PLAY IT AS IT LAYS (1972)

Title: PLAY IT AS IT LAYS

Year of Release: 1972

Director: Frank Perry

Genre: Drama

Synopsis: An actress reflects upon her rollercoaster life while living in a sanitarium.

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 is then 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 silent 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, and lives, 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 what 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 unsuccessful. 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 tone. The journey of a young woman to stardom was charmingly captured, with Linda Darnell in the main role of a starry-eyed acting aspirant. THE MIRACLE OF THE BELLS (1948), directed by Irving Pichel, was an intricate picture about a movie star who dies before her first film 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 difficult transition to sound for a silent film actress was one of the tales of this fondly remembered musical. George Cukor's THE ACTRESS (1953), was a retelling of the early life of noted actress and writer Ruth Gordon, 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 has 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 curtailed 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. In utter contrast, 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 her daughter, George Nader as the object of their affections, Jan Sterling, and Mabel Albertson. 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 in the lead as the unfortunate film goddess. The biopic of Diana Barrymore, daughter of John Barrymore, thespian extraordinaire, was the crux of 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 sisters, 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, also with Ginger Rogers in her final film role as Miss Harlow's mother. Robert Mulligan's INSIDE DAISY CLOVER (1965), was about the life, and loves of a young woman who becomes a top Hollywood star in the 1930s, with Natalie Wood as Daisy. VALLEY OF THE DOLLS (1967), directed by Mark Robson, featured three young women striving for success in Hollywood, but finding that their private lives unraveled in a unseemly fashion. Critically ravaged but a huge box office success, it was based upon the best seller by Jacqueline Susann. Robert Aldrich's THE LEGEND OF LYLAH CLARE (1968), starred Kim Novak as an actress who is cast in the role of a late, famous star, and the troubles she encounters in this odyssey. PLAY IT AS IT LAYS was a movie that intimately outlined the life of its main character, actress Maria.

PLAY IT AS IT LAYS shared affinities with the more serious-minded movies about a film actress, such as SOULS FOR SALE, WHAT PRICE HOLLYWOOD?, A STAR IS BORN, SUNSET BOULEVARD, THE ACTRESS, I'LL CRY TOMORROW, JEANNE EAGELS, THE GODDESS, TOO MUCH, TOO SOON, SWEET BIRD OF YOUTH, INSIDE DAISY CLOVER, both HARLOW titles, and THE LEGEND OF LYLAH CLARE. There is an intense focus upon a single protagonist, and the audience comes to understand her passions, flaws, her good side; in essence, complete portraits are drawn of the respective character. The post-war examples after 1950, beginning with SUNSET BOULEVARD, are darker in tone, and execution, than those from beforehand. These also offered more full-blooded portrayals than the uplifting sketches of actresses which SHOW PEOPLE, ICE FOLLIES OF 1939, and STAR DUST presented. The genteel tone of the 1940s pictures, and previous movies, was largely abandoned, with the exception of THE ACTRESS. Other aspects of PLAY IT AS IT LAYS also warrant discussion. 

With its concentration on a single character, PLAY IT AS IT LAYS did not contrast Maria with other female characters, something which BROKEN HEARTS OF HOLLYWOOD, SINGIN' IN THE RAIN, and VALLEY OF THE DOLLS successfully executed within their narrative structures. The first two movies pitted two women against another, one a mother and a daughter, the other two actresses. VALLEY OF THE DOLLS was of interest as the lives of three actresses are actively compared, and contrasted throughout the course of the picture. Their relationships with men, mental stability, and how they personally handle the various issues which occur to them are also something which PLAY IT AS IT LAYS relays, albeit with a single character instead of three. Additionally, the earlier movies such as WHAT PRICE HOLLYWOOD? and both A STAR IS BORN films, give an impression of a monogamous, conservative heroine, something which is shattered after SUNSET BOULEVARD. Norma Desmond's liaison with a screenwriter in that film, the characters of THE FEMALE ANIMAL, THE GODDESS, and Neely in VALLEY OF THE DOLLS, to name but a few examples, of more liberated female personal behaviour. This also fits with the messy life of PLAY IT AS IT LAYS' Maria, and her various dalliances with the opposite sex. A deep look into the existence of a troubled movie actress, PLAY IT AS IT LAYS is one of the most complicated examples of this captured on film.

 

Overview: Frank Perry directed fourteen feature films between 1962 and his final one being released in 1987. He generally made films which were character-driven in nature, peering intensely into the psychology of his protagonists, making audiences understand situations on a more profound emotional level. His first motion picture, DAVID AND LISA (1962), was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963), which was centered around the effect on students, and personnel, of a school of a possible nuclear attack. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964), and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). 

One of Frank Perry's most beautiful, thoughtful films was THE SWIMMER (1968). With Burt Lancaster in the lead role, it was a powerful, touching story of a man whose life had faltered, the viewer sharing his many past triumphs but also, his failures. Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969), made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on a lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before their divorce in 1971, but they made one more together which was notable in film history.

DIARY OF A MAD HOUSEWIFE (1970), told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, RANCHO DELUXE (1975), was not a high point for Mr Perry. The story of two cattle rustlers in Montana suffered from a lackadaisical script and unemotional presentation, but some good performances could not save it. The remainder of Mr Perry's output was varied, ranging from the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her problematic relationship with adopted mother, actress Joan Crawford, to Mr Perry's final film, HELLO AGAIN (1987), a comedy-fantasy of a woman who dies, but is reincarnated by her sister. PLAY IT AS IT LAYS was Frank Perry's eighth film, and a sound, if overwrought, picture.

With PLAY IT AS IT LAYS, Frank Perry has made a challenging movie experience for viewers. It is the story of a film actress, depicting the collision of her professional, and personal lives, which lead her to mental illness. The director closely follows the trials and travails of his protagonist Maria, her shaky relationships with men, and clearly explains the reasons she becomes ill. The movie is the less-sweeping, more intense version of THE SWIMMER, showing the lead character's personal downward spiral. This movie had a beauty, and philosophy in its structure which is missing from PLAY IT AS IT LAYS, which has a negative tinge about it. In addition, PLAY IT AS IT LAYS is also much less positive in tone than DAVID AND LISA, with no romantic ideals, or happy endings present. In this way, it could be seen as reflecting the rawness of life rather than an aspirational view. PLAY IT AS IT LAYS, though, is the cinematic personification of the double-edged sword. On the one hand, PLAY IT AS IT LAYS is daring in its scope with its cut and dry presentation, on the other hand, this is one of the things which make it hard to watch.

In examining the relentlessly tortured life of Maria, Frank Perry has juxtaposed long scenes with short ones which function in an informative manner to highlight her unsettled life. This does work to a degree, but it can become jarring over the film's running time to witness the range of different sound effects which often introduce new scenes. The intention may have been artistic, to shock the audience to maintain attention on Maria's life, but it has the opposite effect in many cases. Aside from this, and in an associated way, PLAY IT AS IT LAYS is presented in a bloodless, apathetic manner. Despite convincing performances, the overall lack of tangible emotion works against the movie. Not having relatable emotions played out during the course of the film does pigeonhole the characters, making them seem more like pawns in the full scope of things. Identification with the plight of Maria, and those with whom she comes into contact, is more on the level of curiosity than real involvement. While the movie may be watchable as a whole, it is more on the basis of the performances holding it together than what occurs to the characters. An original but exacting movie, PLAY IT AS IT LAYS is not one of Frank Perry's best achievements in looking over his oeuvre.

Acting: PLAY IT AS IT LAYS contains fine acting from a quartet of performers. In the lead role of Maria, Tuesday Weld is in one of her best screen performances. An engaging actress with a quivering voice, and steely presence, here does excellent work as the troubled actress. As B.Z., Maria's film director, Anthony Perkins is likewise in one of his formidable acting interpretations. An actor who after PYSCHO seemed to be typecast in sociopathic roles, in the film melds well with Tuesday Weld, feeding off each other, which is one of the picture's best assets. Maria's husband Carter is likewise given thorough treatment by Adam Roarke. While many times playing villains and bikers on screen, here Mr Roarke has the opportunity to display his more complex, passionate side as Carter. The last acting of note was by Roger Ewing as Nelson, B.Z.'s lover. A tall, blonde actor with a relaxed, humorous charm, he makes his presence felt in a short scene at the beach house. Unfortunately, this was Mr Ewing's final film role, and it would have been interesting to have seen more of Nelson, given his strong, inimitable aura.

Soundtrack: One of the distinguishing features of PLAY IT AS IT LAYS is its lack of a musical soundtrack. There is no music played during either the opening or closing credits, the visuals stand alone in this respect. There are some isolated uses of diegetic music, such as Maria's car ride with Johnny Waters, but these are few and far between. Voice-overs by Maria are one of the film's main non-diegetic features where she expands upon her life for the viewer. The overall effect of a dearth of musical accompaniment, though, is one of starkness, reflecting the movie's somber, serious tone.

Mise-en-scene: There is a careful use of locales within the narrative which lend PLAY IT AS IT LAYS authenticity. The movie vividly paints Maria's life as one of revealing contrasts. From her calming beach house, riding in the sportscar, incoherent by the side of the road, to her movie location shooting in the rugged Mojave Desert, to name but a few examples, one can readily discern the tumultuous life of Maria on a subtle, non-verbal plane.

Notable Acting Performances: Tuesday Weld, Anthony Perkins, Adam Roarke, Roger Ewing.

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

Overall Grade: C

Link: IMDB Page

INTERVIEW WITH ART DIRECTOR LARRY WIEMER

Today I have the immense pleasure of welcoming a very special guest, art director Larry Wiemer, to CINEMATIC REVELATIONS for an interview. Larry was responsible for the production design of motion picture SKATETOWN U.S.A. [my review of the film can be found here] and in charge of art direction on a multitude of television programs such as Archie Bunker’s Place, Solid Gold, Mama’s Family, Major Dad, and more recently, The Real Housewives of Orange County, Pawnography, and Dave Chappelle: The Closer. In this interview Larry will be discussing his role as production designer of SKATETOWN U.S.A., and his television art direction accomplishments.

Welcome to CINEMATIC REVELATIONS Larry!

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

Larry: My first realization that I wanted to be an art director was after graduating from college and going on interviews for acting jobs and hating the process.

I decided to go back to college and study to be a scenic designer.

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Athan: Where did you study the craft of art direction and production design?

Larry: I went to UCLA to get an MFA in Theatre. At UCLA there were teachers who had been in the entertainment business and knew what a student needed to learn to get ahead. I enjoyed my time there as a student and teaching assistant.

We learned all aspects of the backstage crafts including lighting, sound, scenic design, set construction, technical direction.

After graduating I went to work in the television studio scenic shops CBS, NBC, ABC and actually built scenery that would go on prime time tv.

I would take the blueprints of the sets home and study them to see how the real professionals did their designs.

When the Art Directors would come through the scenic shop to check on the sets, I would introduce myself and ask for an interview to become an assistant art director.

As luck would have it I began to get work drafting sets and set decorating.

The rest is 50 years of working as a Production Designer, Art Director and Set Decorator in the entertainment industry.

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Athan: Your production design of SKATETOWN U.S.A. was beautiful and highly imaginative, making a roller disco skating venue come alive with color, pizazz, and style.  What is it that drew you to participating in the movie?

Larry: In television there is a hiatus period in the spring when all the shows go down for a couple of months. It was during this hiatus period that I learned about the Production Designer position on Skatetown USA from another production designer who could not take the job. He recommended me for the job and I began work right away.

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Athan: What did you find most exciting about the experience of making SKATETOWN U.S.A.?

Larry: The most exciting thing about working on Skatetown was getting out of the studio and working at the Hollywood Palladium. This was the main location for the movie.

The Hollywood Palladium is a world-famous night club and music venue so it played right into the script. Its circular hardwood floor certainly made it work for SKATETOWN U.S.A.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming SKATETOWN U.S.A.?

Larry: The most demanding part of the experience was getting used to working with a film crew as opposed to a TV production crew.

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Athan: Have you kept in contact with any cast members and crew from SKATETOWN U.S.A.?

Larry: After the film production was completed I went back to designing television shows, half hour sitcoms mostly, and have not kept in touch with anyone from Skatetown USA.

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Athan: SKATETOWN U.S.A. was directed by William A. Levey, who also helmed BLACKENSTEIN, SLUMBER PARTY ’57, THE HAPPY HOOKER GOES TO WASHINGTON, HELLGATE, and COMMITTED. What was the experience of working with Mr Levey on the movie?

Larry: I really didn’t have much interplay with the director during the production other than looking at a setup and where he was placing the camera.

He was a pleasant guy is all I can remember.

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Athan: You have worked mostly in television, providing art direction for the afore-mentioned programs, and many specials such as The 40th NAACP Image Awards, Adam Ferrera: Funny as Hell, Hal Sparks: Charmageddon, and the 30th Annual GLAAD Media Awards New York, to name but a few. What is it that you like most about being an integral part of these specials?

Larry: I enjoy creating a visual environment that works for all aspects of the show.

You can’t just draw something that looks great you need to think about all the technical aspects of how the cameras, performers, audience, stage space, lighting and equipment will work together to make a great production.

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

Larry: Keep an eye out for the National Spelling Bee and the AFI Life Achievement Awards.

*

Thank you so much today for your time Larry, and for the insight you have provided into SKATETOWN U.S.A., film and television production design, and art direction. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Larry Wiemer links

+Larry Wiemer IMDb Art Director/Production Designer Page

+SKATETOWN U.S.A. movie IMDb page

SKATETOWN U.S.A. (1979)

Title: SKATETOWN U.S.A.

Year of Release: 1979

Director: William A. Levey

Genre: Sport, Comedy, Romance

Synopsis: Two young men vie for the championship of a roller-skating disco competition.

Within a film history context: Roller disco was a short-lived fad of the late 1970s which grew out of disco, which was all the rage at the time. As a film genre, it was similarly ephemeral, with a handful of movies devoted to the topic. One of the first to deal with roller disco was J. Robert Wagoner's DISCO GODFATHER (1979). In this movie, a crime and action drama, a retired policeman owns a disco, and does his best to put drug dealers in their place. ROLLER BOOGIE (1979), directed by Mark L. Lester, was about the happenings in a roller disco venue, specifically the romance between two skaters, and how patrons try to stop the place from being taken over for redevelopment. Robert Greenwald's XANADU (1980), came at the tail end of the roller disco craze. A musical fantasy concerning an artist, and his love for a sprightly young woman, featured numerous roller disco set pieces throughout its running time. SKATETOWN U.S.A. was released in 1979, at the height of roller disco, and one of the most thorough films on the topic.

In comparison to the other films in the genre, SKATETOWN U.S.A. was almost entirely set inside a roller disco venue, with the exception of several scenes outside the place. ROLLER BOOGIE had scenes both inside, and external to the venue, showing characters away from the alley, and in their homes. Like ROLLER BOOGIE, DISCO GODFATHER also had scenes in the disco, but also in other locations. DISCO GODFATHER was of interest as there was a single sequence of roller disco, the others being straight disco dancing scenes. This is where it moved away from both SKATETOWN U.S.A, and ROLLER BOOGIE. XANADU was likewise, with one major roller disco scene, the others taking place away from a skating venue. This is something SKATETOWN U.S.A. eschewed, remaining in the skating venue for the vast majority of screen time. This pointed to something which set SKATETOWN U.S.A apart from the other three movies.

All the loves, enmities, comedy, and other events occurred in SKATETOWN U.S.A's roller disco, keeping locations to a minimum in the story. The effect of this on the movie was two-pronged. On the one hand, not showing characters outside the venue does not provide extra information about them, which would subsequently deepen knowledge of them. On the other hand, this does keep matters simpler with a single location. Whatever the audience finds out about the characters takes place in the roller disco alley, during a single evening. In addition, SKATETOWN U.S.A., and XANADU, had a partiality for musical sequences which ROLLER BOOGIE and DISCO GODFATHER did not contain. This had the effect of giving both movies a fantastical/escapist edge, whereby the other two pictures were of a more realistic persuasion. 

In other areas, romance was a minor element of SKATETOWN U.S.A. in comparison to the other films. Both ROLLER BOOGIE and XANADU had this as a major aspect of their narratives, where SKATETOWN U.S.A. employed this device fleetingly, story time given over to comedy and competition between male skaters. The romance was between a male skater and a young female skater, brought together through her brother's malevolent feelings for the rival male skater. This is slightly similar to ROLLER BOOGIE's romance between two skaters, but SKATETOWN U.S.A.'s version is much briefer in duration. In looking over the film as a whole, SKATETOWN U.S.A. is notable for being entirely set in a roller disco venue, and the most rigorous of the movies on the subject.

Overview: William A. Levey is an American director who made ten movies over an eighteen year period. His output ranged from comedy, drama, to horror, thereby covering a number of genres. Mr Levey's first film, BLACKENSTEIN (1973), was about a physically-disabled Vietnam veteran who undergoes successful surgery to replace his arms and legs lost in an accident. The surgeon's assistant has other ideas, injecting the patient with DNA injections which cause the man to become a merciless killer. WHAM BAM THANK YOU SPACEMAN (1975), was a science fiction adult comedy of two aliens, and their mission to have relations with as many women as they possibly can. SLUMBER PARTY '57 (1976), was a teen comedy set in the late 1950s, with a group of young women relaying their sexual adventures to their friends. There was a plunge into exploitation territory again for Mr Levey with THE HAPPY HOOKER GOES TO WASHINGTON (1977). In this sequel to 1975's THE HAPPY HOOKER, an international prostitute is summoned to Congress in Washington to speak about the lack of morality in society, of which she herself is blamed due to her vocation. 

Comedy was once again on the agenda with MONACO FOREVER (1984). The antics of a jewel thief in Monaco was the material for this movie, largely only of interest for the presence of Jean-Claude Van Damme as a martial artist. Next came a family movie, LIGHTNING, THE WHITE STALLION (1986). A stallion is stolen by a creditor away from its owner, who is a gambler. After the horse escapes one day, it is taken in by two children, the young girl dreaming of being an equestrian. On the other hand, horror pervaded HELLGATE (1989), to the nth degree. A murdered young woman is brought back to life by her father via a crystal, whereby she has her way with men, and subsequently kills them. William Levey's last film to date is COMMITTED (1991). A nurse who has just commenced work at a medical facility is inadvertently drawn into a web from which she cannot escape. SKATETOWN U.S.A. was William Levey's sixth movie, and one of his most-recognized efforts.

In the case of SKATETOWN U.S.A., William Levey has fashioned an entertaining, glossy motion picture. Taking as its focus a roller disco alley, highlighting the assorted goings-on between skaters, and the rivalry between two male roller skaters, it is a fun movie. The film, admittedly, has an emphasis on comedy, and roller disco skating scenes, the latter being spectacular to witness. There are quite a few skating sequences in its running time, and they are well-staged, foregrounding skating maneuvers, and splashy visuals. The staging of these is the strength of the movie, where technique, and visual splendor, coalesce as one. The use of comedy between the skating scenes does work well to space out segments, and there is no lumpiness in this respect with transitions. The romantic subplots also achieve their aim of adding something different to the mix, instead of the film being just a collection of skating scenes. While SKATETOWN U.S.A. is to be lauded for its attention to what appears onscreen, this does leave matters in other areas on an unequal footing.

The story of a competition between two male skaters for supremacy on the roller disco floor works to a degree, but feels like filler at times sandwiched between either musical, or skating scenes. This downgrades what could have been a stronger element in the movie, thereby relegating it to a secondary role. This tendency does not allow the time to develop several relationships which needed more attention. Allison makes an impact as Ace's sister in a non-verbal sense, but she is not allowed to utter hardly a few syllables. The tough gang member, and his protectiveness toward his younger sister is largely glossed over. Ace's friend Franky is utilized as a caricature, and his attraction to Susan is just played for laughs. In addition, the comic vignettes are variously amusing, or unfunny. There is one which builds well, being the man in the suit and hat requesting a pizza, and chatting with a young woman. On the other hand, the scene of pizza attendants throwing food at each other is messy, and unnecessary. If the comedy routines were better executed, they would have complemented their accompanying scenes, giving greater fluidity to the movie. In essence, though, this points to the obvious aim of SKATETOWN U.S.A. as a picture. It is a film whose intentions are to unashamedly divert its viewers in its fast-moving, cheerful manner.

Acting: There are a number of acting contributions in SKATETOWN U.S.A. which merit recognition. In the lead role of Ace, gang member, and roller skater, Patrick Swayze made a strong film debut. An actor with a definite presence who did great work as villainous men with more to them than first meets the eye, here is excellent. As Ace's skating rival Stan, Greg Bradford is another stalwart. With his ardent manner and easy smile, Mr Bradford does well as the ambitious skater. The object of Stan's affections, Allison, also being Ace's sister, is ably played by Katherine Kelly Lang. Several years before commencing her role as Brooke Logan Forrester on daytime serial The Bold and The Beautiful, Miss Lang's radiance is on show, as well as her skating prowess, quietly emoting in the background, but still very visible. Three other performers stand out in SKATETOWN U.S.A.

 

Ruth Buzzi, as Elvira, one of a group of three who want to pull the roller disco venue into line for its illicit activities, is fun. Involved in some of the funniest segments of the movie, Miss Buzzi is an accomplished comedienne who should have had more air time than what she received. As Teri, the concierge at the roller disco alley, Judy Landers is also amusing as the young woman spouting feminist ideology. As with Ruth Buzzi, it is unfortunate that Miss Landers was not present in more scenes. Unfortunately, Maureen McCormick is not as well used in the movie as Susan, Stan's skating partner, and sister. An actress with a way about her and refreshing personality, she is not utilized for these gifts here, her role not displaying these properly.  The final acting of note was by Leonard Barr as the elder gentleman seeking pizza, and company. A fast-talking, humorous actor who acted in a handful of movies, he carries off the running gag beautifully, bringing a smile, and happiness to the film with his ingratiating manner.

Soundtrack: SKATETOWN U.S.A. has a bouncy 1970s soundtrack which is a pleasure to witness. The opening credits sequence song 'Skatetown' by Dave Mason, appropriately sets the tone for the movie, accompanying the opening outdoor skating scene well. Dave Mason's rendition of 'Feelin' Alright?' is the best musical piece performed in the film, giving a sense of earthiness to the proceedings. Aside from this, SKATETOWN U.S.A. teams the roller skating dance segments suitably with tunes, with 1970s pop/rock hits such as The Jacksons' 'Shake Your Body', Anita Ward's 'Ring My Bell', Heatwave's "Boogie Nights', Earth Wind and Fire's 'Boogie Wonderland', and Patrick Hernandez's 'Born to be Alive', especially noteworthy. 

Mise-en-scene: The visual experience is a large component of SKATETOWN U.S.A.'s overall success. Cinematography by Donald M. Morgan beautifully captures the roller disco skating alley in all its colorful glitziness, making it not only fanciful but also, original. Art direction by Larry Wiemer creates an irresistible vision of a roller disco alley, an artistic standout for its ingenuity. In another area, the roller disco skating dance sequences have been inventively choreographed by Robert Banas, are never overdone, and fun to watch. 

Notable Acting Performances: Patrick Swayze, Greg Bradford, Katherine Kelly Lang, Ruth Buzzi, Judy Landers, Leonard Barr.

Suitability for young viewers: Parental discretion advised. Adult themes, drug use.

Overall Grade: C

Link: IMDB Page

Trailer