STRANGERS WHEN WE MEET (1960)

Title: STRANGERS WHEN WE MEET

Year of Release: 1960

Director: Richard Quine

Genre: Drama, Romance

Synopsis: A love affair blossoms between a married architect, and his equally married neighbour.

Within a film history context: Films which specifically revolve around an adulterous husband were sporadically present in cinema before 1960. Largely due to the movie censorship of the times, these were discreet, muted depictions of adultery. One of the earliest examples was Glen Lyons' silent IS MONEY EVERYTHING? (1923). A married farmer goes to the city and becomes successful, but has an affair with a married woman, his life subsequently going off the rails. THE MATING CALL (1928), directed by James Cruze, had an adulterous man trying to frame a World War I veteran for murder in this silent movie. Into the sound era, William Dieterle's MAN WANTED (1932), featured a married magazine editor who falls for her handsome new secretary, but discovers that her husband has been unfaithful to her, this changing her view of marriage, and life. The first version of BACK STREET, directed by John Stahl, was released in 1932. An adaptation of Fannie Hurst's novel of a young woman who becomes the kept lover of a businessman, with tragedy striking, it was remade in 1941 by Robert Stevenson, and 1961 by David Miller. 

With CHRISTOPHER STRONG (1933), directed by Dorothy Arzner, a married British Member of Parliament has an affair with an aviatrix which leads to tragedy. A more humorous view of infidelity was present in Mark Sandrich's THE GAY DIVORCEE (1934). A woman who wants to divorce her husband discovers he has been playing the field behind her back in this delightful Fred Astaire-Ginger Rogers musical-comedy. Very subtle in its treatment of adultery, and an unfaithful husband, was THE WOMEN (1939), directed by George Cukor. A society woman decides to divorce her husband when he has an affair with a perfume counter assistant, but turns the tables on her ex-husband's new wife. Notable in that not a single male actor appeared in the movie, even the philandering husband, it is a classic of Hollywood cinema. 

Into the 1940s, Henry Levin's NIGHT EDITOR (1946), presented a married police lieutenant who had an amour on the side, with their witnessing of a murder causing both parties anguish in this film noir. A definitively comic side to male adultery was on show in MR. PEABODY AND THE MERMAID (1948), directed by Irving Pichel. A man is on vacation with his wife on a Caribbean Island, and one day when fishing catches a mermaid. The man and the mermaid carry on a love affair of sorts, but a number of misunderstandings occur whereby the man is suspected not only of having an extramarital affair, but also, murder. In total contrast, Irving Pichel's WITHOUT HONOR (1949), focused upon a married woman having an affair with a married man, who she accidentally kills one day. Her brother-in-law is aware of her infidelity, and threatens that he will tell her husband and others about her indiscretions. 

In THE BIG BLUFF (1955), directed by Lee Wilder, a scheming man wants to live it up with his lover, and marries a frail woman for her money in order to kill her, and claim her inheritance. Lewis Allen's ANOTHER TIME, ANOTHER PLACE (1958), set during World War II, had a married British reporter conduct an affair with a female journalist, this causing later friction with his wife after his death. A much more escapist view of male adultery was served by ATTACK OF THE 50 FOOT WOMAN (1958), directed by Nathan Juran. When an emotionally unstable woman grows to the height of fifty feet after an alien encounter, she seeks revenge on her unfaithful husband, and wreaks havoc on him, and his lover. Daniel Mann's HOT SPELL (1958), showcased a woman's disavowal of her husband's straying ways, but finally comes to terms with his dalliance with a much younger woman. STRANGERS WHEN WE MEET came on screen in 1960, and was one of the best movies about an adulterous husband.

With its focus upon a male adulterer, STRANGERS WHEN WE MEET was closer to the films with a realistic bent, such as IS MONEY EVERYTHING?, BACK STREET, CHRISTOPHER STRONG, ANOTHER TIME, ANOTHER PLACE, and HOT SPELL. There was a distinct lack of suspense elements in STRANGERS WHEN WE MEET which permeated NIGHT EDITOR, WITHOUT HONOR, and THE BIG BLUFF. The anticipation in STRANGERS WHEN WE MEET was largely based upon whether Larry's wife Eve would find out about his affair with Margaret, and what would become of their marriage if this occurred. The backdrop was more domestic than anything else, and closest in this respect to BACK STREET than the other pictures. Where STRANGERS WHEN WE MEET differed from BACK STREET is that the other woman was married with a child of her own, whereas Ray from BACK STREET was unmarried, and childless. This placed Larry and Margaret in STRANGERS WHEN WE MEET on an equal footing in terms of their marital, and family status. 

Further areas of STRANGERS WHEN WE MEET differed from the other films in the genre. Margaret did not suffer from being seen as a 'Scarlet Woman', as Ray in the BACK STREET pictures did. The clandestine nature of Larry and Margaret's affair, known by very few people, and Margaret's position as a married woman and mother, took away from her being envisioned in this way. In an associated way, by and large, STRANGERS WHEN WE MEET was lacking the tragedy which infused the BACK STREET films, but shared the aftermath of adultery on the adulterer's wife which was present in ANOTHER TIME, ANOTHER PLACE. Melodrama did not feature much at all in STRANGERS WHEN WE MEET, eschewing this for a concentration on the feelings of characters, in effect steering clear of a sordid atmosphere. One of the best movies about a male adulterer, STRANGERS WHEN WE MEET wins with its spare attention to detail.

Overview: Richard Quine was an American director who made thirty-one pictures over thirty-two years. Mr Quine was an all-rounder dealing mainly in comedy, romance, and drama. Richard Quine's first picture, LEATHER GLOVES (1948), co-directed with William Asher, followed a former boxer who tries to escape his past in the sport by moving to a new town, but again falls into the ring. Comedy SUNNY SIDE OF THE STREET (1951) was Richard Quine's second film. A light musical about the lives and loves at a television network, it was a showcase for singer Frankie Laine in the lead. After a number of comedies, musicals and dramas, Mr Quine made one of his first notable films, PUSHOVER (1954). The tale of a policeman's affair with a bank robber's moll, and their teaming to take advantage of the money from this operation, offered Kim Novak her first sizable role as the mystery woman.

Musical MY SISTER EILEEN (1955), was about the exploits of two sisters from Ohio transplanted to New York City, with much romance and frolics included for good measure. THE SOLID GOLD CADILLAC (1956), was the first of two Judy Holliday vehicles for Richard Quine. A woman shareholder of a company becomes involved in the wheeling and dealing taking place in this buoyant comedy. FULL OF LIFE (1956) again starred Judy Holliday, this time as a married woman whose proud husband does not wish to avail himself of his father's assistance for a home repair, being one of a number of marital issues in this comedy-drama. In BELL BOOK AND CANDLE (1958), a witch casts a spell on a man, which causes him to halt his marriage, and various other events, in this comedy. 

Into the 1960s came one of Richard Quine's most-recognized works, being THE WORLD OF SUZIE WONG (1960). The love affair of an American businessman cum artist, and a Chinese prostitute he hires as a model for his paintings, was a box office success for Paramount, and one of the biggest movies of the year. Comedy again infused THE NOTORIOUS LANDLADY (1962), this time with some mystery elements. An American diplomat in London falls for his landlady, who owns a townhouse, but becomes embroiled in her murderous escapades, which may, nor may not, be her responsibility. PARIS WHEN IT SIZZLES (1964), was yet another example of Richard Quine's comedy-romances. A writer has difficulty with his screenplay until meeting the woman who will type his manuscript, with amusing results. HOW TO MURDER YOUR WIFE (1965), was a darker comedy in comparison to his previous efforts. A cartoonist who is inebriated one evening marries a young woman, but fiction intrudes upon life in the most inappropriate way for him. 

SYNANON (1965), was a change of pace for the director. The difficulties of recovering addicts at a rehabilitation centre was the focus here, with a talented cast including Stella Stevens, Chuck Connors, Richard Conte, and Edmond O'Brien. Next came the all-star HOTEL (1967). The intrigues of a New Orleans grand hotel, with its glamorous hotel guests, was the content of this movie, which was a loss-maker in its time. OH DAD, POOR DAD, MAMMA'S HUNG YOU IN THE CLOSET AND I'M FEELIN' SO SAD (1967), was a venture into black comedy, and irreverence for Richard Quine. The antics of a strong mother, and her submissive son at a resort, carrying around her dead husband in a casket, starred Rosalind Russell as the mother, and Robert Morse as her beleaguered son. Into the 1970s and after, Richard Quine made five more pictures, but of lesser stature than his previous works.

Comedy western THE MOONSHINE WAR (1970), was about the shenanigans of a corrupt federal agent who wants a share of his friend's moonshine operation. Despite his best efforts, the agent comes up against unexpected obstacles which thwart his aspirations. A TALENT FOR LOVING (1973), was also a western with comic shading. An American gambler is awarded the deed to an expansive Mexican home, but finds that the abode is doomed as a curse has been placed on it. For the curse to end, the gambler must marry the owner's daughter, something which is not to his liking. Richard Quine next made a foray into thriller territory with W (1973). A couple are chilled when they discover that they are the target of a murderer who leaves the letter W over the bodies of his injured victims. Mr Quine's last movie, THE PRISONER OF ZENDA (1979), was a remake of the classic story, last filmed in 1952 with Deborah Kerr and Stewart Granger. It was not as warmly received as its predecessors, and did not recoup its production costs. STRANGERS WHEN WE MEET was Richard Quine's eighteenth film, and one of his best movies.

In the case of STRANGERS WHEN WE MEET, Richard Quine has made a beautiful, edifying film. Tackling the subject of adultery head on, specifically focusing upon a married architect, and his extramarital affair with the mother of his son's schoolmate, it is a compelling picture. The movie is this way for an important reason. The director introduces the audience to his characters, and ensures that one understands why they think and act the way they do. It is not a case of facile answers, or making people one-dimensional cardboard villains. One of the strengths of STRANGERS WHEN WE MEET is that it does not make it easy for the audience to take sides in what is happening; the viewer sees all sides of the argument both for, and against, adultery, and the aftermath on those it affects. The spectator watches it all unfold from the beginning of the affair, and after it ends. Mr Quine achieves this in the following way with the plot. 

Larry is becoming complacent with his life and marriage, and seeks out someone whom he believes comprehends from where he is coming. The object of his forbidden desire, Margaret, is feeling neglected by her husband, who is too busy to give her the attention she needs. Larry actively pursues Margaret, and at first she spurns his advances, but, eventually, gives in to him. In some ways, the movie could be said to glamorize adultery with its orientation towards showing Larry and Margaret's affair in a romantic mode, but, the way it is presented, this is not some cheap backroom fling. Both participants feel something for each other besides just sexually. Apart from this, STRANGERS WHEN WE MEET shows an awareness of the world, such as an incident which Margaret explains to Larry involving an unknown man, this providing a realistic background to the characters. Despite these pluses there are some omissions, though, which would have made the film stronger.

The movie has an intense focus particularly on Larry and Margaret, with Larry's wife Eve also prominent. This does work, and carries the film in its best moments. Margaret's husband Ken, though, is a more shadowy figure. While he rejects his wife's amorous advances early in the picture, and is hardly seen throughout the remainder, not delving into why he treats Margaret as he does is a letdown. This would have provided the movie more balance, and given Ken an equal role to Eve as the unknowing spouse. Another role that should have been larger is that of Betty Anders, Felix's wife. The wily Felix imposes himself upon Larry, and Larry's affair with Margaret, and shows an attraction to Eve. Felix's wife, as with Ken, also has an ill-defined purpose. This would have better explained Felix's interest in Larry and Eve's marriage, but, is left to the imagination. Putting these flaws to the one side, something emerges about the movie which cannot be denied. STRANGERS WHEN WE MEET is a sturdy picture which deserves credit for examining adultery in a careful, measured way.

Acting: The performances in STRANGERS WHEN WE MEET make it a solid film experience. Architect Larry Roe is another of Kirk Douglas' great portrayals. An actor with an engaging manner, and incisive approach to his roles, he makes the philandering husband someone who it is difficult to dislike, despite being unfaithful to his devoted wife. As Margaret, the object of Larry's affections, Kim Novak is in her best performance. Too often downgraded for her acting skills, she is the heart and soul of the film. Her understated reactions, and use of her eyes are used to maximum effect here. Larry's spouse Eve is made memorable by Barbara Rush. The role of the wife could have been a thankless, one note part, but Miss Rush imbues her role with a sensitivity, and nous, that make Eve a force to be reckoned with in STRANGERS WHEN WE MEET. Three other actors do great work in the picture.

Larry's client, and friend, novelist Roger, is given humor and earthiness by Ernie Kovacs. An actor who passed away too soon, but before leaving several great roles in his filmography, adds a note of reality to the proceedings. As Mrs Wagner, Margaret's mother, Virginia Bruce provided a touch of Classic Hollywood in her role. Functioning as Margaret's confidante and mother, Miss Bruce urges her daughter to seek happiness, and is a classy, yet soulful figure in the picture. The last great performance is by Walter Matthau as Felix, Larry and Eve's neighbour. With his ingratiating manner, and ability to push the envelope, and people's buttons, Mr Matthau lends his fast talking, unique persona to STRANGERS WHEN WE MEET.

Soundtrack: STRANGERS WHEN WE MEET has a sweeping instrumental score, composed by George Duning, which is employed throughout the movie. It adds tension at just the right moments, be it dramatic, quiet, or humorous. A version with vocals is played at the conclusion, with lyrics by director Richard Quine, that nicely delineates the bittersweet feel that infuses STRANGERS WHEN WE MEET as a whole.

Mise-en-scene: It cannot be doubted that STRANGERS WHEN WE MEET is lushly produced, and this attention to production values is one of its triumphs. Charles Lang photographs the events transpiring on screen with grace in Eastmancolor, the color reflecting the movie's muted, thoughtful tone. Art direction by Ross Bellah is also excellent, creating a beguiling story world for the viewer. Attractive scenes of suburban life, with other exteriors such as the fair, and the beach locations, are the film's forte. Louis Diage's set decoration is also pivotal to the success of STRANGERS WHEN WE MEET. The pleasant, well-appointed Coe and Gault family homes speak of their socioeconomic position, and other sets such as the beachside cafe where Larry and Margaret meet, are all stellar. Costume design by Jean Louis allows all characters to cut dashing figures in the movie, with Kim Novak and Barbara Rush elegantly gowned, with Kirk Douglas also sartorially savvy as the well-dressed, straying architect.

Notable Acting Performances: Kirk Douglas, Kim Novak, Batbara Rush, Ernie Kovacs, Virginia Bruce, Walter Matthau.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

Trailer

INTERVIEW WITH COMPOSER DAVID MICHAEL FRANK

I have the immense pleasure today of welcoming a very special guest, composer David Michael Frank, to CINEMATIC REVELATIONS for an interview. David has composed the score for many motion pictures over the years such as CODE OF SILENCE, A DIFFERENT STORY [my review of the film can be found here] HARD TO KILL, SUBURBAN COMMANDO, POISON IVY, SNAPSHOTS, OUT FOR JUSTICE, THE BABY-SITTERS CLUB, ABOVE THE LAW, and I’M GONNA GIT YOU SUCKA, for just a few examples. David has also contributed to the soundtracks of other pictures including FORREST GUMP, THE MASK, and METEOR MAN. In this interview David will be discussing when he first discovered his love of music, his work on A DIFFERENT STORY, film and television scoring, and winning the Chandler International Film Festival for SNAPSHOTS in 2019.

Welcome to CINEMATIC REVELATIONS David!

Athan: When did you first realize that you wanted to be a musician?

David: I started piano lessons when I was about 8 or 9 years old.  At the same time, I enrolled in a children’s acting workshop. At age 12, I decided I didn’t have enough time to pursue both of these avenues. So, I quit acting to concentrate on music. 

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Athan: Where did you study music?

David: I studied piano 6 years with a private teacher. Then, my last 3 years of high school, I studied at the preparatory department of the Peabody Conservatory of Music, which was located in my home town of Baltimore. I next spent a summer in Paris studying piano, and then 4 years at Northwestern University, where I received a Bachelor of Music degree. 

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Athan: Your score for A DIFFERENT STORY complemented the visuals in an appealing and relaxed manner, enhancing the picture’s thoughtful tone. Being your first score, how did it feel to see your music in the completed movie?

David:  It was quite exciting to see the final product. I was so intensely wrapped up in this film that I was quite unable to wrap my head around the fact that the film was not a hit. I thought the film would be my calling card, my career would instantly take off, and I would be able to continue scoring features. However, it took me an entire year to get my next scoring assignment, and it was for a TV series. 

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Athan: A DIFFERENT STORY was directed by Paul Aaron, who also directed the motion pictures A FORCE OF ONE, DEADLY FORCE, MAXIE, and MORGAN STEWART’S COMING HOME. What was the experience of working with Mr Aaron in A DIFFERENT STORY?

David: Paul was quite talented and easy to work with. However, I made the mistake of taking him too literally at his word.  When discussing the sound of the score, I would ask him something along the lines of, “Do you hear strings?” And, he would say he didn’t. The same thing happened with woodwinds and brass. So, I felt very trapped in the instrumentation. If I had experience working with directors, I would have realized Paul meant that he didn’t hear a large orchestra.  The film was rather intimate.  A small string section would have sounded lovely. And some poignant woodwinds, like flute, clarinet, or English horn, would have worked wonderfully against a small string ensemble. Perhaps a solo cello would have worked.  But, taking him too literally at his word, I used electronic representations of these instruments instead of the real thing, along with a real piano and other keyboard sounds.  Four years later, I scored another film for Paul, MAID IN AMERICA. This time I was able to really achieve my goals and was also able to utilize a nice-sized orchestra.  It’s one of my favorite scores.

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Athan: You have composed the scores of many motion pictures as mentioned previously, but also, a multitude of television work. Some of the television shows which have featured your music are The Bad News Bears, Foul Play, Mork & Mindy, The Magical World of Disney, Columbo, Jack & Jill, and BrainSurge. In looking back at your oeuvre, was there a score or music piece which proved demanding initially, but, on the other hand, most satisfying personally for the end result?

David:  Every score is demanding initially because I find it difficult to come up with a hook on how I’ll score the film. Once I’ve figured that out, the main stumbling block is gone.  I guess my score that was initially demanding, but ended up being most satisfying, is COSMIC VOYAGE. This 35-minute IMAX film is basically a science lesson exploring the relationships of size, from the tiniest particles inside atoms to the entire known universe. The key to me which unlocked the best way to score the film, came from the director’s choice of narrators. Usually, these kinds of IMAX films had your typical booming, narrative voice. However, the director made the incredibly wise decision to go with a warm, folksy, voice.  And, who better to exemplify that style than Morgan Freeman! Hearing Morgan narrate the film made me realize that the score needed a similar approach. Instead of the more intricate, electronic-based, sequence driven score that would fit the math and science, I decided to write a beautiful, classical score with a large orchestra. There are sections of the score that I was able to pretend I was either Tchaikovsky, Leonard Bernstein, or Aaron Copland. I think this score is musically my favorite because of how melodic it is.  

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Athan: In 2019 you won the Jury Prize for Best Original Score at the Chandler International Film Festival for SNAPSHOTS. What was the experience for you winning the award?

David:  I didn’t expect to win this, because I’ve been disappointed every other time I’ve been nominated for something. I wish I had been there personally to collect the award. 

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Athan: There are so many great film scores it can be difficult to hone it down to one example. As a film spectator, is there a movie score which is your favorite?

David:  My answer comes with a qualifier. Speaking just musically, I think Leonard Bernstein’s score to ON THE WATERFRONT is without equal. Just listen to the suite he recorded containing all of the main themes.  Amazingly, it’s the only film score he ever wrote. (Obviously, I’m not including West Side Story, because that’s a musical, and was just transferred from the theater.) As for ON THE WATERFRONT, I need to add a qualifier. The score is way too busy at times. Bernstein probably didn’t realize how delicately one needs to write music under dialogue scenes. There is a scene between Marlon Brando and Eva Marie Saint on a rooftop.  Since it takes place outdoors, there is already a great deal of ambient noise. The music under this scene is so dense, it could only be played at an extremely low volume. It was amazing music, but not right for the moment. But musically, the score is brilliant. The final scene, with Brando leading the workers into the factory, is one of the most powerful moments in all of film, thanks to Brando and Bernstein. Some of my other favorite film scores include TO KILL A MOCKINGBIRD, SCHINDLER’S LIST, CLOSE ENCOUNTERS OF THE THIRD KIND, CHINATOWN, BASIC INSTINCT, CATCH ME IF YOU CAN, and RUDY. 

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

David:  I recently scored a documentary entitled CELEBRATING LAUGHTER: THE LIFE AND FILMS OF COLIN HIGGINS. Colin was an extremely gifted writer and director.  He wrote HAROLD AND MAUDE while attending UCLA film school. He followed this up with writing SILVER STREAK. He then wrote and directed FOUL PLAY, 9 TO 5, and BEST LITTLE WHOREHOUSE IN TEXAS. Sadly, he died in 1988 from AIDS at the young age of 47. The documentary includes wonderful interviews with many of the stars of his films, including Jane Fonda, Lily Tomlin, Dolly Parton, Goldie Hawn, Dudley Moore, Charles Durning, and Colin himself. Hopefully, the film will have a theatrical release in the near future, or be available on one of the streaming platforms.   

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Thank you so much today for your time David, and for the insight you have provided into the art of music, A DIFFERENT STORY, film and television scoring, and the Chandler International Film Festival. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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David Michael Frank links

+David’s website:  davidmichaelfrank.com

+David Michael Frank IMDb page

+A DIFFERENT STORY IMDb page

INSERTS (1975)

Title: INSERTS

Year of Release: 1975

Director: John Byrum

Genre: Drama

Synopsis: A once-famous Hollywood silent director now makes pornographic movies in his mansion.

Within a film history context: Movies about the pornographic film industry were not common before 1975. There were several examples of these which were largely exploitation films, with unknown casts. INSERTS was the first which was produced for a Hollywood studio, with well-known actors, and first-time director. Ed Wood's THE SINISTER URGE (1960), was one of the first to look at the industry. It explored a pornographic mob-run movie business, and how the models in these are found murdered, highlighting the police search for the killer of these young women. IS THERE SEX AFTER DEATH? (1971), directed by Alan Abel and Jeanne Abel, contained a small scene of a pornographic movie being made, but it was simulated for the camera in this comedy-mockumentary about sex in its various forms. 

Alain Patrick's BLUE MONEY (1972), concerned itself with a Los Angeles director of pornographic movies. Married and with a child, he dallies with an actress, but his life unravels not only on the domestic front but also, as the police are on his tail due to his filmmaking occupation. SUGAR COOKIES (1973), directed by Theodore Gershuny, had an insidious pornographic filmmaker who murders his star on camera, but tries to pass this off as suicide, with the dead woman's lesbian lover seeking revenge. INSERTS was a movie which was consumed with the making of a pornographic film by its director, in comparison to the other entries.

INSERTS had the most in common with those pictures about a pornographic film director and the making of his movie, with both BLUE MONEY and SUGAR COOKIES standing out. In these pictures, there is a male director of pornographic films in the forefront, and the viewer becomes intimately acquainted with them, and their lives. BLUE MONEY and SUGAR COOKIES both have a 1970s setting, which made them contemporary. The movies were both positioned in 1970s territory, when there was an upsurge in pornographic filmmaking at the time. INSERTS differed as it was set in the early 1930s, when the director in that film, boy Wonder, had great difficulty in adapting to sound, making silent porn movies to survive. Aside from this, Boy Wonder in INSERTS was painted as a former auteur of sorts, whose previous success overshadowed his current persona. Neither of the directors in BLUE MONEY and SUGAR COOKIES could be seen in the same vein, just working in porn. This is where INSERTS diverted from these films, where a famed Hollywood director now made hardcore pornographic pictures. 

In terms of the psychological makeup of the respective porn director, Boy Wonder in INSERTS was closer to the director in BLUE MONEY than SUGAR COOKIES. While Boy Wonder did exhibit off-the-wall thoughts and actions, suggesting something akin to necrophilia at one point, he was not a psychopath as the director in SUGAR COOKIES. He was seen as a man down on the count trying to reignite his lost fame through shooting pornographic movies. This was a thoroughly different interpretation than that of the director in BLUE MONEY, who was being pursued by the authorities due to his filmmaking. The private life of the director was something the three films also tackled in vastly opposing ways. Jim in BLUE MONEY had a wife and child, and strayed with another woman. His situations was more of a domestic persuasion than that of Boy Wonder in INSERTS. One is given little access to Boy Wonder's private life in the picture, aside from the fact that he and Cathy Cake do sleep together. There is more of a concentration on Boy Wonder's efforts to make his porn film than peering deeply into his personal life. An in-depth look at a pornographic film director, this portrait is one of the best aspects of INSERTS.

Overview: John Byrum is an American director who made four films from 1975 until 1986. He predominately filmed dramas, with a sole comedy being his final picture to date. His second movie, HEART BEAT (1980), charted the relationship between the Beat Generation figures Carolyn Cassady, husband Jack Cassady, and Jack Kerouac from the late 1950s, until the 1960s. Mr Byrum's third effort, THE RAZOR'S EDGE (1984), was a remake of the 1946 film. A man returns from serving in World War I, and he finds that everything has changed dramatically, and life is not the same as what he left. John Byrum's final movie to date, THE WHOOPEE BOYS (1986), was a comedy of two young men in Florida, and their raucous antics. INSERTS marked John Byrum's movie debut, but is not one of his best pictures.

With INSERTS, John Byrum has, unfortunately, made a highly flawed film. The story of a Hollywood silent director whose career has seen better days, resorting to making hardcore pornographic movies in his mansion, it is not an easy picture to watch. There are reasons why this is so. While the narrative is divided into three acts, and has a sense of organization in this way, what appears onscreen is less than compelling. The movie, to be fair, does give some insights into characters and situations, which are deftly delivered by a great cast. INSERTS, though, has a tendency to ramble through its almost two-hour running time, which manifests itself in one particular way.

There is an emphasis on sexual situations, and a certain flippancy which becomes grating. This could be seen as being natural given the movie is about a porn director and the making of a movie, but relying on sexuality, and not delving deeper into what brought these people to porn films, gives INSERTS an air of emptiness. It feels as if it likes to shock and surprise the audience with its attention to sexual matters, but this is not backed up with a sturdier backstory to provide strength, and further clarity to the movie. The final section is the best part of the film, where Boy Wonder and Cathy Cake become acquainted in all respects, but by the time it arrives it is too late to save it. An enervating film to witness, INSERTS is lacking in many areas which could have made it a much better picture.

Acting: INSERTS has an enthusiastic cast who give their all, making the movie better than it is. In the lead part of Boy Wonder, one-time Hollywood director now down on the count, Richard Dreyfuss is excellent. Portraying all sides of a complicated character, whose nasty tendencies often come to the fore, Mr Dreyfuss succeeds in making Boy Wonder an entrancing figure. As Harlene, the drug addicted actress now shooting porn films for Boy Wonder, Veronica Cartwright is likewise formidable. Seeing the hyper Harlene carry on with her escapades is one of the most charming, compelling, but tragic depictions of addiction ever captured on film. 

Harlene's onscreen costar Rex the Wonder Dog is in the comely person of Stephen Davies. Mr Davies expresses this young buck's dreams and wild aspirations with an infectious fervour that, as with Harlene, have a pathos about them which is real. The final acting of note was by Jessica Harper as Cathy Cake, a young woman wanting to be an actress. Miss Harper's Cathy goes head-to-head with Richard Dreyfuss' Boy Wonder, being the only person to take him on, and get to the core of Boy Wonder's psyche. A poised actress with an intellectual approach to her acting, Miss Harper is another of the bewitching thespians who make their mark in INSERTS.

Soundtrack: INSERTS has an unusually lean soundtrack. The vast majority of the movie has no background music, either diegetic, or non-diegetic. The exceptions to this are the opening credits, a piano rendition of 'Moonglow' which appears non-diegetic, but is revealed to be diegetic in nature, segueing into Boy Wonder playing the piano. Boy Wonder plays the piano again in the final scenes, and this leads to the closing credits, with a vocal version of 'Moonglow' played. The film prefers to have the audience's attention focused on what is taking place onscreen rather than utilizing music to punctuate the action.

Mise-en-scene: INSERTS takes an interesting approach to its mise-en-scene. The entire movie is set in one location, being the mansion of Boy Wonder, and this allows the action to proceed in a single place. In some ways, it may seem limited to have a single set, but it maintains attention on the small group of characters who inhabit, and pass through this narrative world. Art direction by John Clark excellently creates a vision of a decaying mansion, alongside Josie MacAvin's set decoration. Cinematographer Denys N. Coop employs a dour use of Deluxe color, emphasizing brown hues, which is in keeping with the film's dark and subversive themes. Additionally, the shooting of the pornographic film within the movie is of interest. Scenes effectively jumps between color stock, and black and white, to show Boy Wonder filming the porn, and how it appears through his camera. This occurs not only during the opening sequences but also, later in the picture.

Notable Acting Performances: Richard Dreyfuss, Veronica Cartwright, Stephen Davies, Jessica Harper.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, medium-level violence, drug use.

Overall Grade: D

Link: IMDB Page

Trailer