LOVE HAS MANY FACES (1965)

Title: LOVE HAS MANY FACES

Year of Release: 1965

Director: Alexander Singer

Genre: Drama, Romance

Synopsis: When a man is found washed up on the beach in Acapulco, a wealthy American woman with prior connections to him is suspected of his death.

Within a film history context: Movies set in Acapulco were not a common sight on cinema screens, with little more than a handful in number. Jacques Tourneur's film noir OUT OF THE PAST (1947), had an important meeting between a private investigator, and a mystery woman in Acapulco in this classic movie. Another film noir, THE LADY FROM SHANGHAI (1947), directed by Orson Welles, in which a sailor becomes entangled with a femme fatale, featured a number of sequences set in Acapulco. Edward L. Cahn's SILENT FEAR (1956), was predominantly set in Acapulco, and told the romance of a miner and a nightclub singer, with many ups and downs along the way in their relationship. Film noir territory, and Acapulco once again meshed in A WOMAN'S DEVOTION (1957), directed by Paul Henreid. A couple's honeymoon in Acapulco is interrupted when the husband is suspected of the murders of two women. In an entirely contrary mode was Richard Thorpe's FUN IN ACAPULCO (1963). In this Elvis Presley vehicle, a young man has a number of adventures, and finds romance, with music also featured. LOVE HAS MANY FACES was entirely set in Acapulco, and this is where it diverted from some of the other examples.

LOVE HAS MANY FACES, as with SILENT FEAR, A WOMAN'S DEVOTION, and FUN IN ACAPULCO, had Acapulco as its main locale where all the action transpired. It was a place of relaxation and leisure in LOVE HAS MANY FACES, with a minor element of peril included. This was unlike OUT OF THE PAST and THE LADY FROM SHANGHAI, where a small part of the narrative occurred there. These two films were also of a suspense orientation, whereas LOVE HAS MANY FACES had a minor component in this respect. The death of a gigolo, found on the beach, was just a small segment of the movie. All the films had romantic leanings, with OUT OF THE PAST and THE LADY FROM SHANGHAI both showcasing dangerous temptresses with more to them than meets the eye. The women in LOVE HAS MANY FACES, though, were controlled by passion and their devotion to men and love, rather than criminal exploits. LOVE HAS MANY FACES was geared more toward a female audience than the others, in that strong female characters, and male-female relationships were placed under the microscope. 

In LOVE HAS MANY FACES, contrasts were drawn between three very different women, and how they looked at life in their individual manners. The male characters, on the other hand, were the object of the female gaze in this film, as were the women with their garments, but the men were highly sexualized. The men were handsome, tanned, muscular, and, in one instance, given to wearing swimwear on a regular basis. This was worlds away from how male characters were portrayed in OUT OF THE PAST, THE LADY FROM SHANGHAI, and SILENT FEAR. A WOMAN'S DEVOTION was possibly closest to LOVE HAS MANY FACES in the depiction of its male protagonist, appearing shirtless with regularity. The female character in this, though, was unlike Kit in LOVE HAS MANY FACES, her attire demurer than the showy, expensive wardrobe of Kit. An interesting look at life in Acapulco, LOVE HAS MANY FACES provides an agreeable, if plush, perspective on this.

Overview: Alexander Singer was an American director who helmed five feature films in his career. The majority of these centred upon their female characters, and their interactions with the opposite sex. Mr Singer presented their flaws, foibles and strengths, warts and all to viewers to sympathize and understand, if not necessarily to agree with. Alexander Singer was particularly adept at showcasing actresses in strong roles. His first film, A COLD WIND IN AUGUST (1961), was the character study of a stripper who falls in love with a seventeen-year-old young man. Lola Albright in the lead part bolstered the movie, which had its leaden moments. Next came PSYCHE 59 (1964), an elegant, suspenseful drama about a woman's loss of memory, and the impact this had on her life, and that of her sister and husband. This time, Patricia Neal was a standout as the pained woman. 

Mr Singer's fourth movie, and entirely different from his others, was CAPTAIN APACHE (1971). A western about an American Indian, and his involvement in political intrigue, was a change of pace, albeit not a successful one. Lee Van Kleef, Stuart Whitman, and Carroll Baker did their best to bring the film to life, but it was not enough to save it. Alexander Singer's final feature, GLASS HOUSES (1972), was the story of a California family on the brink of breakdown. Mr Singer's best film, an unjustly forgotten, and original movie with much emotional detail and nuances, unfortunately, it has all but disappeared from view. LOVE HAS MANY FACES was Alexander Singer's third effort, and a satisfactory, but unspectacular picture. 

In the case of LOVE HAS MANY FACES, Alexander Singer has made a diverting, slick motion picture. Taking as its focus a wealthy American woman, Kit Jordan, living the high life in Acapulco with her husband, and the various interactions she has with others in this resort city, it is a glossy entertainment that passes the time well. The movie has a partiality to portraying Acapulco as a playground of the rich, complete with their hangers-on, which is pleasing to the eye. It affords views of beaches, beautiful vistas, attractive people, and their melodramatic lives, something akin to a combination of a travelogue, and the machinations in a juicy bestselling novel. While the movie is to be commended for offering eye candy and easy-going intrigues in this manner, when examined closer, it starves the viewer in other areas intellectually where it should have been much stronger.

The movie has a habit of introducing plot threads, but their follow up is never fully developed. LOVE HAS MANY FACES has a storyline which initiates the action, being that a gigolo is found dead washed up on the beach, but the delivery of the mystery behind this is anything but compelling. Kit Jordan is suspected of this crime, but nothing much comes of this. It appeared she had a connection to him, but this is dumbed down in the film. This plotline facilitates, though, the entrance of the man's girlfriend who comes to see what happened to her boyfriend. She stays for a spell, strikes up a rapport with Kit's husband Pete but, leaves when he elects to stay with his wife than be with her. The fact that one never sees flashbacks of the dead man, which would have explained much about him, renders the story stagnant, and unemotional. Other parts of the film also needed more attention than they received.

Backstory for the two beach boys Hank and Chuck is, unfortunately, largely non-existent. Both have a presence in the film, but further insight into their lives would have been helpful. Of the two older ladies who seek male companionship in Acapulco, one is severely underdefined. Margo has her snappy retorts and attitude, but Irene hardly says a word. A nice contrast could have been set up between the two ladies, and what led Irene to come to Acapulco for male company, but this is never clarified. These examples, though, appear to be a tendency on the film's part of the lackadaisical lives of the characters intruding on the writing of the movie. It is one thing to go with the flow, but not having a sturdier story does make the picture come unstuck. A watchable but lacking movie, LOVE HAS MANY FACES is a passable picture, but not the best film from Alexander Singer.

Acting: LOVE HAS MANY FACES contains a number of interesting acting performances from its cast. As lead character Kit Jordan, unfortunately, Lana Turner is not in one of her best parts. While she does a serviceable job as Kit, the writing of the character lets her down considerably. In addition, the insistence of the film on presenting various costume changes for the actress does her a disservice, making her acting take a back seat to the visual frou frou. In complete contrast, Cliff Robertson, as Kit's husband Pete, radiates integrity, and authority, as her loyal spouse. An actor whose commanding presence brought conviction to many movies, here does likewise with the sturdy, wary Pete. Kit's long-ago lover Hank comes alive with the inimitable Hugh O'Brian. Despite appearing in the film bare-chested, and swimsuit clad for much of its running time, Mr O'Brian gives his gigolo a humor, and realism, that make him a charming figure. 

As one of the two American women seeking company in sunny Acapulco, Ruth Roman's Margot is another distinctive portrayal. With her husky voice, and seen it all before demeanor, she makes the role hers, and feelings understandable. Virginia Grey, as Margot's friend Irene, though, is not as lucky. The actress has been completely wasted in her tiny role, and it would have been interesting to hear another perspective on loneliness from her character. The part of Carol Lambert, girlfriend of the dead man, is comfortably inhabited by Stefanie Powers. With her clear diction and agreeable personality, Miss Powers' Carol clashes dynamically with Lana Turner's Kit in the movie. The final acting of note was by Ron Husmann as Chuck, friend, and fellow beach boy to Hank. Although his appearances are limited in the movie, Mr Husmann has a quietly arresting aura, and whose seething anger sears Hank in Chuck's final scenes.

Soundtrack: The soundtrack for LOVE HAS MANY FACES supports the visuals in an unobtrusive, yet telling way. As always, David Raksin provides a reliable score which ably underlines scenes without being over the top. It is subtle during the quieter scenes of character interaction, and suitably punctuates the more dramatic sequences with flair. Both the opening, and closing credits feature the song 'Love Has Many Faces' performed by Nancy Davis, which is serviceable, but not particularly spectacular. Its main purpose is a musical comment on the tangled love lives of the protagonists which it delivers in a sound manner.

Mise-en-scene: LOVE HAS MANY FACES offers a credible onscreen experience for viewers. Joseph Ruttenberg's Eastmancolor cinematography captures Acapulco, and Mexico City, in a naturalistic way, allowing the eyes to graze the scenery in a relaxed manner. Mr Ruttenberg is adept at showing differences between the sunny Acapulco and its environs, and the darker tones of Kit and Pete Jordan's home, in particular, their bedroom. The living room of Kit and Pete appears slightly artificial, though, with the garden at the top of the room extremely faux. Costuming by Edith Head is stylish, and suited to the environments in which the characters find themselves. The one element which stands out for the wrong reason are some of the outfits worn by Lana Turner in the movie. Several of these are elegant, but others are flashy, and make some of Miss Turner's dramatic scenes risible to witness. The intention may have been to be striking, but it is distracting at times, and unnecessary in retrospect.

Notable Acting Performances: Cliff Robertson, Hugh O'Brian, Ruth Roman, Stefanie Powers, Ron Husmann.

Suitability for young viewers: No. Adult themes.

Overall Grade: C

Link: IMDB Page

STONE (1974)

Title: STONE

Year of Release: 1974

Director: Sandy Harbutt

Genre: Drama, Action, Adventure

Synopsis: A policeman investigates the murders of biker gang members which might be linked to the witnessing of a political assassination.

Within a film history context: Films about outlaw motorcycle gangs were at their height during the 1960s and afterwards, but there were several examples of these on screen from the 1950s. They are also of interest for the sheer variety of themes which they tackle. The first major film about bikers, THE WILD ONE (1953), directed by Laslo Benedek, starred Marlon Brando in one of his signature roles. In this movie, two motorcycle gangs go head-to-head, and when one of their leaders is placed in jail, take out their anger on a small town. Interesting to note that this was made by a major Hollywood studio, Columbia Pictures, and seminal at the time for its view of events. Later films were made by smaller studios, with lesser-known actors and directors. In Edward L. Cahn's MOTORCYCLE GANG (1956), a biker rails against being part of a more legitimate motorcycle club, his actions causing trouble with the other members. In a similar exploitation vein, DRAGSTRIP RIOT (1958), directed by David Bradley, a young man and his girlfriend are thought to have killed a biker from a gang, with the gang's other members seeking revenge, but the crime was committed by someone else. The mid to late 1960s brought forth a plethora of biker gang themed movies to film audiences.

Director Russ Meyer heralded a more violent brand of biker movie with MOTORPSYCHO! (1965). With this film, revenge was the order of the day, as a man whose wife was raped by bikers, and a woman whose husband was killed by the same bikers, unite to seek retaliation on this gang. In 1966, Roger Corman's THE WILD ANGELS was released. Starring Peter Fonda who would later appear as a biker in EASY RIDER (1969), it was about a San Pedro motorcycle gang creating fracas in California. Another notable entry was THE BORN LOSERS (1967). Both directed and starring Tom Laughlin, it followed a young man who takes on a motorcycle gang at their own game. It spawned four sequels over time, and was a major box-office success. Richard Rush's HELLS ANGELS ON WHEELS (1967), followed a gas station attendant who aspired to join a biker gang, but really living life as a biker is not something for which he is entirely prepared. THE GLORY STOMPERS (1967), directed by Anthony M. Lanza, concentrated on a war which erupts between two rival gangs when the leader of one physically assaults the other, and he is believed dead. They kidnap the leader's girlfriend, but he is alive, and prepares to rescue her.  

Somewhat different in nature from previous films was Herschell Gordon Lewis' SHE-DEVILS ON WHEELS (1968). In this instance, a female motorcycle gang causes problems in a small town, par for the course for many films in the genre, and also, take on a male biker gang. In a similar vein, THE MINI-SKIRT MOB (1968), directed by Maury Dexter, also had a female biker gang as the focus. This time around, the leader of an outlaw female biker gang is inflamed that her ex-lover has married, and plots revenge against the couple. Life, though, does not make retaliation easy in this American International Picture. Richard Rush's THE SAVAGE SEVEN (1968), was of a related theme. The romance of an outlaw biker with a young waitress is challenged by her disapproving brother, who is the leader of an American Indian community. In contrast, exploitation movie SISTERS IN LEATHER (1969), directed by Zoltan G. Spencer, had a lesbian biker gang at its center. When this gang witnesses a man having an affair with another woman, they befriend his wife to groom her as a gang member. The husband, though, enlists the assistance of some male bikers to rescue his wife from the lesbian gang. Jack Starrett's RUN, ANGEL, BABY! (1969), was of another persuasion. When a biker writes an article about his gang for a magazine, it angers the members, causing him and his girlfriend to flee as he is now a hunted man. 

Into the 1970s, THE GIRLS FROM THUNDER STRIP (1970), directed by David L. Hewitt, took things in another direction for an outlaw biker movie. A sadistic biker gang meet their match in three young women, both competing in the arena of bootlegging, Different in scope was Jack Starrett's THE LOSERS (1970). Instead of being set in the United States, the movie has members of a biker gang sent to the Vietnam War to fight, and in turn find and rescue a CIA agent. One of the most irreverent biker movies was C.C. & COMPANY (1970), directed by Seymour Robbie. The power play between two bikers for hierarchy envelops a biker gang, and drags a journalist into the picture, in this entertaining movie. With Joe Viola's ANGELS HARD AS THEY COME (1971), issues begin when a biker is murdered, and this event pits two biker gangs against each other, as one blames the other for this incident. For something left of center, J.C. (1972), directed by William McGaha, offered a biker gang more benign than most of its violence-fueled counterparts. A man joins a biker gang, and believes that he is the coming of Jesus Christ, his family background responsible for this, but comes unstuck with his actions as a biker. STONE was one of the later films about an outlaw biker gang, and one of the most captivating.

It had the same great scenes of motorcycle action which marked all the films in the genre, most notably examples such as THE WILD ONE, THE WILD ANGELS, THE GLORY STOMPERS, and C.C & COMPANY, to name just some. These visually arresting sequences were where the movies were at their most exciting, and usually accompanied by a thumping rock soundtrack, which gave the impression of freedom, and lack of inhibitions of the bikers. Another interesting facet was the presence of female members of the outlaw gang in STONE, something also shared by C.C & COMPANY. While in C.C & COMPANY the female characters did not serve a great purpose, other than that of comedy routine or sex object, in STONE they are allowed to exhibit more emotion. The open grief of a female biker at the funeral of a male gang member is one of STONE's best moments. STONE does, as with C.C & COMPANY, exhibit its female characters in a state of undress, but in STONE they have a stronger position within the gang than just being floozies. 

Something else which distinguishes STONE is the sense of anger, and displacement from society which the gang members feel. Finding kindred spirits in this form gives the movie a point of difference, in that the members are not rebels without a cause, or psychotic war veterans, something which has been overused as a device in MOTORPSYCHO!, and other examples. Their ire is raw and palpable, and there appears to be more to it than just going against the confines of society. In addition, the presence of policeman Stone himself within the narrative is another original move. Generally, the police bring law and order back after the biker gang has passed through a town, and wreaked havoc. They are seen in a negative light, as in STONE, but Stone becomes part of the biker gang's lives in order to find out who is killing its members. The film's ending, though, does return the characters to how they were before Stone became a part of their orbit, making sense for the story, and its protagonists. A fresh take on outlaw biker gangs, STONE is an enjoyable movie.

 

Overview: Sandy Harbutt was an Australian director who made only one motion picture, being STONE. He acted in many Australian prime time television series in the late 1960s and early 1970s, two telemovies, and several films such as COLOR ME DEAD, SQUEEZE A FLOWER, and STONE. Aside from acting in the film, Mr Harbutt was responsible for the screenplay, production, music, and production design of STONE. As the picture was his only directorial credit, the overview will concentrate upon his contributions to STONE.

With STONE, Sandy Harbutt has created an original motion picture. It follows a group of bikers who unwittingly become embroiled in a political assassination, with some of their members executed as a consequence. The police assign Stone, a young, bohemian undercover officer to join the gang, and subsequently stop the murders. With his observant and sympathetic eye cast on STONE, Mr Harbutt succeeds in making the biker gang members human, and their feelings palpable to the audience, instead of falling into the habit of having them go crazy just for the sake of spectacle. They are gang members for the reason that they do not fit into societal norms of appearance and behavior, banding together as they share common beliefs and value systems. Their anger at being seen as animals is keenly felt, particularly during the funeral scene, with Toad's verbal exchange with police officers one of the best instances. There is an undercurrent of sadness which permeates the movie, being how people in life are sometimes given no choice, and resort to being on the fringes of society to survive in light of their being different from others. While STONE contains many thoughtful moments, there are flaws which do hinder the film.

STONE begins in a spectacular fashion with the killing of a politician in a public area, which is visually compelling. The murders of two biker members are also handled in the same surprising manner, which leads the viewer to believe that payback will occur later in the movie. The threads of political intrigue and murder, though, are never properly addressed, leading to a feeling of inconsistency in the picture. These plot points run through the film but both tantalize, and disappoint in the final summation. The proper addressing of these in the narrative would have added another dimension to STONE, and explained some enigmas. The red herrings in this respect are a letdown, though this may have been intentional. Looking at the film as a whole, the concentration upon the lives of the gang members, and how Stone becomes more and more involved with them, is where STONE is at its best. One of the best movies about outlaw bikers, STONE is an entrancing motion picture.

Acting: STONE has several stimulating acting contributions. In the lead role of policeman Stone, Ken Shorter is appropriately low-key, deftly balancing the sometimes outlandish biker antics displayed by the movie with his underplaying. As Stone's girlfriend Amanda, Helen Morse shows why she is one of Australia's best actresses. With her subtle expressions, particularly the use of her eyes and face to relay various emotions, Miss Morse is perfect. The leader of the biker gang, Undertaker, is given strength by Sandy Harbutt. Aside from directing and other duties, Mr Harbutt is fine as the raw, no-nonsense biker. As the flamboyant, theatrical Toad, Hugh Keays-Byrne is memorable. A performer with a unique look and manner, his Toad is a fully-fleshed character, making his over the top behavior real within the context of the film. The last acting of note was by Drew Forsythe as Fred, a young man who visits the bar with the bikers in attendance, and gets more than he bargained for. Mr Forsythe is a familiar face on film and television, and here makes an indelible impact with his precise, restrained performance as the man who is definitely out of his element with the biker gang. 

Soundtrack: STONE has an eclectic soundtrack by Billy Green which is mostly rock music-oriented in nature. This is suitable as the film deals with bikers, and their rough and tumble world. There is, though, one main exception to this which works in a surprising manner. The skinny-dipping scene is accompanied by a classical style tune which works to infer that the nudity portrayed is cathartic, rather than perverted in its presentation. 

Mise-en-scene: There is no doubt that STONE offers a stimulating visual experience for viewers. Cinematography by Graham Lind is excellent, with Eastmancolor stock employed in an appropriate use of color. The color is natural, and suited to a picture about bikers and their exploits. Mr Lind also captures the copious outdoor location sequences with grace, and interiors with the same adeptness. Interiors in many instances are dark, with little light, but actors are well-illuminated for the audience to see. There are also nice contrasts drawn between the two worlds the film delineates. The ramshackle, grungy world of the bikers, is contrasted with the more serene, upmarket existence of Stone's girlfriend Amanda in a telling segment.

Another interesting aspect is the overhead photography, and fuzzy camerawork at the beginning of the film, which is fresh and innovative. Aside from this, art direction by Tim Storrier is also pivotal to the film's success. Sets such as Stone's home, with its assortment of homewares, the bar the bikers visit, and the nightclub Stone conducts an investigation, are all realistic, plausible locations which speak of the characters in non-verbal sense. Costuming is another great area in the film. The work here by Helen Morse and Margaret Ure is at its best in the costumes of the bikers, and the ability to individualize characters in terms of their dress. 

Award-worthy performances in my opinion: Ken Shorter, Helen Morse, Sandy Harbutt, Hugh Keays-Byrne, Drew Forsythe.

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

Overall Grade: B

Link: IMDB Page