GINGER IN THE MORNING (1974)

Title: GINGER IN THE MORNING

Year of Release: 1974

Director: Gordon Wiles

Genre: Drama, Romance, Comedy

Synopsis: A newly-divorced man picks up a spirited hitchhiker on the highway, and a bond develops between them.

Within a film history context: Films which feature hitchhiking characters have been around in cinema since the silent era. E. Mason Hopper's THE RIGHT DIRECTION (1916), is an early documented example of this. A young woman begins hitchhiking to take herself, and her younger brother, to a better life away from their miserable existence, and finds problems with the family of the man who picks up her and her brother. One of the most famous scenes of hitchhiking can be found in IT HAPPENED ONE NIGHT (1934), directed by Frank Capra. With Claudette Colbert attempting to gain a ride for her and Clark Gable in a most amusing sequence, it was one of the best ever scenes of hitchhiking to be presented in cinema. William Dieterle's DR. SOCRATES (1935), had a supporting character who was a hitchhiker, in this crime film which starred Paul Muni in the title role. In the overtly titled HITCH HIKE LADY (1935), directed by Aubrey Scotto, a mature woman hitchhikes from New York to California to visit her son, who, unbeknown to her, is in jail. With Leigh Jason's THAT GIRL FROM PARIS (1936), an opera star hitchhikes after leaving her husband-to-be in the lurch, and encounters romance and adventure while hitchhiking. On the other hand, HEAVEN WITH A BARBED WIRE FENCE (1939), directed by Ricardo Cortez, starred Glenn Ford as a young man who hitchhikes across America, accompanied by another man and a woman, to reach his land in Arizona. As with the 1930s and prior, the 1940s also had varied hitchhiking scenarios.

Preston Sturges' SULLIVAN'S TRAVELS (1941), the story of a film director who conducts unconventional research as a vagrant for his next movie, finding romance along the way, featured a lead character, played by Joel McCrea, who hitchhiked as part of his personal journey. DETOUR (1945), directed by Edgar G. Ulmer, was much more dramatic. As with SULLIVAN'S TRAVELS, it also had a hitchhiking male protagonist, this time a pianist who becomes enmeshed in intrigue, taking on the identity of the mysterious man with whom he rode. Tay Garnett's THE POSTMAN ALWAYS RINGS TWICE (1946), had a central character who hitchhiked his way into the lives of others in the movie, causing torment. Another film with a shady hitchhiker was THE DEVIL THUMBS A RIDE (1947), directed by Felix Feist. In this tale, an upstanding man takes in a murderous hitchhiker, with many unexpected consequences. Similar to THE POSTMAN ALWAYS RINGS TWICE, Delmer Daves' DARK PASSAGE (1947), began with a main character who hitchhikes to another life, this time escaping from jail, leading to an intricate set of compelling events. Into the 1950s, there were equally interesting hitchhiking scenarios and characters.

As with the films of the mid to late 1940s with their dark post-war premises, TOMORROW IS ANOTHER DAY (1951), directed by Felix Feist, followed a couple involved in a crime who hitchhike to evade capture. Dangerous hitchhikers are again presented in Ida Lupino's THE HITCH-HIKER (1953). In this movie, two fishermen make the grave error of picking up a psychotic man who gives them a chilling pronouncement - after they arrive at their destination, he will kill both of them. Equally tense was THE NIGHT HOLDS TERROR (1955), directed by Andrew L. Stone. A wealthy man picks up a hitchhiker who, along with several others, cause mayhem for the man and his family. In a more exploitation, but surprising vein was Charles Saunders' KILL HER GENTLY (1957). A man picks up two hitchhikers who are wanted criminals, but does not turn them over to the authorities, instead, he propositions them to murder his wife. As with other film decades, the 1960s also had diverse hitchhiking themed films.

A benign view of hitchhiking was brought forth by the Elvis Presley vehicle IT HAPPENED AT THE WORLD'S FAIR (1963), directed by Norman Taurog. Here, two friends hitchhike to the Seattle World Fair as their mode of transport was confiscated by police, finding romance and fun. Marc Lawrence's NIGHTMARE IN THE SUN (1965), co-starring real life couple John Derek and Ursula Andress in the lead roles, followed a married woman who picks up a male hitchhiker, their affair leading to intrigue and murder. A romantic view of hitchhiking could be found in WILD SEED (1965), directed by Brian Hutton. A young woman runs away from home after discovering her true parentage, and meets a drifter, their fraught relationship blossoming over the course of the movie. In contrast, Dennis Hopper's EASY RIDER (1969), altered the mode of transport from automobile to motorcycle, the bikers in the film picking up a number of hitchhikers on their way across the country. CHASTITY (1969), directed by Alessio de Paola, featured Cher as a young woman who hitchhikes to find a new life, and get away from her tragedy-twinged existence. 

Into the 1970s, Bob Rafelson's FIVE EASY PIECES (1970), showcased two hitchhiking scenes. The first is a revealing sequence where Bobby picks up two hitchhikers, one of whom speaking continuously about anything and everything in the car. The second scene occurs at the movie's end when Bobby hitches a ride from someone, subsequently abandoning girlfriend Rayette at the gas station. A more exploitative journey into hitchhiking was evident in JANIE (1970), directed by Roberta Findlay and Jack Bravman. A young woman hitchhikes to reach her father, but the means by which she accomplishes this are thoroughly decrepit and base, with murder and sex on her mind. Richard Sarafian's VANISHING POINT (1971), most notably, features a hitchhiking gay couple whose intentions with the driver are anything but legal. TWO-LANE BLACKTOP (1971), directed by Monte Hellman, had a number of hitchhiker characters, including a woman, and a gay man. In Jerry Jameson's BRUTE CORPS (1971), a man and woman hitchhiking together fall in with brusque soldiers, and pay a hefty price in this violent melodrama. The tense WELCOME HOME SOLDIER BOYS (1971), directed by Richard Compton, had a promiscuous hitchhiker who causes waves with those she sexually services, her fate during the film unknown after she is pushed out of a moving vehicle. 

Jack Starrett's THE STRANGE VENGEANCE OF ROSALIE (1972), was also a dark movie. This time around, the hitchhiker is a young American Indian woman who lures a man into her trap, regretting that he ever picked her up from the side of the road. GLASS HOUSES (1972), directed by Alexander Singer, was a study of a Southern Californian family. In one scene, the film's young woman and her friend pick up some giggling hitchhikers from the street who try to offer her drugs, which she rebuffs. Beverly Sebastian and Ferd Sebastian's grindhouse movie THE HITCHHIKERS (1972) looked at several young women hitchhiking around California, and their adventures, specifically involving men. Suspense, though, was the order of the day in HOT SUMMER WEEK (1972), directed by Thomas J. Schmidt. When two young women pick up a Vietnam veteran en route to an encounter session, he might just be the murderer killing hippies. Quentin Masters' THUMB TRIPPING (1972), was one of the most exhaustive pictures about hitchhickers. Two hitchhikers, and young man and woman, traipse around the country, having different experiences, in this episodic movie. In comparison to other entries, GINGER IN THE MORNING was one of the lighter examinations of a hitchhiker, and their adventures.

Far and away, GINGER IN THE MORNING was removed from the movies where a hitchhiker was involved in illicit or dangerous activities. In effect, the tone is pleasant, without any suspense elements. The film, instead, had more in common with those pictures where a hitchhiker is seeking to find their bearings in life, such as THE RIGHT DIRECTION, THAT GIRL FROM PARIS, HEAVEN WITH A BARBED WIRE FENCE, and CHASTITY. There was a sentimental streak in these pictures, of people who have seen the worst, but are looking for better experiences in life. This is something that Ginger in the movie can definitely attest, with an event causing her to take to the road. Aside from this, GINGER IN THE MORNING was slanted towards romance, and finding true love. There is a small affinity to IT HAPPENED ONE NIGHT, in the fact that two people of very different backgrounds are brought together via the road, and hitchhiking. This concentration on breeziness in GINGER IN THE MORNING is also present in IT HAPPENED AT THE WORLD'S FAIR, with its hitchhikers, in this case, male, becoming involved in adventure and romance at the fair. An agreeable movie about a female hitchhiker, GINGER IN THE MORNING is a likable way to pass the time.

 

Overview: Gordon Wiles was an American director who mainly worked in television, making the foray into film on a single occasion. His credits included a number of prime-time shows from the mid-1960s until the late 1970s. Mr Wiles helmed episodes of The Lawrence Welk Show, The Magical World of Disney, Rowan & Martin's Laugh-In, and The Bobby Darin Show, and two telemovies. GINGER IN THE MORNING was Gordon Wiles' only motion picture credit, consequently the overview will naturally center on his contributions to the movie.

Gordon Wiles has crafted an entertaining picture with GINGER IN THE MORNING. The comic-dramatic story of a freshly divorced man falling for a spirited hitchhiker he meets one day roadside, is handled with ease and finesse, with nary a dull moment. The movie has some nice comic interludes which ably back up the dramatic content, which itself never becomes morose. There are also some interesting assessments of male-female, male-male, and female-female relationships. GINGER IN THE MORNING does air the grievances of its characters in all these different combinations, thus giving the movie a pleasant real-world perspective of protagonists' emotions. The movie has a leaning toward being light and bright, which is not something to be discounted. Humor does have a way of conveying meaning without being too heavy. GINGER IN THE MORNING does raise many a smile, and chuckle during its running time. In terms of being a balanced motion picture, though, taking a one-dimensional approach to its subject matter does hinder the film in some ways.

When we first meet Joe at the beginning of the film, he is discussing his new-found freedom with a friend at the airport. This is good to see, but one does not find out more concrete details of why his marriage fell apart. In addition, Joe never cries or reacts in a more heated way at the divorce, or really displaying overt antagonism toward his former wife. Things are veiled, treated as privileged information, when it could have given the movie so much more dramatic meat. Likewise with Ginger, and her relationship with another man. She has been burned in a manner similar to Joe, but again, not enough is divulged. The main focus is on pairing Joe and Ginger which works for the movie as a whole, but more background to them could have been dynamite. Thankfully, the bittersweet, divorced couple Sugar and Charlie do give the film a little more punch, and spice with regard to male-female relationships. Having two very different couples at opposite ends of the spectrum gives equilibrium to Joe and Ginger's more star-crossed romance. A fun consideration of male-female relationships, GINGER IN THE MORNING does have its merits as a motion picture.

Acting: The quartet of main characters are all well-acted by the performers, with one supporting character also notable. As the titular Ginger, Sissy Spacek is in one of her best early roles. An attractive, unique actress with a sincerity and candor, making her young woman sympathetic, she gives depth and truth to her hitchhiking character. As Joe, the man who picks up Ginger, and whose life is changed in the process, Monte Markham does a fine job as a man seemingly out of his element, but who comes around in the end. An actor prolific on television, but also in film, his well-spoken ways bring his Joe to life for the viewer. Mark Miller, as Charlie, Joe's best friend, is fun as a divorced man, who, unlike Joe, is seeking variety in his life. With his gregarious manner, lack of inhibitions, but soulfulness, Mr Miller makes Charlie a three-dimensional, real person. Sugar, Charlie's glamourous, critical ex-wife, is given methodical treatment by Susan Oliver. What might have been a stereotypical divorcee with a chip on her shoulder in other hands, Miss Oliver lets the audience get to know Sugar as a real person, stripping away the superficial layers of bravado which shield her vulnerability. The last important acting role was by Slim Pickens as the Sheriff, who comes to the aid of Joe. While onscreen for a short period, Mr Pickens ensures that his policeman reacts suitably to the proceedings, with chuckles aplenty eventuating from his appearance.

Soundtrack: Don McGinnis' music in GINGER IN THE MORNING nicely enhances the happenings onscreen with his soothing instrumental score. The most noteworthy musical tune is performed by Sissy Spacek during both the opening, and closing credits. It adds a bittersweet tinge to this tale of unexpected love, and second chances in life.

Mise-en-scene: GINGER IN THE MORNING has a sound grasp of mise-en-scene, thus delivering a convincing experience for spectators. The movie has quite a few outdoor location sequences, such as the roadside where Joe and Ginger first meet, and the town where Charlie and Joe frolic in the snow, which add a sense of genuineness to the production. Indoor sets such as Joe's two-level home, with its staircase, the restaurant where a major plot point plays out, are all persuasive, and true to life. Costuming is another strong point, with James Galanos' attire for Susan Oliver befitting her flamboyant, theatrical demeanoor. Harald Johnson's costuming contributions for the remaining characters are also excellent, with Sissy Spacek's wardrobe in keeping with her free-spirited protagonist Ginger.

Notable Acting Performances: Sissy Spacek, Monte Markham, Mark Miller, Susan Oliver, Slim Pickens.

Suitability for young viewers: Parental discretion advised. Adult themes.

Overall Grade: C

Link: IMDB Page

HOMER (1970)

Title: HOMER

Year of Release: 1970

Director: John Trent

Genre: Drama, Coming of Age

Synopsis: A young man, and budding musician, rails against the establishment in rural Wisconsin.

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was a confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies it has a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating. It led to a sequel in 1970 being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. Also raucous was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. 

SKIDOO (1968), directed by Otto Preminger, was a comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, and not a financial success in its original release. Bob Rafelson's HEAD (1968), was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a young deaf woman looking for her brother in San Francisco, and how through this odyssey she encounters wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. 

In a slightly more thoughtful style was ALICE'S RESTAURANT (1969), directed by Arthur Penn. A young man tries to avoid being drafted to Vietnam, becoming involved with a restaurant owner, being the titular Alice, and a group of other offbeat characters in the process. One of the most famous counterculture movies, though, was Dennis Hopper's EASY RIDER (1969). Two bikers embark on a journey across the United States, and find not only freedom but also, resistance to them, which leads to tragedy. A poetic film that was a tremendous success upon its initial release, it was emblematic of its time. CHANGES (1969), directed by Hall Bartlett, was notable in being one of the softer, more romantic films of counterculture ideals. A young man has relationships with three different women, searching for meaning in his life, but finding matters difficult. HOMER was in the tradition of these movies, but added its own touches to the genre.

It was reminiscent of those films which concentrated upon a central male protagonist, such as THE TRIP, GREETINGS, WILD IN THE STREETS, SKIDOO, I LOVE YOU, ALICE B. TOKLAS, ALICE'S RESTAURANT, and CHANGES. Many of the above entries had a leaning toward comedy or satire, but, in comparison, HOMER was a straight drama. It had most in common with CHANGES in closely following its lead character, his relationship with the opposite sex, and, his interactions with his father. Here begin the differences between the two movies, being their treatment of these stories. This is firstly evident as Kent in CHANGES is a college student, where Homer is a recent high school graduate. The age difference between these two characters also lends itself to different treatments by the respective movies of their protagonist. Kent in CHANGES had a number of liaisons with different women, while Homer in HOMER just had a single girlfriend, Laurie. Father-son conflict was a major feature of HOMER, the most prominent story thread which propelled the movie. In the case of CHANGES, it was still important, with a heated scene between Kent and his father, but it took a definite backseat to Kent's three romances. Counterculture themes were another area that HOMER explored within its context.

Some of the above movies, such as THE HAPPENING, GREETINGS, WILD IN THE STREETS, SKIDOO, and I LOVE YOU, ALICE B. TOKLAS, had an irreverence in their synthesis of the counterculture, and how this affected its main character. While moments of reflection and pathos do appear variously here, these films are mainly rooted in comedic scenarios. In HOMER, Homer's resistance to the Vietnam War, conflict with his father, and general inability to live the life of his family are something also examined in CHANGES, with Kent roaming the country in search of meaning. The Vietnam war was also a story element used in ALICE'S RESTAURANT, where Arlo refuses to be drafted, instead wanting to concentrate on his music. Homer does likewise with his musical aspirations, and his father's smashing of his records, and record player one day the deciding factor for him to leave the family home. The act of Homer chaining himself to a store and playing his guitar is a more subtle counterculture deed than the frenzied scenes of resistance in SKIDOO, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS. A sound film which looks at counterculture themes in another way, HOMER is a good movie.

Overview: John Trent was a Canadian director who made seven films in his career over a fourteen year time span. His first movie, THE BUSHBABY (1969), was about a young girl who does not want to be separated from what matters most to her in life, being her pet bushbaby. With SUNDAY IN THE COUNTRY (1974), it was a move to more adult-oriented fare for Mr Trent. Three bank robbers meet their match in a farmer, who holds them hostage, and makes a point of torturing them while waiting for the police to apprehend these criminals. Comedy was next in IT SEEMED LIKE A GOOD IDEA AT THE TIME (1975). A playwright does anything to win back his former wife, who is remarried, but things are made easier by the fact that the ex-spouses are still involved in an intimately.

John Trent's fifth movie was another comedy, FIND THE LADY (1976). A woman is pursued in three kidnapping schemes, but things go awry when the wrong woman is captured, with zany consequences ensuing. Mr Trent's penultimate movie, MIDDLE AGE CRAZY (1980), was yet another film with a comic angle. A man suffering from midlife crisis begins to act in a crazy manner, which includes an extramarital affair, and buying a new car, to attract the opposite sex. John Trent's cinematic swan song, BEST REVENGE (1984), was released after his death in 1983. This tale of an American man in Spain becoming involved in drug dealing, doing his best to save his friend, starred John Heard in the lead role. HOMER was John Trent's second film, and an interesting effort.

In the case of HOMER, John Trent has made a movie which addresses a number of topical late 1960s/early 1970s themes in a respectable manner. The counterculture, the generation gap, Vietnam, pre-marital sex, coming of age, and a father-son conflict all receive airing in the film. The picture moves at a steady pace, although some sections are a little laden, but overall, it is sound. The most prominent storyline is the relationship between Homer Edwards and his father Harry, with love and hate displayed in equal measure. This is the strongest feature of the movie, the one story which dominates with its raw power. It is one of the best father-son storylines ever seen cinema, so vivid, and real are the emotions depicted, and played by the actors. While this is a positive for the film, it also exposes other story threads which are not as well-developed, as there was not enough time for these to fully unravel.

The anger, and tortured realism of Homer and Harry's fragile union is not duplicated in other stories, causing the film to lack oomph. Two examples stand out in particular. Firstly, it is a shame that the role of Homer's mother is not fully fleshed out. Having her as a shadowy figure, passively accepting her husband's treatment of their son, is not taking advantage of the opportunity for more galvanizing drama. If Mrs Edwards took on her husband regarding Homer, it would have added another perspective to the film. In addition, Homer's surreptitious relationship with Laurie was another missed opportunity to give more dimension to the characters. A Romeo and Juliet-type show of emotions where the young lovers are separated would have made matters more compelling, but things are glossed over. This, though, is indicative of the tone of HOMER. It is more internalized than anything else in terms of its show of emotions. This can be a good thing at times, but it also lends itself to making the film listless in its presentation. Subsequently, heated segments, such as Harry smashing Homer's record collection and player, stand out for their power more than the majority of the movie. A satisfactory if too-leisurely film, HOMER is an acceptable rendition of life at a turning point in the late 1960s/early 1970s United States.

Acting: HOMER contains two pivotal performances which assist the film considerably, one nicely complementing the other. In the lead role of Homer Edwards, musician, and activist with a social conscience, Don Scardino is excellent. A likable actor with pleasing musical talents, he makes the young and ambitious Homer sympathetic, and believable. Matching Don Scardino is Alex Nicol as Harry Edwards, Homer's father. The complicated Harry is both Homer's father and foe, with the two actors working so well together as a team that they make this father-son union utterly poignant to witness.

Soundtrack: As with other elements in the film, HOMER's soundtrack is also geared towards realism. There are many diegetic segments in the picture where Homer sings, and plays his music, such as in the town hall scene. On the other hand, the movie also has non-diegetic musical accompaniment in the form of tunes. The most memorable of these is 'Turn Turn Turn', performed by The Byrds. Alternately reflective, hopeful, and melancholy, the song clearly expresses the spirit of the movie, and what it sought to convey in its thoughtful style. 

Mise-en-scene: Laszlo George's cinematography captures the small-town feel of rugged landscapes, farms, traditional houses, and streetscapes with ease, intimating old-fashioned surroundings, and of Homer's desire to break away from this environment, in a non-verbal manner. Art direction by Jack McAdam creates this vivid diegetic world, which works hand in glove with the cinematography, and Keath Barrie's set decoration likewise. The comfortable middle-class homes of the Edwards and Grainger homes, the town hall utilized for the farewell of a young man for Vietnam, all position the characters in a time and place long ago, which ooze authenticity. In general, HOMER possesses an earthiness, and simplicity, in its onscreen experience which lends itself to a realistic orientation overall.

Notable Acting Performances: Don Scardino, Alex Nicol.

Suitability for young viewers: No. Adult themes, drug use.

Overall Grade: C

Link: IMDB Page