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