSS MCWILLIAM

Today I have the immense pleasure of welcoming a very special guest, actor Joss McWilliam, to CINEMATIC REVELATIONS for an interview. Joss has acted in several motion pictures over the years such as THE EMPTY BEACH, THE COOLANGATTA GOLD [my review of the film can be found here] THE SUICIDE THEORY, and MAGDALA ROSE. In this interview Joss will be discussing his part in THE COOLANGATTA GOLD, acting, television, and role as an acting coach.

Welcome to CINEMATIC REVELATIONS Joss!

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

Joss: Thanks Athan. I did a bit of acting at school in a number of plays and quite liked it. Then bits and pieces at university. I tried out for NIDA in 1979 and could have got in, but for an all-night drinking session the night before my final audition. I was pretty young and wild and frankly not committed to the idea yet. I travelled overseas and saw some amazing theatre in Stratford and London. During a performance of Duet for One, starring Frances De La Tour, I was so enraged with the actor playing opposite her that I began to stand, to argue with him. Quickly sitting, I couldn’t believe that I had fallen for an imaginary situation. Mind you, it was great acting. That night, I decided that that was what I wanted to do.

*

Athan: Where did you study acting?

Joss: On my return to Australia in 1981, I tried out for NIDA and didn’t last the morning. I then spent two weeks at the Ensemble but did not like it at all, so I dropped out and ended up studying privately with an actor called Brian Syron. This was two nights a week in Woollahra. He had studied with Stella Adler so it was in that tradition. When I started working, I feel like I threw a lot of what he taught me away, but at least he taught me to think like an actor. I feel like most of what I have learned has been on the job and I have had the good fortune to work with and learn from some extraordinary actors and directors.

*

Athan: Your performance as Steve in THE COOLANGATTA GOLD was the linchpin for all the action in the movie, a young man of many shades, and moods, who was psychologically complex, and thoroughly compelling. What it is that drew you to the part of Steve?

Joss: In my second year with Bryan, I was spotted by Rae Davidson, a casting director at Forcast and asked to audition for The Coolangatta Gold. It was simply a chance to start climbing the greasy pole, an opportunity to start working. After I landed the job, I suppose I found parallels between the character and myself and drew on them for the role. I have always joked that I started at the top and have been working my way down ever since.

*

Athan: THE COOLANGATTA GOLD had a prolific cast with yourself, Nick Tate, Robyn Nevin, and Colin Friels as the movie’s central focus, the Lucas family. What was it like working with these performers?

Joss: I had a wonderful time working with Colin and I had the sense he was looking after me. Instinctively, I was drawn to his personality and way of working. There are things that we joked about on that set that still amuse me now. He once gave me Hamlet’s speech to the players at the back of a Grips truck. The perfect acting lesson. I still think of him as my acting brother. Nick was fine, but from a different acting school than the one I was interested in and Robyn, for whatever reason, didn’t speak to me once for the two weeks we were on set. Go figure.

*

Athan: THE COOLANGATTA GOLD was about an iron man endurance marathon, with many scenes of training, and the eponymous marathon race itself depicted in the movie. In preparation for the film, did you undertake a training regime, and what was your experience of this?

Joss: When I got the role, I wasn’t that fit, so I spent the next 3-6 months preparing. The week consisted of running many kilometres every second morning alternating with weight sessions on alternate days with the Manly Sea Eagles conditioner. I would swim 50 laps every second day and learn to surf ski on the alternate days. Then every evening I would learn Karate with Paul Starling for two hours. Exhausting. It was difficult at first, but I learned the transformative power of hard exercise and I became incredibly fit.

*

Athan: In THE COOLANGATTA GOLD, Steve also attends karate classes, under the instructor of real-life karate master Paul Starling, who played his close friend and confidant. Did you also train in martial arts specifically for the movie, or was this something of which you had prior experience?

Joss: I trained with Paul in Sydney, specifically for the movie. I had no prior experience and since the film have never used those skills again.

*

Athan: THE COOLANGATTA GOLD was directed by Igor Auzins, who also helmed the motion pictures HIGH ROLLING IN A RED CORVETTE, and WE OF THE NEVER NEVER. What was it like being directed by Mr Auzins in THE COOLANGATTA GOLD?

Joss: The Coolangatta Gold was my first job and I honestly expected to get more direction than what I got. I have since discovered that most directors just expect you to know what you’re doing. The best directors are collaborative and will work with you to improve performance.

*

Athan: Aside from your film work you have appeared in many Australian television shows over the years, from series such as Winners, The Flying Doctors, The Adventures of Skippy, and more recently in The Strip, and Home and Away. From your perspective, what are some of the most striking differences between film, and television production?

Joss: Both film and television at their best re all about storytelling. The most striking difference is the time given to tell the story. You have more time on a film set and there is more care taken on the shot and the content. Quality television is like film these days anyway.

*

Athan: You have been an acting coach for over a decade at Angel Studios, which is a professional recording studio in Brisbane, Queensland. What it is that led you to this, and what provides the most satisfaction in seeing students thrive in their aspirations?

Joss: I have been teaching off and on for twenty years. Because acting is a precarious profession financially, I’m sure I took it up to make extra money. There is something satisfying in seeing students grasp the idea that you are trying to get across. I enjoy watching their confidence grow and it is extremely satisfying to see some, as I did, go on to have professional careers. As I was taught, so have I gone on to teach.

*

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

Joss: I did a fantastic show last year called Boy Swallows Universe. There is a chance that it may tour next year nationally. Other than that, I have nothing coming up. This may change overnight, but if it doesn’t and I never worked again, I have no regrets. It is 40 years since I auditioned for The Coolangatta Gold and I have worked on many great projects since then with some wonderful people and have travelled all over Australia.

*

Thank you so much for your time today Joss, and for the insight you have provided into the art of acting, THE COOLANGATTA GOLD, cinema, television, and acting coaching. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Joss McWilliam links

+Joss McWilliam IMDb Actor Page

+THE COOLANGATTA GOLD movie IMDb page

FIRST LOVE (1977)

Title: FIRST LOVE

Year of Release: 1977

Director: Joan Darling

Genre: Drama, Romance

Synopsis: College student Elgin Smith falls for fellow student Caroline upon seeing her one day in a restaurant, but the road to first love is paved with many obstacles.

Within a film history context: Movies which revolve around a soccer player protagonist have not been a common presence on American screens before FIRST LOVE in 1977. These pictures, though, appeared sporadically in mainly European films from the 1930s onwards. One of the first was Thorold Dickinson's British THE ARSENAL STADIUM MYSTERY (1939). In this movie, a soccer player is murdered, with his sporting teammates and girlfriend suspected of the crime. With the Russian TSENTR NAPADENIYA [CENTER FORWARD] (1947), directed by Semyon Derevyansky and Igor Zemgano, a soccer player's lives, both personal and professional, are depicted, particularly his relationship with his girlfriend. Kresimir Golik's Croatian film PLAVI 9 [THE BLUE 9] (1950) was about an egotistical soccer player who has a way with the ladies, but pursues a young woman, whose heart belongs to another. With the Italian GLI EROI DELLA DOMENICA [SUNDAY HEROES] (1952), directed by Mario Camerini,  a soccer player indulges in suspect behaviour with his lover that may work against him in the end. Zoltan Fabri's Hungarian drama TWO HALF TIMES IN HELL (1961), was based upon a real-life incident, being a soccer match held between German, and Soviet soldiers during World War II. 

Argentinian THAT FORWARD CENTER DIES AT DAWN (1961), directed by Rene Mugica, centered upon a talented soccer player whose transfer is purchased by a wealthy man, but their partnership ends in tragedy. Lighter in tone was Manuel Munoz and Alberto Mariscal's Mexican LAS CHIVAS RAYADAS (1964). Here, a young man aspires to play for a soccer team, while his siblings have other sporting ambitions. In contrast, intrigue was at the core of Polish film SWIETA WOJNA (1965), directed by Julian Dziedzina. Two soccer fans scheme to kidnap a player from their opposition team to skew the game in this comedy. Comedy was instead on the agenda in Kostas Karagiannis' Greek movie YVES! YVES! (1972). Members of an opposing soccer team scheme to derail a successful soccer player through the attentions of a woman, which works in the short term, but events conspire for the truth to emerge. FIRST LOVE differed from the above movies about soccer players for a number of important reasons.

As with entries such as CENTER FORWARD, THE BLUE 9, SUNDAY HEROES, THAT FORWARD CENTER DIES AT DAWN, LAS CHIVAS, and YVES! YVES!, FIRST LOVE focuses specifically upon a male character who is a soccer player. There is also the depiction of the character's romantic pursuits in addition to his professional life. In comparison to the other entries, though, FIRST LOVE does not an overriding soccer background. Elgin is a college soccer player whose main occupation is his studies, and, secondarily, his job as a waiter in the campus café. The soccer theme takes up a much smaller part of FIRST LOVE, with Elgin's personal life spotlighted instead. There are several scenes where Elgin either plays soccer in a match, or practices on his own, but they are the exception here rather than the rule. It could be said, though, that there is a nice contrast implied between Elgin's personal life, and its uneven manner, with his greater success on the soccer field. Other aspects of FIRST LOVE also differentiate it from others in the genre.

FIEST LOVE lacks the comedy aspects which were present in YVES! YVES!, but concentrates more on the intimate amorous, and sexual life of Elgin. This is the predominant area where FIRST LOVE runs counter to all the other movies, although CENTER FORWARD and THE BLUE 9 do look at the personal lives of their main soccer player in some detail. FIRST LOVE also diverts in the area of plot, which marked pictures such as THE ARSENAL STADIUM MYSTERY, SUNDAY HEROES, and THAT FORWARD CENTER DIED AT DAWN. There is a lack of suspense in FIRST LOVE, instead a leisurely sojourn into Elgin's comings and goings. No red herrings or twists and turns, but a more character-driven view of the life of a soccer player. One of the most measured, direct films revolving around a soccer player, FIRST LOVE distinguishes itself with its down-to-earth presentation and execution.

Overview: Joan Darling has been an actress and director on many television series over the years, with several film acting credits. Miss Darling directed two motion pictures in her career, with THE CHECK IS IN THE MAIL (1986) her second movie. A man decides upon a life change by living off the grid, under difficult conditions, but finds his life is anything but idyllic in its new incarnation. With a cast including Brian Dennehy in the lead, and support from Anne Archer as his wife, it has sunk into oblivion. FIRST LOVE, though, was Joan Darling's first picture as a director, and her best-known film.

With FIRST LOVE, Joan Darling made an interesting directorial debut. The tale of an idealistic college student seeking Miss Right, falling deeply in love with a young woman, but finding things are more complicated than first thought, is handled nicely by the director. The movie has a pensive tone, and graceful pace, which provides it with a warmth, and a lyrical feel. The storyline is fluid in its execution, reflecting life itself, with different characters moving in, and out of the narrative with assurance. There is an intimacy about this film, and how it manages to get to the heart of its characters' innermost thoughts and feelings. It views its characters with sympathy, and this allows the audience to judge them as real people, despite their many flaws. For a film that tackles the topic of love, it does not have a mushiness about it, but is more adult in nature than most. There is talk of poetry and literature which is in keeping with the movie's academic setting, and this suits the material. While this is all admirable to witness, the movie does have a number of shortcomings which hamper the overall impact the director has attempted to achieve.

Weaving characters in and out of the specific stories gives a naturalness to the proceedings, but sometimes, there is a wish that deeper knowledge of events would have been beneficial overall. This would have made characters even more three-dimensional than they already are. Caroline is a prime example of this. An interesting, complex character, and pivotal in the life of Elgin, her personal life has been glossed over in FIRST LOVE. There was some mention of her father, and his emotional problems, which seemed to influence her view on life, and men, but this was not explored in enough detail. More attention in the movie has been given to the various love scenes than getting into the mind of Caroline, which is dispiriting. Shelley suffers a similar fate here. She is a truckload of insecurities and neuroses that the movie hints at, but we only partially see these, even though the presentation of these is of a high standard. It seems as if Shelley is more about getting Elgin into bed, when things are much deeper than this. In addition, David and Shelley are not seen together as a couple which would have been a nice contrast to Elgin and Caroline. This would have imbued the movie with more balance, and something to bounce off. Despite these weaknesses, FIRST LOVE is a passable motion picture which deserves to be seen, and notable as a movie by a female director in 1970s Hollywood.

Acting: Five performers in FIRST LOVE are notable for their contributions to the movie. William Katt is perfect as Elgin, the film's lead character. His sheer belief in the material, creating a character who he transforms into a real person onscreen, Mr Katt's presence is the key to why the picture remains watchable despite some lulls. As Caroline, the young woman who captures Elgin's attention, Susan Dey makes what could have been a one-note, overly fey character into someone likable, with a shattering psychological makeup that makes Caroline a complex figure indeed. The needy and lovable Shelley has been given an expert interpretation by Beverly D'Angelo. An actress with a penchant for comedy, this is in evidence here, but with a dramatic backbone, giving Shelley an undertone of sadness. Shelley's other half is in the person of John Heard as David. As with Miss D'Angelo, Mr Heard has a way with comedy, and it is disappointing that they are not used together sufficiently. Another actor with a zany way of doing things is Tom Lacy as college Professor Oxtan. While his character has a small part in the movie, Mr Lacy is remembered for his subtle comic reactions to situations, such as when Elgin fails to serve him his coffee, which is priceless to witness.

Soundtrack: FIRST LOVE has a spare but effective soundtrack which exemplifies the thoughtful tone the movie does so well. Most prominent are Paul Williams' dreamy, ethereal song 'That's Enough for Me' which is played during the train scene with Elgin and Caroline, and Cat Stevens' 'Child For A Day'. The latter is employed both during the opening, and closing credits, something in common with many 1970s pictures, in seeking to display the change of events, and character knowledge, from the movie's beginning, to end.

Mise-en-scene: A number of elements have been successfully fused to create the lush aura which permeates FIRST LOVE. Cinematography by Bobby Byrne bathes the movie in a relaxing glow with his work here. Exteriors in particular are noteworthy, with the soccer field on which Elgin plays, the outside of the college, and the leafy areas where Elgin and Caroline meet all beautifully captured. Costuming by Donfeld is in keeping with the subtle tone of the movie, the cast all dressed in an elegant, low-key manner. The jackets and coats worn by Susan Dey are chic, indicating her high socio-economic standing in a stylish manner. Production design by Robert Luthardt is excellent, giving both a realism, and warmth, to areas such as the cafe where Elgin works, Caroline's family home, and Elgin's dormitory room, to name a few examples.

Notable Acting Performances: William Katt, Susan Dey, Beverly D'Angelo, John Heard. Tom Lacy.

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

Overall Grade: C

Link: IMDB Page