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