LOVERS AND OTHER STRANGERS (1970)

Title: LOVERS AND OTHER STRANGERS

Year of Release: 1970

Director: Cy Howard

Genre: Comedy

Synopsis: Mike and Susan are preparing for their upcoming marriage, but their family and friends have their own marital, and other issues with which to deal.

Within a film history context: There have been a great variety of movies over the years with an Italian-American male central character. One of the first was Reginald Barker's silent THE ITALIAN (1915). An Italian man seeks to build a new life in America, awaiting the arrival of his love from Italy. Their life together in the United States, though, is filled with heartache and pain, in this affecting early movie. Into the sound era, THE GUILTY GENERATION (1931), directed by Rowland Lee, had two Italian-American gangsters battling it out for supremacy, but their feud takes a surprising turn when their son and daughter, respectively, fall in love. One of the most famous movies about an Italian-American was Howard Hawks' SCARFACE (1932). The life and times of a violent, and unrepentant gangster was the focus here, with Paul Muni in a top role as the complex Tony Camonte. 

Decidedly different in tone was HUDDLE (1932), directed by Sam Wood. A young Italian-American man working in a steel mill yearns for a better life, winning a scholarship to Yale, but his family background may work against him in this romance. Charles Reisner's THE WINNING TICKET (1935), was a comedy about an Italian-American barber who purchases a lottery ticket, which turns out to be the winning one, but the subsequent loss of the ticket causes nothing but mayhem in this light film. MAN OF THE PEOPLE (1937), directed by Edwin Marin, featured an Italian-American attorney in a difficult predicament - he tries to be of assistance to those who need it, but mobsters are the ones who can make it happen for him. Bernard Vorhaus' FISHERMAN'S WHARF (1939), followed an Italian-American fisherman, and his personal troubles, particularly those incited by others. 

With THEY KNEW WHAT THEY WANTED (1940), directed by Garson Kanin, an Italian-American vintner sets in motion a twisted chain of events in his pursuit of a young woman via a letter, which conceals his true identity. In contrast, Robert Siodmak's CRY OF THE CITY (1948), was of a power struggle between a policeman, and his opponent, an unsparing criminal, two Italian-Americans who were former friends, over the latter's unseemly activities. In a similar yet different vein was KNOCK ON ANY DOOR (1949), directed by Nicholas Ray. A lawyer defends a young Italian-American man of murder by painting a picture of a disadvantaged youth drawn into crime, but the effectiveness of this is at the core of this picture. Joseph Mankiewicz's HOUSE OF STRANGERS (1949), revolved around an Italian-American man whose three brothers allow him to go to prison, and his retaliation when he leaves jail.  

Crime again made its mark in BLACK HAND (1950), directed by Richard Thorpe. A man whose father was killed by the Mafia years ago comes to avenge his death in New York City. Fritz Lang's CLASH BY NIGHT (1952), had an Italian-American fisherman becoming involved with a mysterious woman, who may have designs on another man, being his friend. FROM HERE TO ETERNITY (1953), directed by Fred Zinnemann, was a World War II drama with an Italian-American supporting character, Maggio, played to perfection by Frank Sinatra in this pungent, highly popular movie. Another serious movie with an Italian-American character was Delbert Mann's MARTY (1955). The touching story of a butcher, and a teacher was a triumph for its lead, played by Ernest Borgnine, winning Oscars not only for Mr Borgnine but also for Best Picture, Director, and Screenplay. SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was the biopic of Italian-American boxer Rocky Graziano, charting his early life, to his prizefighting as an adult. Elia Kazan's racy BABY DOLL (1956), was the story of a young Mississippi woman who wraps men around her little finger with utter ease. The main one in this position was her husband, the other, an Italian-American cotton farmer, to whom she takes a shining in this controversial film. 

THE MIDNIGHT STORY (1957), directed by Joseph Pevney, featured an Italian-American policeman whose father figure, and friend, a priest, is killed, and sets out to discover who committed this crime. Phil Karlson's THE BROTHERS RICO (1957), followed an Italian-American man who thought that he was done with the Mafia, but whose brothers force him into involvement again with the mob. WILD IS THE WIND (1957), directed by George Cukor, was a move away from crime themes into character-driven territory. An Italian-American farmer brings a woman from Italy, the sister of his late spouse, to be his second wife, but his treatment leads her to fall for her new husband's ranch hand. Crime once again made its presence felt in Richard Wilson's AL CAPONE (1959). The life of the infamous criminal was dissected here, with Rod Steiger in the lead role. INSIDE THE MAFIA (1959), directed by Edward L. Cahn, was yet another crime saga with an Italian-American protagonist. This time, a crime kingpin back in America pulls strings to dispatch his opposition, subsequently ingratiating himself into other situations. 

Real-life crime incidents were depicted in Richard Wilson's PAY OR DIE! (1960). The life of Italian-American New York City policeman Joe Petrosino's life was the focus, particularly his efforts to quash organized crime at the turn of the 1900s. A softer approach was evident in LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. An Italian-American musician has a one-night stand with an Italian-American department store assistant, their difficulties heightened when she falls pregnant, and their dilemma as to what they will do with the baby. A crime angle again infused Gordon Douglas' TONY ROME (1967). In this instance, an Italian-American private detective is assigned by a man to locate jewels stolen from his young daughter, with many twists and turns along the way. WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese, revolved around a young Italian-American man, and his relationship with a young woman, which is affected by events from her past that haunt him. LOVERS AND OTHER STRANGERS took a dissimilar approach to its depiction of an Italian-American man.

Many of the movies in this category were of Italian-American men linked to organized crime, or other illicit activity. LOVERS AND OTHER STRANGERS diverted from this model, firstly, with its comic orientation, and secondly, a more family-centric story structure. HOUSE OF STRANGERS and THE BROTHERS RICO were the two films which explored a family dynamic more so than others, but these were of a dramatic nature. The conflict between brothers in these was presented strongly, but in LOVERS AND OTHER STRANGERS, the brothers are decidedly friendlier in their dealings. This is in keeping with the picture's breezy, upbeat tone. This is not to say, though, that Mike's family are any less defined than the previous two examples. LOVERS AND OTHER STRANGERS is at pains to show the Italian-American Vecchio family in detail, also including Mike's parents and brother. This provides different perspectives from each family member which greatly adds richness to the film. Other facets of the movie are worth considering. 

While Mike in LOVERS AND OTHER STRANGERS is a main character, and his marriage preparations are juxtaposed to the situations of his family, and other guests, he does take a backseat somewhat to the associated narrative activity. This is as LOVERS AND OTHER STRANGERS follows a multi-character arrangement, whereby the lives of almost a dozen people aside from Mike and fiancée Susan are compared, and contrasted with the couple. The Vecchio family is shown alongside Susan's family, the Hendersons, who have a world of their own, with some marital tensions thrown in. Mike and Susan could be posited as being the most 'normal' of their family and friends as all they wish to be is together, without any complications, which do hinder some of the other couples in the movie. Mike's status as an Italian-American man, also, is not made an issue in the film. It as such downplays the race angle, with him thereby accepted by an American family for their daughter. There is not the attribution of Mike being a criminal, a hood, or a boxer in the picture, and this allows for another vision of Italian-American manhood away from stereotypical perspectives from other examples. A refreshing view of an Italian-American male character, LOVERS AND OTHER STRANGERS offers a stimulating change of pace in this respect.

Overview: Cy Howard was an American director with only two directorial efforts to his credit, being much more active on television as a writer, and producer on prime-time series, and telemovies. His final film, EVERY LITTLE CROOK AND NANNY (1972), was a comedy of errors about an Italian- American New York gangster who forces a teacher to vacate from a building he has just acquired, despite her having a long lease there. What eventuates is a twisted chain of events whereby the teacher seeks revenge by acting as a nanny, which leads to many other comic consequences for both herself, the gangster, and others. LOVERS AND OTHER STRANGERS was Cy Howard's first movie, and his finest achievement as a director.

Cy Howard has crafted a highly entertaining, engaging motion picture with LOVERS AND OTHER STRANGERS. Taking as its focus a young, engaged couple slated to be married, and surrounding this story arc with the accompanying personal events of their family and friends, it is a smoothly-rendered, astute piece of filmmaking. Mr Howard has succeeded in making his characters real and relatable, without ever slipping into caricature. The screenplay examines the minutiae of human relationships, and clearly explains to the audience exactly where the characters are coming from. The viewer becomes intimately acquainted with what is occurring onscreen, and the movie is akin to watching the lives of real people unravel. Although LOVERS AND OTHER STRANGERS is an intensive work, and attempts to cover all the bases, there are some sections which are lacking when considering the picture as a whole. 

Giving airtime to all the many relationships in the film is a good quality of LOVERS AND OTHER STRANGERS, but this does leave one of these segments less coverage than it should have received. One would expect to witness more of Mike and Susan's appealing union, but this does not happen. They appear fitfully, and while their scenes are all of a high standard, it leaves one yearning to see more of them. Mike's standoffish behaviour, and Susan's quiet spitfire nature are not utilized sufficiently. Another deficiency is the treatment of Bernice, Hal's wife. Having the spirited Bernice only function as a comic prelude to scenes of husband Hal with Kathy is disappointing. There was something special in the character of Bernice, and not finding out more about her was one of the biggest drawbacks in the movie. Aside from these flaws, and putting these to one side, some things can be said about LOVERS AND OTHER STRANGERS. It is an agreeable picture which deserves its status as one of the premier comedies of the 1970s, and Cy Howard's best movie. 

Acting: It is undeniable that LOVERS AND OTHER STRANGERS contains many distinctive performances which ensure it remains delightful throughout its running time. As Mike, a young man slated for marriage, but uncertain if it is really for him, Michael Brandon is in one of his best early performances. A player who gets to the heart of his characters in a straightforward manner, never seeming actorish, he adds punch whenever he is onscreen. Mike's fiancée Susan is given equally formidable treatment by Bonnie Bedelia. With her intuitive edge, and charming manner of speaking, Miss Bedelia matches well with Michael Brandon as the more emotionally secure half of this couple. Bea, Mike's vocal mother, is made memorable by Bea Arthur. With her dominant voice and no-nonsense way of doing things, Miss Arthur provides some of the most touching, funny scenes in the movie. Bea Arthur is more than matched every step of the way by Richard Castellano as Frank, her impassive husband. Seeing beyond Frank's hangdog expressions and sullen behaviour, Mr Castellano makes Frank an identifiable husband, and father figure in the film, with a surprising vulnerability displayed at the end of the picture. Susan's mother Bernice is played with sweetness and light, but intelligence, by Cloris Leachman. While Miss Leachman has not been employed to full capacity here, nevertheless, her glowing presence is still welcome. Five other actors give excellent accounts of themselves in LOVERS AND OTHER STRANGERS.

The pained but sympathetic Kathy is played with utter assurance by Anne Jackson. With the ability to make her character, who appears comic on the surface, and to infuse her with a pathos which gives this other woman sheer substance, is a resounding testament to this talented actress. At the other end of the emotional spectrum, the sharp-tongued Wilma tosses her barbs with panache courtesy of Anne Meara. Miss Meara is fun either sparring with husband Johnny, grumbling about her mother-in-law, and generally adding spice wherever she is present. Wilma's macho husband Johnny is another unique acting contribution, with Harry Guardino in full force with Anne Meara, as Johnny and Wilma duke it out in this battle of the wills, and sexes. Susan's bookish cousin Brenda comes alive in the person of Marian Hailey. With her insistent tone of voice, and references to books, Brenda is another lively figure in this gallery of characters. The final acting of note is by Diane Keaton as Joan, daughter-in-law of Bea and Frank. Appearing in the final section of the movie, Miss Keaton bestows another perspective on marriage in LOVERS AND OTHER STRANGERS, which allows it to come full circle with her congenial, but astute, portrayal of a woman in a marital crisis.

Soundtrack: LOVERS AND OTHER STRANGERS has an effective soundtrack which covers all the bases in terms of the movie's intentions. The opening credits sequence has a rendition of 'Comin' Thru To Me' by Country Coalition between scenes which contain witty dialogue and action, punctuating this well. 'For All We Know', performed by Larry Meredith, is featured in the scenes leading to Mike and Susan's wedding, and also, in a different version during the closing credits. It is more reflective in tone than the previous tune, deftly emphasizing the delicacy of the relationships in the movie. This is presumably to highlight the poignancy of the main relationships in the film, but it is replaced by the livelier 'Comin' Thru To Me' once more at the conclusion of Mike and Susan's scene in their apartment.

Mise-en-scene: LOVERS AND OTHER STRANGERS creates a believable world which the characters inhabit in the picture. Cinematography by Andrew Laszlo is beautiful, the Metrocolor film stock making everything appear natural, both indoor, and outdoor sequences. Alan Hicks' set decoration is also excellent, drawing nice contrasts between Mike and Susan's apartment, the comfortable, homey Vecchio family home, and the more elaborate Henderson residence. There is the subtle reference to socioeconomic status with this, but this is not something aggressively pursued by the movie. Costuming is also another great asset to the movie, with Albert Wolsky's creations, particularly for the actresses during the wedding and reception segments, elegant, and appropriate to each character. The opening sequence is also striking, with a conversation between Mike and Susan intercut with cast and crew credits, and Wayne Fitzgerald's two colour film title nicely set against a black background.

Notable Acting Performances: Michael Brandon, Bonnie Bedelia, Bea Arthur, Richard Castellano, Cloris Leachman, Anne Jackson, Anne Meara, Harry Guardino, Marian Hailey, Diane Keaton.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

MURPH THE SURF (1975)

Title: MURPH THE SURF (Alternate title: LIVE A LITTLE, STEAL A LOT)

Year of Release: 1975

Director: Marvin J. Chomsky

Genre: Drama, Action, Biography

Synopsis: Career criminals, and surfers Jack Murphy, and Allan Kuhn, plan a heist to steal precious gems from a museum. 

Within a film history context: With the rise of surf culture in the late 1950s and early 1960s, cinema began to respond with an assortment of movies about surfers. The first notable example was Paul Wendkos' GIDGET (1959). A young woman has her first experience with surfing one summer, and is squired by two surfers, one her age, the other considerably older. GIDGET was the first film released by a major Hollywood studio, Columbia, with a beach and surfing background. Its popularity led to two sequels, being GIDGET GOES HAWAIIAN (1961), and GIDGET GOES TO ROME (1963), several television movies, and television series in the years after. GIDGET and its counterparts were followed by the BEACH PARTY movie cycle, filmed by American International Pictures. 

Commencing with BEACH PARTY (1963), directed by William Asher, this led to a number of sequels, frequently starring Frankie Avalon, and Annette Funicello. These adeptly combined surfing shots with comedy, and romance. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965) and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big-name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. Aside from the BEACH PARTY movies, there were others which spotlighted surfers.

Leslie H. Martinson's FOR THOSE WHO THINK YOUNG (1964), was about a wild young man looking for romance, with the obligatory scenes of beach action, and surfing mixed in for good measure. RIDE THE WILD SURF (1964), directed by Don Taylor, contrasted the lives of three young surfers competing in Hawaii not only for the surf but also, the young women. Lennie Weinrib's musical BEACH BALL (1965), centered around a crafty, surfer rock and roll group manager employing dubious methods to raise money to purchase instruments for his band, which are discovered by the finance committee. THE SWEET RIDE (1968), directed by Harvey Hart, featured a character who was a surfer, among others such as a tennis player, and a musician in this light movie. MURPH THE SURF came later in time than the 1960s films, being released in 1975, but was notable for its differences from the other examples.

In common with the afore-mentioned movies, MURPH THE SURF had scenes of its lead characters surfing, relaxing on the beach, and other related activities. There was plenty of location footage which highlighted scenic places, and spaces, in this vein. Where it diverted was that its surfers were not teenagers, or twenty-somethings. They were men in their thirties, more seasoned by life in this respect, than young men yearning for romantic adventures. Their relationships with women were not romantic in nature, but more adult in tone. It was not a fairytale world of true love in MURPH THE SURF, as depicted in the BEACH PARTY movies, with their romantic misunderstandings peppering the story. With its male-female relationships treated with flippancy at times, MURPH THE SURF was a film for adults rather than teenagers or young adults. Other facets of the movie are also of interest.

In a related manner, the light-hearted, simplistic scenarios of BEACH PARTY, and others of its type, were not present in MURPH THE SURF. It did, though, have a cavalcade of events and happenings which marked all the surfer movies, but in MURPH THE SURF, these were of a more complex nature, in keeping with the film's real-life events. Both lead protagonists were career criminals who loved to surf, a distinct change from the largely crime-free world of BEACH PARTY series. Furthermore, while many of the movies had surfers in a supporting role, such as the GIDGET movies and THE SWEET RIDE, MURPH THE SURF offered two central male characters. This afforded contrasts in how both men saw life and love. The intricate nature of male characters in MURPH THE SURF harked back to GIDGET's Burt Vail, and his complicated persona. Another version of a film about surfers, MURPH THE SURF offered an original view in this respect.

Overview: Marvin J. Chomsky was an American director who made five motion pictures in his career. He was extremely prolific on television, presiding over thirty-one telemovies, and scores of episodic television series. His first movie, EVEL KNIEVEL (1971), was a biopic of the American stuntman, with George Hamilton in the lead role. It was a financial success based upon its comparatively low budget. Next came western MACKINTOSH AND T.J. (1975). The relationship between a cowboy, and a young man whom he meets one day under difficult circumstances, was notable as the last screen performance by Roy Rogers as the aging cowboy. GOOD LUCK, MISS WYCKOFF (1979) was contrary in tone. An unmarried schoolteacher has an affair with a black school janitor, which causes waves in a small Kansas town in the 1950s. Marvin Chomsky's cinematic swan song came in the form of TANK (1984). An army sergeant comes up against a ruthless sheriff, and they face off over a number of issues in this action movie. MURPH THE SURF was Marvin Chomsky's second film, but not one of his best efforts.

With MURPH THE SURF, Marvin Chomsky has made a disappointing motion picture. The story of real-life criminal Jack Murphy, and his friendship with Allan Kuhn, their partnership revolving around a jewel heist, it is a ponderous viewing experience. There are a number of reasons why this is so. The movie is a retelling of real events, but there is nothing remotely exciting about the presentation of these. One never feels involved with what is taking place, as emotion that should have been present, but is nowhere to be found. The characters, and their journey, are secondary to the anticipation built for the jewel robbery sequence which, of itself, fails to capture the imagination. While the movie, as such, cannot be accused of glamorizing crime, there is no suspense in seeing if the characters actually carry out their deeds, or evade prosecution. MURPH THE SURF, in honesty, functions as a dramatization of real events, with certain liberties taken, but that is the extent of its effectiveness. It is a plodding picture which has a few interesting sections, but that is all. One of the most monotonous heist movies ever produced, MURPH THE SURF is a forgettable movie.

Acting: MURPH THE SURF has a handful of striking performances which stand out. As Jack Murphy, master criminal, jewel thief and surfer, Don Stroud delivers an excellent portrayal of a charismatic, complicated man drawn to this way of life. An actor who always brings heart and soul to his acting, making his protagonists real, and sympathetic, despite many objectionable deeds, Mr Stroud is one of the film's best assets. Unfortunately, the same cannot be said for Robert Conrad, as Allan Kuhn, Jack Murphy's partner in crime. While he certainly looks the part as a man who almost lives on the beach, he does not make the same impact as his co-star, seeming lost against Don Stroud's dominant personality. As Ginny Eaton, Jack Murphy's girlfriend, Donna Mills, though, is radiant as the sensitive young woman who takes Jack too seriously. An actress with a luminosity about her, Miss Mills' role is too brief, but she still makes her mark in MURPH THE SURF.

Soundtrack: Phillip Lambro's instrumental score adds an urgency, and tension to MURPH THE SURF, which makes it one of the movie's best features.

Mise-en-scene: MURPH THE SURF offers a convincing onscreen experience for viewers. Exterior locations lend the film a freshness, and realism, which could never be achieved in a studio. Interior sets by Don Ivy and John McCarthy Jr. are also believable, such as the apartment where Jack and Allan reside with their girlfriends, planning their underhanded schemes. Costuming by Norman Salling is in keeping with the Florida coastal theme, with swimsuit changes for the central duo and their amours at the beach, deftly contrasting these with smart, relaxed attire for more formal events.

Notable Acting Performances: Don Stroud, Donna Mills.

Suitability for young viewers: No. Adult themes.

Overall Grade: D

Link: IMDB Page

VALLEY OF THE DOLLS (1967)

Title: VALLEY OF THE DOLLS

Year of Release: 1967

Director: Mark Robson

Genre: Drama, Romance

Synopsis: The disparate personal journeys of three young women striving for success in show business.

Within a film history context: Films with a film actress character as a lead protagonist have been featured from the silent era. One of the earliest examples was Maurice Tourneur's A GIRL'S FOLLY (1917). A young woman from the country wants to escape her surroundings, and one day finds a film crew shooting a western in her hometown. She becomes acquainted with the lead actor, who suggests she pursue acting, but dreams clash with reality for her in this comedy. Another silent, SOULS FOR SALE (1923), directed by Rupert Hughes, followed a young woman who decides she wants to be a star, but her husband's reputation may put the brakes on this ambition. A silent considered lost, William C. de Mille's THE RUNAWAY (1926), starred Clara Bow as a young actress who believes she might be indicted for a man's murder, and runs away. She then is taken in by a man from the country, but several surprising events ensure life does not weary her. BROKEN HEARTS OF HOLLYWOOD (1926), directed by Lloyd Bacon, is another rare movie. In this instance, contrasts are drawn between two women, one a former actress returning to the screen, the other her daughter, a newcomer seeking fame. Both mother and daughter are cast in the same film, but backstage fracas threaten their union. King Vidor's SHOW PEOPLE (1928), was a Marion Davies property, with a young woman from Georgia yearning for stardom, but getting involved in wacky antics, and romantic escapades. The 1930s also had varied views of film actresses.

The sound SHOW GIRL IN HOLLYWOOD (1930), directed by Mervyn LeRoy, was about a Broadway actress whose show closes, and aspires to go to Hollywood. but finds the path to stardom very difficult. A mood of mystery permeated Hamilton MacFadden's THE BLACK CAMEL (1931). A film actress is murdered, and detective Charlie Chan investigates this crime, finding the actress enmeshed in a tangled chain of events. One of the most notable movies about a film actress was WHAT PRICE HOLLYWOOD? (1932), directed by George Cukor. A waitress makes a career change, becoming a Hollywood actress, meanwhile the career of the director who discovered her is tarnished by his alcoholism. In contrast, the tone was comic in William Beaudine's MAKE ME A STAR (1932). A Hollywood actress assists a young man to work in a western, with many amusing passages as a result. TWENTIETH CENTURY (1934), directed by Howard Hawks, centered around a stage director, and his protege, a young woman, telegraphing their fraught, but funny relationship. As his career nosedives, hers soars in this comedy with John Barrymore, and Carole Lombard in the lead roles. Another famous movie about a film actress was William Wellman's A STAR IS BORN (1937). A young woman finds Hollywood fame, and meets her idol, a film actor. After a courtship the couple marry, but his alcoholism plunges their marriage into turmoil. 

Less serious was EXPENSIVE HUSBANDS (1937), directed by Bobby Connolly. A Hollywood actress finding difficulty in getting parts travels to Europe, where a Prince becomes an important part of her life, but all is not as it seems. Reinhold Schunzel's THE ICE FOLLIES OF 1939 (1939), was about a budding impresario wanting to produce a skating extravaganza, casting a woman in the show, later his wife, but their venture is without success. When the woman is signed by a film studio, her husband's dream takes a backseat, but all is well by the end as the show is a smash. HOLLYWOOD CAVALCADE (1939), directed by Irving Cummings, followed a young silent film star, and her platonic relationship with a director, which continues into the sound era. Walter Lang's STAR DUST (1940), was more comic in delivery. The journey of a young woman to stardom was charmingly captured, with Linda Darnell in the main role of the starry-eyed acting aspirant. THE MIRACLE OF THE BELLS (1948), directed by Irving Pichel, was an intricate movie about a movie star who dies before her first picture is released, and is brought back to her hometown for her burial, in accordance with her final wishes. The film charts not only what happened to this point, but also, how the movie will be released in light of the death of its leading actress, with a number of perspectives featured. 

One of the leading motion pictures about film actresses was Billy Wilder's SUNSET BOULEVARD (1950). A silent film actress dreaming of returning to the screen, and her dalliance with a screenwriter, was vividly brought to the screen, with Gloria Swanson as the star, and William Holden as the hapless writer. Another film which examined a silent screen actress, albeit in a breezier vein, was SINGIN' IN THE RAIN (1952), directed by Stanley Donen, and Gene Kelly. The tenuous transition to sound for a silent film actress was one of the tales in this fondly remembered musical. George Cukor's THE ACTRESS (1953), was a retelling of the early life of noted actress and writer Ruth Gordon, with the screenplay by Miss Gordon herself. Another George Cukor film, A STAR IS BORN (1954), was a remake of the 1937 movie with Janet Gaynor. The story had been altered slightly, with the main female character, played by Judy Garland, now a singer who becomes a successful actress. The real-life story of Hollywood and Broadway actress Lillian Roth was the focus of Daniel Mann's I'LL CRY TOMORROW (1955). With Susan Hayward as Miss Roth, it followed her rise to fame, and subsequent issues with alcohol, which considerably hindered her career. 

Mirth was the main function of WILL SUCCESS SPOIL ROCK HUNTER? (1957), directed by Frank Tashlin. In this satire of television and advertising, an ad man requests an actress to be the spokeswoman for a lipstick company, which she accepts. The catch is that the actress wants him to act as her other half, a concept which does not go down well with the ad man's girlfriend. George Sidney's JEANNE EAGELS (1957), was a biopic of the early 1900s stage and screen actress who fell into addiction, and personal tragedy. Liberties were taken with true events which blunted the impact of the movie. THE FEMALE ANIMAL (1958), directed by Harry Keller, spotlighted a love triangle between an aging actress, her nubile daughter, and a film extra who has a thing for both of them. Most notable as the final picture of Hedy Lamarr, it also included Jane Powell as the daughter, George Nader as the object of their affections. Much more insightful was John Cromwell's THE GODDESS (1958). A young woman's life change from poverty, to international fame as a movie star, with all her insecurities laid bare, was a showcase for Kim Stanley as the unfortunate film goddess. The biopic of Diana Barrymore, daughter of John Barrymore, thespian extraordinaire, was the impetus for TOO MUCH, TOO SOON (1958), directed by Art Napoleon. Miss Barrymore's drug and alcohol addiction, and strained family, and personal relationships, made up the content in this drama. 

The 1960s brought Richard Brooks' SWEET BIRD OF YOUTH (1962), to the screen. The study of a drifter, and his relationship with a movie star whose career is on a downward spiral, gave Paul Newman, and Geraldine Page pithy lead roles. Off-the-wall in terms of its content was WHAT EVER HAPPENED TO BABY JANE? (1962), directed by Robert Aldrich. The uneasy relationship between two siblings, one a former silent screen star, the other her sister, was what dominated the picture, with Bette Davis, and Joan Crawford in the lead roles. Two films about movie legend Jean Harlow were released in 1965, the first being Alex Segal's HARLOW (1965). With Carol Lynley as Miss Harlow, it was critically derided, and a box office flop. The second HARLOW (1965) movie, directed by Gordon Douglas, was better received, and a moderate financial success. Carroll Baker starred as the ill-fated Jean Harlow here, along with Ginger Rogers in her final film role. In Robert Mulligan's INSIDE DAISY CLOVER (1965), the life, and loves of a young woman who becomes a top Hollywood star in the 1930s were underlined. VALLEY OF THE DOLLS is a movie which concentrates intensively upon offering portrayals of actresses, featuring three main contrasting portraits within its running time.

Where VALLEY OF THE DOLLS diverged from the other movies about actresses is that it offered three contradictory characters who were in this occupation. In the main, previous entries focused upon one central character, and the narrative was concerned with her lives and loves. In VALLEY OF THE DOLLS, this is multiplied by three, with these being women in their early, and mid-twenties. Helen Lawson is shown less extensively, but her status as an older actress, and her reactions to one of the three young women, provide some of the best moments in the movie. She is the unofficial fourth actress that the film presents, but, nevertheless, is highly effective. Helen is akin to Norma Desmond in SUNSET BOULEVARD, being a person who has seen it all, experienced fame and fortune. Unlike Norma, Helen is more of a realist, not delusional, and a voice of truth in the picture. She is depicted as someone who has a knowledge of the world that the younger women do not as such possess to her level. Helen's private life is not covered to the same degree as those of Anne, Neely and Jennifer in the movie, but, nevertheless, carries weight with her keen observations and insights. A full-blooded take on movie actresses, VALLEY OF THE DOLLS is notable for its central trio of actress characters.

Overview: Mark Robson was a Canadian director who, over the course of his thirty-six year career, helmed thirty-three motion pictures. His films were made with a sure hand, and his filmography includes many classics and important movies. Mr Robson's first film, THE SEVENTH VICTIM (1943), was a horror movie about Satanism in New York. A young woman searches for her sister in New York, and believes that a cult may have played a part in her disappearance. CHAMPION (1949), was the story of an ambitious boxer who would do anything for fame and attention, even if other people are hurt in the process. Of a different persuasion was MY FOOLISH HEART (1949), a lush romance with Susan Hayward. It charted the love affair between a young woman and her lover, who leaves to serve in World War II. PHFFFT (1954), was a romantic comedy with Judy Holliday and Jack Lemmon. A couple, who is now divorced, seek new partners, but fate keeps them meeting each other at inopportune moments. Next came romance THE BRIDGES AT TOKO-RI (1954). A man who was a World War II veteran is enlisted for the Korean War, but his feelings about the war colour perceptions of his intended tasks. One of the most celebrated films about war, it was another teaming of William Holden, and Grace Kelly as his wife.

THE HARDER THEY FALL (1956), was a hard-hitting expose of boxing, in lush black and white. It was the final film for Humphrey Bogart, and a fitting end to his screen career. PEYTON PLACE (1957), was a move into melodrama for Mark Robson. The story of a small New England town, with all its secrets and foibles laid bare to the audience, was an immense financial success in its time. Based upon a runaway successful novel by Grace Metalious, it led to a sequel, nighttime serial, daytime serial, and a number of television follow-ups. The real-life story of British missionary Gladys Aylward was at the center of THE INN OF THE SIXTH HAPPINESS (1958). The difficulties she encounters in China assisting the residents of a small village during World War II were tellingly portrayed, with Ingrid Bergman in the lead role. More successful was FROM THE TERRACE (1960), being one of the many cinematic teamings of husband and wife Paul Newman and Joanne Woodward. The personal, and professional lives of a Wall Street executive collide in this potent drama. THE PRIZE (1963), was another picture with Paul Newman in the lead. An original drama of several people who come to Stockholm to receive their Nobel prizes, but finding that life can be less than rewarding in this experience, was another success for Mark Robson. 

World War II film VON RYAN'S EXPRESS (1965), starred Frank Sinatra as a daring American prisoner of war in Italy, seeking to escape, and elude the Germans. It was another moneymaker for Mr Robson. HAPPY BIRTHDAY, WANDA JUNE (1971), spotlighted a war hero and game hunter presumed dead, who returns to his family home to find his wife and domestic situation entirely contrary to how he left it, and the world likewise a changed place. Although not popular with audiences, it offered its fine cast great material. LIMBO (1972), dealt with war on a different plane. The lives of three women married to soldiers missing in action in Vietnam are contrasted, the effects of war on both themselves, and their families, presented. Mark Robson helmed yet another commercial success, being EARTHQUAKE (1974). One of a spate of disaster movies released in the early 1970s, it was a blockbuster, making a lot of money for Universal. AVALANCHE EXPRESS (1979), was Mark Robson's final movie, released after his death in 1978. A tale of Cold War intrigue, it was plagued not only by the death of Mark Robson but also, the passing of lead actor Robert Shaw. VALLEY OF THE DOLLS was Mark Robson's twenty-ninth movie, and one of his best-known, if controversial pictures.

With VALLEY OF THE DOLLS, Mark Robson has fashioned an entertaining, if flawed, film. Based upon the best-selling novel by Jacqueline Sussan of the same name, it followed the lives of three young women who want to become successful in show business. It deftly contrasts Neely, whose passion for acting leads her on a seesaw of men and events, the delicate Jennifer, who pays the ultimate price for her sensitivity, and the grounded Anne, the most sensible of the trio, whose life also takes a bad turn, but learns from her lessons. Anne is the only one of the three who is not actively seeking fame, instead, yearning for a man who is faithful to her. All the women, though, are affected by their exposure to drugs, the eponymous dolls of the title, and this is where the film is at its best. It shows the aftermath of drug addiction, and how destructive it can be to people. It has the courage of its convictions here, not glamorizing this social issue, which is to be commended. While VALLEY OF THE DOLLS does have its virtues, it leaves a lot to be desired in other areas.

The movie has many plot twists and turns, and is a hive of activity in this respect. The fast pace, and ever-changing romantic unions keep the attention on a superficial level. On the one hand, this is a good thing, being that VALLEY OF THE DOLLS never becomes stagnant. On the other hand, certain story threads could have been improved, explaining matters about the characters, and their lives, which remain elusive during the picture. For example, it is clear that Neely has an unquenchable thirst for fame and attention, but her backstory is iffy. Completely opposite to this, the viewer finds out about Anne from the onset, specifically her family life, and their disapproval of her move to New York. Jennifer's mother is never shown, only speaking to her on the telephone, but it is obvious that she is using her daughter for money. The film devotes much time to Neely, and her responses to everything, but it is a letdown that one does not find out more about her in a personal sense. Aside from this, the friendship between the three women is largely sketched in separate scenes, despite initially having them together in the sequence where Jennifer wears the headpiece. If they were together alone, in a single scene, it would have enriched the story somewhat, and given the friendships more weight. The fast pace also lowers the importance of other story events, causing the film in some places to lack punch.

Lyon vacillating between Anne, and other women does render their relationship fluid in one sense, but expendable. Having Lyon with Anne in the one scene, and Neely the next does away with emotional reactions on the part of both Anne, and Lyon. VALLEY OF THE DOLLS has a good grasp of cause and effect in the main, but some parts lack the impact needed to share characters' feelings with the audience. The story of Jennifer's mastectomy seems to have been tacked on at the last minute to drum up drama, leading to her suicide, and is a prime example of this trend. This comes up as being false, but is shown as one of the factors in precipitating her final decision. Possibly this tendency of rushing events is symptomatic of adapting a full-length novel to the screen, but the movie should have had more bite than it did in these segments. In saying this, though, certain things stand out about VALLEY OF THE DOLLS. It is a film which tries to pack as much incident as it possibly can in the space over slightly over two hours, albeit in a fragmented, but thoroughgoing manner. VALLEY OF THE DOLLS is also a credit to the director for keeping it interesting despite some of the material being of a showy, outrageous nature.

Acting: VALLEY OF THE DOLLS has a solid cast who do their best to make the film an entertaining experience. In the lead role of Anne Welles, a young woman seeking an acting career, Barbara Parkins nicely underplays her role. This supplies a subtle contrast between the grounded Anne, and the other two protagonists, and serves the movie well. The volatile, vulnerable Neely O'Hara is made indelible by Patty Duke. An actress known for her sensitive portrayals, here plays all sides of the equation as Neely, in a difficult role which she carries off. It is interesting to note how Neely comes full circle in the film, from young, eager and delicate, to egotistical, demanding and tender, back to raw and emotional. Miss Duke does it all, and is one of the most striking reasons to watch the picture. Unfortunately, Sharon Tate, as Jennifer North, tries to make the best of her role, but is miscast. An actress with a way about her, her quieter persona does not stand out as much as her two fellow stars in retrospect. Jennifer's husband Tony, though, is nicely done by Tony Scotti. With his soothing personality and easy-going ways, Mr Scotti proves his dramatic mettle in the film. 

Three other thespians do great work in VALLEY OF THE DOLLS. Tony's sister Miriam Polar is yet another excellent performance by Lee Grant. A performer who thoroughly gets each and every character she plays to a tee, Miss Grant reveals the layers of the initially icy Miriam, making her motivations moving, and crystal clear. Neely's first husband Mel is made understandable by Martin Milner. Playing a good character, and making him sympathetic to the audience is what Mr Milner successfully achieves here, and his small role is one that leaves a gap when his screen time is over. The final acting of note was by Susan Hayward as Helen Lawson, Broadway star, and Neely's nemesis. As she always does, Miss Hayward brings characters with turbulent existences to life, and her Helen here is no exception. In addition, she gives what could have been an utterly mean character, and exhibits shades of humanity and humility, adroitly displaying why she was one of the best, most versatile stars of Classic Hollywood cinema. 

Soundtrack: In the main VALLEY OF THE DOLLS has an acceptable soundtrack, but there are some aspects which do not assist its overall impact. The 'Valley of the Dolls' theme performed by Dionne Warwick, which is utilized at both the beginning, and end of the movie, is affecting, with just the right amount of pathos, and style. John Williams' incidental music is also effective, highlighting the raison d'etre of scenes well without overwhelming what is taking place onscreen. The other songs employed in the movie, though, such as 'I'll Plant My Own Tree', are less than memorable, despite the visuals being of a higher grade, thereby making these sequences lopsided. These only serve to point how much better the movie's theme is in comparison to these more lackluster musical efforts.

Mise-en-scene: VALLEY OF THE DOLLS offers a beautiful visual experience of a very high standard for spectators. William H. Daniels' cinematography is lush, ensuring the movie is a feast for the eyes. Both indoor, and outdoor locations receive the same careful filming, and witnessing these is one of the film's best features. Production design creates vibrant worlds for the characters in both their public, and private spheres. From Lyon's office to Helen's stage performances, to Neely's glamorous home to Jennifer's homier abode, production design works wonders in the picture, and says much about the characters in a non-verbal manner. Costuming by William Travilla is another standout, with both actors and actresses, particularly the latter, superbly gowned. The opening credits sequence is also notable for its use of animation, succinctly summing up what VALLEY OF THE DOLLS seeks to accomplish in its distinctive way.

Notable Acting Performances: Barbara Parkins, Patty Duke, Tony Scotti, Lee Grant, Martin Milner, Susan Hayward.

Suitability for young viewers: No. Brief female nudity, adult themes, drug use.

Overall Grade: C

Link: IMDB Page

Trailer

THE VISITORS (1972)

Title: THE VISITORS

Year of Release: 1972

Director: Elia Kazan

Genre: Drama, Suspense

Synopsis: A Vietnam veteran and his girlfriend are paid a visit by his fellow soldiers in their isolated Connecticut home.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme. He helped keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967), was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

One of the most infamous depictions of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam, and becoming the same. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the second film with Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971), featured bikers similar to others in the genre, but this time around the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action-focused in scope. Two veterans join another on a farm, where tensions then spill over. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in once again assimilating into society. Different in outlook and character, SKYJACKED (1972), directed by John Guillermin, presented a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to many of the above films, THE VISITORS was one of the most psychological movies about Vietnam of its time.

It had that same slow-burn narrative style which also distinguished entries such as WELCOME HOME SOLDIER BOYS, MY OLD MAN'S PLACE, and JUD. Although beautifully photographed, THE VISITORS was low on spectacle, preferring to carefully build story events for maximum impact at the film's conclusion. The main characters are not obvious in manner or demeanor, their psychological torment never telegraphed for the viewer. The spectator becomes intimately acquainted with the Vietnam veterans in these movies to an uncomfortable level. Even though they may not be the most likable protagonists, one understands the rationale for their behavior. This is a testament to the film's writing and acting, and their success in offering thorough knowledge of their characters. Other features of THE VISITORS are also of interest when comparing it to the other movies.

The violent content is muted in THE VISITORS, as with the three previous examples. It could be argued, though, that the veterans in WELCOME HOME SOLDIER BOYS do cause a great deal of mayhem in the climactic scenes. Even these sequences are bereft of gore and overt carnage, which lifts this movie out of the exploitation film realm. THE VISITORS is also careful with its violence, waiting until the final reels for an explosion of emotions. This is in contrast to MOTORPSYCHO! and THE RAVAGER, where the visual spectacle is intended to usurp more serious considerations, such as the mental illness of the veterans. Both of these movies did make an exhibition of their characters' mental issues, but THE VISITORS takes a subtle approach in examining its veterans' mental health, and how it leads to major events in the film. An understated, astute view of Vietnam veterans, THE VISITORS is a compelling motion picture.

Overview: Elia Kazan was an American director who made nineteen motion pictures from 1945 until 1976. His movies were rooted in a stark cinematic realism, but there were occasional forays into more sentimental fare. His first movie, A TREE GROWS IN BROOKLYN (1945), was the study of a Brooklyn family in the early 1900s. Acclaimed not only for Elia Kazan's direction, but also for the acting and screenplay, it was an auspicious debut for Mr Kazan. Next came the Spencer Tracy-Katharine Hepburn vehicle THE SEA OF GRASS (1947). It charted the difficult marriage of a St. Louis woman to a cattleman, and the many disagreements that ensue. Another early triumph for Elia Kazan was GENTLEMAN'S AGREEMENT (1947). When a journalist is assigned the task of writing about anti-Semitism, he plunges into this with the pretense that he is Jewish, and experiences racism first-hand. A sensitive take on its topic, it was a serious film which was a money-maker in its day. Racial relations were again on display in PINKY (1949). The story of a white-skinned black woman falling for a doctor, and the repercussions of this, were played out with sympathy and understanding by the director. As with his previous movie, it was a resounding box office success, proving that topical films did work on a commercial scale. The 1950s brought further successes for Elia Kazan.

PANIC IN THE STREETS (1950), was the suspense-filled story of the search for a murderer who was infected with the pneumonic plague, the efforts of a policeman and a doctor outlined. Next came one of Elia Kazan's most famous films, A STREETCAR NAMED DESIRE (1951). When a mentally-disturbed woman moves in with her sister, and boorish brother-in-law in a New Orleans tenement, sparks fly. With Marlon Brando in a showy role, it was a raw slice of life which encountered some censorship hurdles in its time, and a multiple Oscar-winning movie that made money for its studio. VIVA ZAPATA! (1952), was another vehicle for Marlon Brando. The biopic of the Mexican revolutionary leader Emiliano Zapata was brought to the screen in rousing fashion, with Marlon Brando a standout in the lead. Another great film from Elia Kazan came in the form of ON THE WATERFRONT (1954). When a former boxer turned dock worker becomes involved in union politics, his life is on the line for his beliefs in this pungent movie. Yet another teaming of Marlon Brando and Elia Kazan, it was a major commercial, and critical success of its era, winning multiple Oscars, including Best Picture. 

Into the mid-1950s, EAST OF EDEN (1955), told the story of two brothers vying for their father's affection, and attention, in turn of the 1900s California. It was a showcase for James Dean, and an illustrious cast including Raymond Massey, and Julie Harris. Next came the controversial BABY DOLL (1956), for Elia Kazan. The racy story of a young woman twisting two men around her little finger in rural Mississippi was a challenge to the censorship of the times, this leading to more notoriety for the movie. A FACE IN THE CROWD (1957), also pushed the envelope in terms of its themes and treatment. The rise of a country singing drifter into a media superstar, and his fall from grace was faithfully recorded by the director. A great showcase for its cast, with Andy Griffith in the lead, supported by Patricia Neal, Lee Remick, Walter Matthau, and Anthony Franciosa. The 1960s, and after, were decades of further strong films from Elia Kazan.

SPLENDOR IN THE GRASS (1961), was a lush romance of high school sweethearts in 1920s Kansas. With its uninhibited treatment of the central love story, and chemistry between Natalie Wood and Warren Beatty, in his breakout role, it was both critically and commercially successful. More solemn was AMERICA AMERICA (1963). The journey of a young man from unrest in Ottoman Turkey to America, along with the attendant issues of moving to the United States, it was based upon the life of Elia Kazan's uncle. Mr Kazan did not helm a picture for several years after AMERICA AMERICA, but made a return to the screen with THE ARRANGEMENT (1969). The tale of a man with mental issues whose life is on a downward spiral, and marriage is on the rocks, was another thoughtful picture from the director. Elia Kazan's final cinematic outing, THE LAST TYCOON (1976), focused upon a movie mogul, and his very complicated professional life. Based upon a F. Scott Fitzgerald novel which quietly references to Irving Thalberg, it was not a success financially. THE VISITORS was Elia Kazan's penultimate movie, and one of his best works.

With THE VISITORS, Elia Kazan has constructed a compulsively watchable motion picture. The story of a reunion of Vietnam veterans at the home of one of these, who is cohabiting with his girlfriend and child, and the fallout of this, is handled by the director in a tense, highly-organized manner. Narrative events are all logical and flow tremendously well, with scenes hypnotic to witness. There is that same sense of shrewd observation of people, and their actions, which infuses all of Mr Kazan's work, with GENTLEMAN'S AGREEMENT, A STREETCAR NAMED DESIRE, ON THE WATERFRONT, and A FACE IN THE CROWD some of the more notable examples of this. It is also reminiscent of Elia Kazan's social conscience, taking on topics, and providing perspectives of this, in this case, Vietnam. Other examples are anti-Semitism in GENTLEMAN'S AGREEMENT, racial tensions in PINKY, and corruption in ON THE WATERFRONT. This is admirable, and THE VISITORS is no exception to the director tackling difficult topics. While THE VISITORS has many laudable aspects, there are some omissions which could have improved the final product.

The movie's take on Vietnam is thoroughly interesting, the set-up of scenes well done, but sometimes, it would be better if the pace did pick up slightly in some sequences. By presenting a bird's eye view of events in THE VISITORS, as if the viewer is intruding upon real life, the director has tried to be as faithful as possible to his characters, and their actions. If the film got to the point faster in some instances, it would not feel as drawn-out as it sometimes did. In addition, the lack of flashbacks to what occurred in Vietnam between the three male characters does take a little away from the proceedings. Just a few of these scattered through the movie would have given so much in terms of deepening knowledge of the characters, and why matters were so devastating. In looking at THE VISITORS as a whole, though, certain points can be made, despite some flaws. It is a succinct movie from Elia Kazan which delivers a powerful viewing experience, and makes one think about Vietnam, veterans, and what they went through during their tour of duty. 

Acting: Four main performances make THE VISITORS memorable. As Bill, the man who testified against his friend for a crime in Vietnam, James Woods is excellent as the naive man who believes that the past is behind him with regard to his former friends, and their experiences there. Bill's girlfriend, Martha, the only female character in the movie, is played with conviction by Patricia Joyce. An actress with a dearth of film roles, she projects intelligence as a woman placed in an untenable situation by her boyfriend, and her own accepting nature. Martha's father Harry is distinctively brought to life by Patrick McVey. With his jolly manner and warmth, Mr McVey is the liveliest character in the movie. The man wronged by Bill, Mike Nickerson, is acted with sheer authenticity by Steve Railsback. With his measured facial expressions, body language and cold stare, Mr Railsback provides the most impressive, complex performance in THE VISITORS.

Soundtrack: THE VISITORS is striking in its lack of musical accompaniment to the visuals. This was presumably to direct the audience's attention to what was taking place onscreen, with the story itself being utterly compelling, and hard from which to turn away. The only instance where music is featured is in a quiet scene with Martha speaking with Mike and Tony at the dinner table, with strains of J.S. Bach's 'Lute Suite #1'. Performed by guitarist William Matthews, these play in the background on a non-diegetic basis. This points to the civil but uncomfortable relationship between Martha and her husband's two former army friends, adding a touch of subtle suspense to the proceedings.

Mise-en-scene: The visual experience for spectators in THE VISITORS is one of its best accomplishments. Nicholas Proferes' cinematography captures both indoor, and outdoor locations beautifully. Exterior filming takes advantage of the freezing winter conditions, and landscapes, which is a metaphor for the icy emotions which are on display in the movie. The house in which the bulk of the picture takes place is also atmospheric, with dark rooms, and a general claustrophobic aura, also reflecting the film's unique perspective. Opening, and closing credits sequences are spare, and stark, featuring a black background, with credits in white. This is effective in conveying the quiet, unsettling tone which THE VISITORS strives for in its presentation.

Notable Acting Performances: James Woods, Patricia Joyce, Patrick McVey, Steve Railsback.

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

Overall Grade: B

Link: IMDB Page

INTERVIEW WITH ACTOR WESLEY EURE

Today I have the immense pleasure of welcoming a very special guest, actor Wesley Eure, to CINEMATIC REVELATIONS for an interview. Wesley has acted in several movies such as JENNIFER, THE TOOLBOX MURDERS, C.H.O.M.P.S. [my review of the movie can be found here] GEOGRAPHY CLUB, THE LAST PAGE OF SUMMER, and SINS OF OUR YOUTH. Wesley has also assisted many charities and organizations over the years with his time, with the Variety Club among these. In this interview Wesley will be discussing his part in C.H.O.M.P.S, acting, cinema versus television, being involved in charity work, his creative pursuits in television, and receiving a Golden Palm Star dedication on the California Walk of Stars.

Welcome to CINEMATIC REVELATIONS Wesley!

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

Wesley: I first realized I wanted to be an actor when I was in elementary school in Hattiesburg, Mississippi, and I played an oak tree in a school play. And I knew from that moment on, I needed the attention. My dad had left when I was two, and I think I was just craving somebody to notice me. But I come from a family of educators down the deep south, and when I announced, standing on a coffee table at around six or seven that I wanted to be an actor, my family looked at me like I was an alien from another planet.

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Athan: Where did you study acting?

Wesley: I never really did study acting. My first job, in which I went on an open call in New York City when I was 19, was for the American Shakespeare Festival at Stratford, Connecticut. And lo and behold, I got the job, and I didn't realize that it was the number one acting school company in the United States at the time. It was run by the heads of the Julliard School of Music. Michael Kahn was directing that year. I got to understudy Ariel in the Tempest and I said to him, ‘Michael, why did you hire me?’ and he said, ‘Wesley, you came into the audition. You blew your audition at Shakespeare.’ I did two sonnets. And he said, ‘but you made us laugh so hard. We said, you know what? We have to spend this summer with that guy.’

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Athan: Your performance in C.H.O.M.P.S, as Brian Foster, the enterprising, charismatic inventor of the robotic dog, was excellent. What it is that drew you to the part of Brian in C.H.O.M.P.S.?

Wesley: When I was presented with the script for C.H.O.M.P.S., I was so excited. First of all, the cast was unbelievable. And I actually knew Valerie Bertinelli at the time, and I was so excited to be her boyfriend because I had a huge crush on Valerie. Also, it was Hanna Barbera’s first live action movie. And the honor of being a part of that journey was just too hard to pass up, but I had to get permission from Days of our Lives to take off for those few weeks. And fortunately, they let me out of my obligations.

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Athan: C.H.O.M.P.S. had a fine cast with yourself, Valerie Bertinelli, and Conrad Bain in leading roles, and Hermoine Baddeley, Jim Backus, Chuck McCann, and Red Buttons in supporting parts. What was it like working with these performers?

Wesley: Well, like I said before, I mean the cast was amazing. Hermoine Baddeley, you're right, Jim Backus. These were icons, I mean, Red Buttons for goodness sakes, and to watch Red Buttons and Chuck McCann act as the two sort of buffoons was a masterclass in comedy. To me, there's nothing more exciting than being on the set of a movie, especially a movie with a great budget. Every day was just miraculous. 

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Athan: What did you find most exciting about filming C.H.O.M.P.S?

Wesley: And again, I couldn't believe that this little kid from Hattiesburg, Mississippi, was working with these icons in the industry. It truly was an honor. One of my greatest joys is, like I said, was working with Valerie Bertinelli, and I was the lucky fellow who got to give Valerie her first big screen kiss. And yes, I beat Eddie Van Halen.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of making C.H.O.M.P.S?

Wesley: The most demanding part was working with the dogs because we had a dog trainer on the set, and we had two dogs that looked alike. One played the robot dog, and one played the real dog. So when I was doing one love scene or very quiet scene with Valerie, the two dogs were there. One was supposed to be the real pup, and the other was the robot. So that one dog had to stand still. So they're yelling, ‘stay, stay, stay, stay, act.’ And they were screaming and it was a very quiet scene. And so they were screaming ‘stay, stay, stay, act, act, act.’ And then I had to be very quiet and talk to Valerie. It was fun. And Valerie and I laughed a lot after it was over. 

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Athan: Have you kept in contact with any cast members and crew from C.H.O.M.P.S?

Wesley: Unfortunately, most of the cast has passed away, but I did see Valerie Bertinelli a few years ago. She was doing a play in the Palm Springs, California area, and I live in Palm Springs now, and I stopped by and gave her a big hug and a kiss.

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Athan: C.H.O.M.P.S was directed by Don Chaffey, who presided over many other motion pictures such as THE PRINCE AND THE PAUPER, JASON AND THE ARGONAUTS, ONE MILLION YEARS B.C., RIDE A WILD PONY, and THE MAGIC OF LASSIE, to name but a few. What was the experience of being directed by Mr Chaffey in C.H.O.M.P.S?

Wesley: It was an honor to work with Don Chaffey. His credits were amazing. And again, I felt like a fish out of water. Here I was with this enormously talented cast and very, very famous actors. I just kept looking around and going, ‘how the hell did I get here?’

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Athan: You had a long-running role as Mike Horton, member of the core Horton medical family in classic daytime serial Days of our Lives from the mid-1970s, until the early 1980s. In comparing both mediums, what was the main striking difference for you between film, and television?

Wesley: On Days of our Lives, I'd get a script in the evening, memorize it, and come in and block the scene and then film. I was out of the studio by late afternoon, and we did a whole hour show. Of course, working on a film you can count on maybe doing one or two pages a day, so there's a lot of sitting around and doing nothing. It is much easier to do a television show because it's quick, it's fast, you're finished, and you're home. Movies take a long time because there's so much set up with lighting and sound. And of course, being on location, like I've said before, I've had a very blessed life, and I don't take it for granted one moment.

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Athan: Philanthropy is something close to your heart, and you have been involved in many charities and groups over the years such as Project Angel Food, Variety Club, Special Olympics, and March of Dimes, and the LalaPOOLooza HIV/AIDS fundraising charity. What is it that you love most about helping others, and assisting valuable causes in this way?

Wesley: I've been very lucky in my life, and the contacts and the resources and the fun that I've had, so to give back to the community is very important to me. I started producing fundraisers and raising money for lots and lots of charities, especially HIV Aids and Shelter from the Storm for battered women and Breast Cancer. And it was the most profound joy that I think I've ever had to be able to share my life, my contacts, and my ability to raise money with these amazing organizations.

In fact, we raised so much money the first year I did LalaPOOLooza, that a portion of that money helped create an organization called Desert Women for Equality. About five months later, I got a call from the organization saying that they had just saved two women's lives. They had provided free mobile mammograms for these two women who would not have otherwise been able to afford it. And they discovered breast cancer in its early stages, and they were able to remove the cancer and these women were gonna survive. Needless to say, it spurred me on to continue raising money.

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Athan: You were dedicated a Golden Palm Star on the Palm Springs, California Walk of Stars in 2007. How did it feel to be honored in this manner?

Wesley: I was truly honored when the city presented a star on the Walk of Fame for me in Palm Springs. It was an amazing day, and Kaye Ballard showed up. We had about 300 people sitting on the street, and I arrived in the back of a convertible with two blow-up dinosaurs, and two guys dressed like Sleestack, which were the green lizards from my TV series, Land of the Lost. And the theme song of Land of the Lost was blaring in this convertible down the main street in Palm Springs, which is the song that I sang in the series.

It was, again, an unbelievable day. And I looked around the crowd and my mom was there and my sister was there, but my mom at the party at the end of the star ceremony pulled me aside and said, ‘Wesley, I didn't know people loved you this much.’ I started to laugh.

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Athan: Writing is another passion for you, and you have penned novels for children, and several humor books. In addition to this, you have also contributed as a producer, actor, and screenwriter in television show Totally Hidden Video, and co-created the children’s animated series Dragon Tales. What is it about the creative process that you find so fulfilling?

Wesley: I love telling stories. My first novel, the Red Wings of Christmas, which told the story of a little orphan boy in Dickensian England, washed overboard in the ship, and what happens in his journey one night when he falls into Father Christmas's Toy Sack, was optioned by Disney for an animated feature. I also wrote the screenplay and songs for Disney. Unfortunately, at the moment, it's sitting on the shelf at Disney, but writing shows and creating from the imagination Is one of the hardest things to do, but also one of the most rewarding. As most people know, being a writer is a very lonely occupation, but to watch a show like Dragon Tails, which ran on PBS for nine seasons, was so thrilling. One year I was watching the Macy's Day Thanksgiving parade, I think it was the 75th anniversary. Suddenly flying high above New York was a balloon of one of the characters from Dragon Tails, Cassie, the Pink Dragon.

I didn't know she was gonna be there, and that moment was extraordinary. In fact, a fan just found a snow globe from that Macy's Day parade at a thrift store. In the Snow Globe, one of the balloons is Cassie, and he sent it to me as the present. It's moments like that, that there are really no words to express the magic and gratitude.

In the last few years, I've been doing a lot of the comic cons, the autograph shows around the world with my cohorts from Land of the Lost, Kathy Coleman, who played Holly and Phillip Payley, who played Cha-ka the Monkey Creature. And we meet hundreds and hundreds of people. We sing the theme song, and I actually bring a blow-up yellow raft with light jackets and oars, because in the opening credits of Land of the Lost, we go over a waterfall in a yellow raft. So we put this yellow raft on the floor and fans get in with us and we dress 'em up, and we all scream going over water over the waterfall. It's really extraordinary. We love doing these comic cons around the world. In fact, I would love to come to Australia and do a Supernova. That would be a dream for me.

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

Wesley: Recently, I had a documentary called ParaSense: The Naked Experiments air on Netflix in a whole bunch of different streaming services. It's a documentary that combines a ghost hunter, and a scientist creating new technologies to see if you can prove touch. It's been winning a lot of awards, in fact, it just got accepted in Lisbon at their major film festival.

So, we're hopefully all going to Lisbon to watch it. But the journey continues and each day I wake up, and wonder what can we create today that would bring joy? I know I sound kind of Pollyannish, but I truly live in gratitude. I also live in Mexico half the year, six months out of the year, in Puerto Vallarta, and fly back and forth, and do conventions, work, and shows. And then the other six months I'm here in Palm Springs.

Athan, thank you so much for having me as a guest, and thank you so very much for your kind words in your review of C.H.O.M.P.S. I really appreciate it, and it means the world to me. Thank you.

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You’re very welcome Wesley. Thank you so much today for your time today, and for the insight you have shone onto the art of acting, C.H.O.M.P.S, cinema, television, writing, creating, and charities. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Wesley Eure links

+Wesley Eure official homepage

+Wesley Eure IMDb Actor Page

+C.H.O.M.P.S. movie IMDb page