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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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. 

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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).

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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.

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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.

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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.

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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