VALLEY OF THE DOLLS (1967)

Title: VALLEY OF THE DOLLS

Year of Release: 1967

Director: Mark Robson

Genre: Drama, Romance

Synopsis: The disparate personal journeys of three young women striving for success in show business.

Within a film history context: Films with a film actress character as a lead protagonist have been featured from the silent era. One of the earliest examples was Maurice Tourneur's A GIRL'S FOLLY (1917). A young woman from the country wants to escape her surroundings, and one day finds a film crew shooting a western in her hometown. She becomes acquainted with the lead actor, who suggests she pursue acting, but dreams clash with reality for her in this comedy. Another silent, SOULS FOR SALE (1923), directed by Rupert Hughes, followed a young woman who decides she wants to be a star, but her husband's reputation may put the brakes on this ambition. A silent considered lost, William C. de Mille's THE RUNAWAY (1926), starred Clara Bow as a young actress who believes she might be indicted for a man's murder, and runs away. She then is taken in by a man from the country, but several surprising events ensure life does not weary her. BROKEN HEARTS OF HOLLYWOOD (1926), directed by Lloyd Bacon, is another rare movie. In this instance, contrasts are drawn between two women, one a former actress returning to the screen, the other her daughter, a newcomer seeking fame. Both mother and daughter are cast in the same film, but backstage fracas threaten their union. King Vidor's SHOW PEOPLE (1928), was a Marion Davies property, with a young woman from Georgia yearning for stardom, but getting involved in wacky antics, and romantic escapades. The 1930s also had varied views of film actresses.

The sound SHOW GIRL IN HOLLYWOOD (1930), directed by Mervyn LeRoy, was about a Broadway actress whose show closes, and aspires to go to Hollywood. but finds the path to stardom very difficult. A mood of mystery permeated Hamilton MacFadden's THE BLACK CAMEL (1931). A film actress is murdered, and detective Charlie Chan investigates this crime, finding the actress enmeshed in a tangled chain of events. One of the most notable movies about a film actress was WHAT PRICE HOLLYWOOD? (1932), directed by George Cukor. A waitress makes a career change, becoming a Hollywood actress, meanwhile the career of the director who discovered her is tarnished by his alcoholism. In contrast, the tone was comic in William Beaudine's MAKE ME A STAR (1932). A Hollywood actress assists a young man to work in a western, with many amusing passages as a result. TWENTIETH CENTURY (1934), directed by Howard Hawks, centered around a stage director, and his protege, a young woman, telegraphing their fraught, but funny relationship. As his career nosedives, hers soars in this comedy with John Barrymore, and Carole Lombard in the lead roles. Another famous movie about a film actress was William Wellman's A STAR IS BORN (1937). A young woman finds Hollywood fame, and meets her idol, a film actor. After a courtship the couple marry, but his alcoholism plunges their marriage into turmoil. 

Less serious was EXPENSIVE HUSBANDS (1937), directed by Bobby Connolly. A Hollywood actress finding difficulty in getting parts travels to Europe, where a Prince becomes an important part of her life, but all is not as it seems. Reinhold Schunzel's THE ICE FOLLIES OF 1939 (1939), was about a budding impresario wanting to produce a skating extravaganza, casting a woman in the show, later his wife, but their venture is without success. When the woman is signed by a film studio, her husband's dream takes a backseat, but all is well by the end as the show is a smash. HOLLYWOOD CAVALCADE (1939), directed by Irving Cummings, followed a young silent film star, and her platonic relationship with a director, which continues into the sound era. Walter Lang's STAR DUST (1940), was more comic in delivery. The journey of a young woman to stardom was charmingly captured, with Linda Darnell in the main role of the starry-eyed acting aspirant. THE MIRACLE OF THE BELLS (1948), directed by Irving Pichel, was an intricate movie about a movie star who dies before her first picture is released, and is brought back to her hometown for her burial, in accordance with her final wishes. The film charts not only what happened to this point, but also, how the movie will be released in light of the death of its leading actress, with a number of perspectives featured. 

One of the leading motion pictures about film actresses was Billy Wilder's SUNSET BOULEVARD (1950). A silent film actress dreaming of returning to the screen, and her dalliance with a screenwriter, was vividly brought to the screen, with Gloria Swanson as the star, and William Holden as the hapless writer. Another film which examined a silent screen actress, albeit in a breezier vein, was SINGIN' IN THE RAIN (1952), directed by Stanley Donen, and Gene Kelly. The tenuous transition to sound for a silent film actress was one of the tales in this fondly remembered musical. George Cukor's THE ACTRESS (1953), was a retelling of the early life of noted actress and writer Ruth Gordon, with the screenplay by Miss Gordon herself. Another George Cukor film, A STAR IS BORN (1954), was a remake of the 1937 movie with Janet Gaynor. The story had been altered slightly, with the main female character, played by Judy Garland, now a singer who becomes a successful actress. The real-life story of Hollywood and Broadway actress Lillian Roth was the focus of Daniel Mann's I'LL CRY TOMORROW (1955). With Susan Hayward as Miss Roth, it followed her rise to fame, and subsequent issues with alcohol, which considerably hindered her career. 

Mirth was the main function of WILL SUCCESS SPOIL ROCK HUNTER? (1957), directed by Frank Tashlin. In this satire of television and advertising, an ad man requests an actress to be the spokeswoman for a lipstick company, which she accepts. The catch is that the actress wants him to act as her other half, a concept which does not go down well with the ad man's girlfriend. George Sidney's JEANNE EAGELS (1957), was a biopic of the early 1900s stage and screen actress who fell into addiction, and personal tragedy. Liberties were taken with true events which blunted the impact of the movie. THE FEMALE ANIMAL (1958), directed by Harry Keller, spotlighted a love triangle between an aging actress, her nubile daughter, and a film extra who has a thing for both of them. Most notable as the final picture of Hedy Lamarr, it also included Jane Powell as the daughter, George Nader as the object of their affections. Much more insightful was John Cromwell's THE GODDESS (1958). A young woman's life change from poverty, to international fame as a movie star, with all her insecurities laid bare, was a showcase for Kim Stanley as the unfortunate film goddess. The biopic of Diana Barrymore, daughter of John Barrymore, thespian extraordinaire, was the impetus for TOO MUCH, TOO SOON (1958), directed by Art Napoleon. Miss Barrymore's drug and alcohol addiction, and strained family, and personal relationships, made up the content in this drama. 

The 1960s brought Richard Brooks' SWEET BIRD OF YOUTH (1962), to the screen. The study of a drifter, and his relationship with a movie star whose career is on a downward spiral, gave Paul Newman, and Geraldine Page pithy lead roles. Off-the-wall in terms of its content was WHAT EVER HAPPENED TO BABY JANE? (1962), directed by Robert Aldrich. The uneasy relationship between two siblings, one a former silent screen star, the other her sister, was what dominated the picture, with Bette Davis, and Joan Crawford in the lead roles. Two films about movie legend Jean Harlow were released in 1965, the first being Alex Segal's HARLOW (1965). With Carol Lynley as Miss Harlow, it was critically derided, and a box office flop. The second HARLOW (1965) movie, directed by Gordon Douglas, was better received, and a moderate financial success. Carroll Baker starred as the ill-fated Jean Harlow here, along with Ginger Rogers in her final film role. In Robert Mulligan's INSIDE DAISY CLOVER (1965), the life, and loves of a young woman who becomes a top Hollywood star in the 1930s were underlined. VALLEY OF THE DOLLS is a movie which concentrates intensively upon offering portrayals of actresses, featuring three main contrasting portraits within its running time.

Where VALLEY OF THE DOLLS diverged from the other movies about actresses is that it offered three contradictory characters who were in this occupation. In the main, previous entries focused upon one central character, and the narrative was concerned with her lives and loves. In VALLEY OF THE DOLLS, this is multiplied by three, with these being women in their early, and mid-twenties. Helen Lawson is shown less extensively, but her status as an older actress, and her reactions to one of the three young women, provide some of the best moments in the movie. She is the unofficial fourth actress that the film presents, but, nevertheless, is highly effective. Helen is akin to Norma Desmond in SUNSET BOULEVARD, being a person who has seen it all, experienced fame and fortune. Unlike Norma, Helen is more of a realist, not delusional, and a voice of truth in the picture. She is depicted as someone who has a knowledge of the world that the younger women do not as such possess to her level. Helen's private life is not covered to the same degree as those of Anne, Neely and Jennifer in the movie, but, nevertheless, carries weight with her keen observations and insights. A full-blooded take on movie actresses, VALLEY OF THE DOLLS is notable for its central trio of actress characters.

Overview: Mark Robson was a Canadian director who, over the course of his thirty-six year career, helmed thirty-three motion pictures. His films were made with a sure hand, and his filmography includes many classics and important movies. Mr Robson's first film, THE SEVENTH VICTIM (1943), was a horror movie about Satanism in New York. A young woman searches for her sister in New York, and believes that a cult may have played a part in her disappearance. CHAMPION (1949), was the story of an ambitious boxer who would do anything for fame and attention, even if other people are hurt in the process. Of a different persuasion was MY FOOLISH HEART (1949), a lush romance with Susan Hayward. It charted the love affair between a young woman and her lover, who leaves to serve in World War II. PHFFFT (1954), was a romantic comedy with Judy Holliday and Jack Lemmon. A couple, who is now divorced, seek new partners, but fate keeps them meeting each other at inopportune moments. Next came romance THE BRIDGES AT TOKO-RI (1954). A man who was a World War II veteran is enlisted for the Korean War, but his feelings about the war colour perceptions of his intended tasks. One of the most celebrated films about war, it was another teaming of William Holden, and Grace Kelly as his wife.

THE HARDER THEY FALL (1956), was a hard-hitting expose of boxing, in lush black and white. It was the final film for Humphrey Bogart, and a fitting end to his screen career. PEYTON PLACE (1957), was a move into melodrama for Mark Robson. The story of a small New England town, with all its secrets and foibles laid bare to the audience, was an immense financial success in its time. Based upon a runaway successful novel by Grace Metalious, it led to a sequel, nighttime serial, daytime serial, and a number of television follow-ups. The real-life story of British missionary Gladys Aylward was at the center of THE INN OF THE SIXTH HAPPINESS (1958). The difficulties she encounters in China assisting the residents of a small village during World War II were tellingly portrayed, with Ingrid Bergman in the lead role. More successful was FROM THE TERRACE (1960), being one of the many cinematic teamings of husband and wife Paul Newman and Joanne Woodward. The personal, and professional lives of a Wall Street executive collide in this potent drama. THE PRIZE (1963), was another picture with Paul Newman in the lead. An original drama of several people who come to Stockholm to receive their Nobel prizes, but finding that life can be less than rewarding in this experience, was another success for Mark Robson. 

World War II film VON RYAN'S EXPRESS (1965), starred Frank Sinatra as a daring American prisoner of war in Italy, seeking to escape, and elude the Germans. It was another moneymaker for Mr Robson. HAPPY BIRTHDAY, WANDA JUNE (1971), spotlighted a war hero and game hunter presumed dead, who returns to his family home to find his wife and domestic situation entirely contrary to how he left it, and the world likewise a changed place. Although not popular with audiences, it offered its fine cast great material. LIMBO (1972), dealt with war on a different plane. The lives of three women married to soldiers missing in action in Vietnam are contrasted, the effects of war on both themselves, and their families, presented. Mark Robson helmed yet another commercial success, being EARTHQUAKE (1974). One of a spate of disaster movies released in the early 1970s, it was a blockbuster, making a lot of money for Universal. AVALANCHE EXPRESS (1979), was Mark Robson's final movie, released after his death in 1978. A tale of Cold War intrigue, it was plagued not only by the death of Mark Robson but also, the passing of lead actor Robert Shaw. VALLEY OF THE DOLLS was Mark Robson's twenty-ninth movie, and one of his best-known, if controversial pictures.

With VALLEY OF THE DOLLS, Mark Robson has fashioned an entertaining, if flawed, film. Based upon the best-selling novel by Jacqueline Sussan of the same name, it followed the lives of three young women who want to become successful in show business. It deftly contrasts Neely, whose passion for acting leads her on a seesaw of men and events, the delicate Jennifer, who pays the ultimate price for her sensitivity, and the grounded Anne, the most sensible of the trio, whose life also takes a bad turn, but learns from her lessons. Anne is the only one of the three who is not actively seeking fame, instead, yearning for a man who is faithful to her. All the women, though, are affected by their exposure to drugs, the eponymous dolls of the title, and this is where the film is at its best. It shows the aftermath of drug addiction, and how destructive it can be to people. It has the courage of its convictions here, not glamorizing this social issue, which is to be commended. While VALLEY OF THE DOLLS does have its virtues, it leaves a lot to be desired in other areas.

The movie has many plot twists and turns, and is a hive of activity in this respect. The fast pace, and ever-changing romantic unions keep the attention on a superficial level. On the one hand, this is a good thing, being that VALLEY OF THE DOLLS never becomes stagnant. On the other hand, certain story threads could have been improved, explaining matters about the characters, and their lives, which remain elusive during the picture. For example, it is clear that Neely has an unquenchable thirst for fame and attention, but her backstory is iffy. Completely opposite to this, the viewer finds out about Anne from the onset, specifically her family life, and their disapproval of her move to New York. Jennifer's mother is never shown, only speaking to her on the telephone, but it is obvious that she is using her daughter for money. The film devotes much time to Neely, and her responses to everything, but it is a letdown that one does not find out more about her in a personal sense. Aside from this, the friendship between the three women is largely sketched in separate scenes, despite initially having them together in the sequence where Jennifer wears the headpiece. If they were together alone, in a single scene, it would have enriched the story somewhat, and given the friendships more weight. The fast pace also lowers the importance of other story events, causing the film in some places to lack punch.

Lyon vacillating between Anne, and other women does render their relationship fluid in one sense, but expendable. Having Lyon with Anne in the one scene, and Neely the next does away with emotional reactions on the part of both Anne, and Lyon. VALLEY OF THE DOLLS has a good grasp of cause and effect in the main, but some parts lack the impact needed to share characters' feelings with the audience. The story of Jennifer's mastectomy seems to have been tacked on at the last minute to drum up drama, leading to her suicide, and is a prime example of this trend. This comes up as being false, but is shown as one of the factors in precipitating her final decision. Possibly this tendency of rushing events is symptomatic of adapting a full-length novel to the screen, but the movie should have had more bite than it did in these segments. In saying this, though, certain things stand out about VALLEY OF THE DOLLS. It is a film which tries to pack as much incident as it possibly can in the space over slightly over two hours, albeit in a fragmented, but thoroughgoing manner. VALLEY OF THE DOLLS is also a credit to the director for keeping it interesting despite some of the material being of a showy, outrageous nature.

Acting: VALLEY OF THE DOLLS has a solid cast who do their best to make the film an entertaining experience. In the lead role of Anne Welles, a young woman seeking an acting career, Barbara Parkins nicely underplays her role. This supplies a subtle contrast between the grounded Anne, and the other two protagonists, and serves the movie well. The volatile, vulnerable Neely O'Hara is made indelible by Patty Duke. An actress known for her sensitive portrayals, here plays all sides of the equation as Neely, in a difficult role which she carries off. It is interesting to note how Neely comes full circle in the film, from young, eager and delicate, to egotistical, demanding and tender, back to raw and emotional. Miss Duke does it all, and is one of the most striking reasons to watch the picture. Unfortunately, Sharon Tate, as Jennifer North, tries to make the best of her role, but is miscast. An actress with a way about her, her quieter persona does not stand out as much as her two fellow stars in retrospect. Jennifer's husband Tony, though, is nicely done by Tony Scotti. With his soothing personality and easy-going ways, Mr Scotti proves his dramatic mettle in the film. 

Three other thespians do great work in VALLEY OF THE DOLLS. Tony's sister Miriam Polar is yet another excellent performance by Lee Grant. A performer who thoroughly gets each and every character she plays to a tee, Miss Grant reveals the layers of the initially icy Miriam, making her motivations moving, and crystal clear. Neely's first husband Mel is made understandable by Martin Milner. Playing a good character, and making him sympathetic to the audience is what Mr Milner successfully achieves here, and his small role is one that leaves a gap when his screen time is over. The final acting of note was by Susan Hayward as Helen Lawson, Broadway star, and Neely's nemesis. As she always does, Miss Hayward brings characters with turbulent existences to life, and her Helen here is no exception. In addition, she gives what could have been an utterly mean character, and exhibits shades of humanity and humility, adroitly displaying why she was one of the best, most versatile stars of Classic Hollywood cinema. 

Soundtrack: In the main VALLEY OF THE DOLLS has an acceptable soundtrack, but there are some aspects which do not assist its overall impact. The 'Valley of the Dolls' theme performed by Dionne Warwick, which is utilized at both the beginning, and end of the movie, is affecting, with just the right amount of pathos, and style. John Williams' incidental music is also effective, highlighting the raison d'etre of scenes well without overwhelming what is taking place onscreen. The other songs employed in the movie, though, such as 'I'll Plant My Own Tree', are less than memorable, despite the visuals being of a higher grade, thereby making these sequences lopsided. These only serve to point how much better the movie's theme is in comparison to these more lackluster musical efforts.

Mise-en-scene: VALLEY OF THE DOLLS offers a beautiful visual experience of a very high standard for spectators. William H. Daniels' cinematography is lush, ensuring the movie is a feast for the eyes. Both indoor, and outdoor locations receive the same careful filming, and witnessing these is one of the film's best features. Production design creates vibrant worlds for the characters in both their public, and private spheres. From Lyon's office to Helen's stage performances, to Neely's glamorous home to Jennifer's homier abode, production design works wonders in the picture, and says much about the characters in a non-verbal manner. Costuming by William Travilla is another standout, with both actors and actresses, particularly the latter, superbly gowned. The opening credits sequence is also notable for its use of animation, succinctly summing up what VALLEY OF THE DOLLS seeks to accomplish in its distinctive way.

Notable Acting Performances: Barbara Parkins, Patty Duke, Tony Scotti, Lee Grant, Martin Milner, Susan Hayward.

Suitability for young viewers: No. Brief female nudity, adult themes, drug use.

Overall Grade: C

Link: IMDB Page

Trailer

THE VISITORS (1972)

Title: THE VISITORS

Year of Release: 1972

Director: Elia Kazan

Genre: Drama, Suspense

Synopsis: A Vietnam veteran and his girlfriend are paid a visit by his fellow soldiers in their isolated Connecticut home.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme. He helped keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967), was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

One of the most infamous depictions of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam, and becoming the same. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the second film with Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971), featured bikers similar to others in the genre, but this time around the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action-focused in scope. Two veterans join another on a farm, where tensions then spill over. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in once again assimilating into society. Different in outlook and character, SKYJACKED (1972), directed by John Guillermin, presented a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to many of the above films, THE VISITORS was one of the most psychological movies about Vietnam of its time.

It had that same slow-burn narrative style which also distinguished entries such as WELCOME HOME SOLDIER BOYS, MY OLD MAN'S PLACE, and JUD. Although beautifully photographed, THE VISITORS was low on spectacle, preferring to carefully build story events for maximum impact at the film's conclusion. The main characters are not obvious in manner or demeanor, their psychological torment never telegraphed for the viewer. The spectator becomes intimately acquainted with the Vietnam veterans in these movies to an uncomfortable level. Even though they may not be the most likable protagonists, one understands the rationale for their behavior. This is a testament to the film's writing and acting, and their success in offering thorough knowledge of their characters. Other features of THE VISITORS are also of interest when comparing it to the other movies.

The violent content is muted in THE VISITORS, as with the three previous examples. It could be argued, though, that the veterans in WELCOME HOME SOLDIER BOYS do cause a great deal of mayhem in the climactic scenes. Even these sequences are bereft of gore and overt carnage, which lifts this movie out of the exploitation film realm. THE VISITORS is also careful with its violence, waiting until the final reels for an explosion of emotions. This is in contrast to MOTORPSYCHO! and THE RAVAGER, where the visual spectacle is intended to usurp more serious considerations, such as the mental illness of the veterans. Both of these movies did make an exhibition of their characters' mental issues, but THE VISITORS takes a subtle approach in examining its veterans' mental health, and how it leads to major events in the film. An understated, astute view of Vietnam veterans, THE VISITORS is a compelling motion picture.

Overview: Elia Kazan was an American director who made nineteen motion pictures from 1945 until 1976. His movies were rooted in a stark cinematic realism, but there were occasional forays into more sentimental fare. His first movie, A TREE GROWS IN BROOKLYN (1945), was the study of a Brooklyn family in the early 1900s. Acclaimed not only for Elia Kazan's direction, but also for the acting and screenplay, it was an auspicious debut for Mr Kazan. Next came the Spencer Tracy-Katharine Hepburn vehicle THE SEA OF GRASS (1947). It charted the difficult marriage of a St. Louis woman to a cattleman, and the many disagreements that ensue. Another early triumph for Elia Kazan was GENTLEMAN'S AGREEMENT (1947). When a journalist is assigned the task of writing about anti-Semitism, he plunges into this with the pretense that he is Jewish, and experiences racism first-hand. A sensitive take on its topic, it was a serious film which was a money-maker in its day. Racial relations were again on display in PINKY (1949). The story of a white-skinned black woman falling for a doctor, and the repercussions of this, were played out with sympathy and understanding by the director. As with his previous movie, it was a resounding box office success, proving that topical films did work on a commercial scale. The 1950s brought further successes for Elia Kazan.

PANIC IN THE STREETS (1950), was the suspense-filled story of the search for a murderer who was infected with the pneumonic plague, the efforts of a policeman and a doctor outlined. Next came one of Elia Kazan's most famous films, A STREETCAR NAMED DESIRE (1951). When a mentally-disturbed woman moves in with her sister, and boorish brother-in-law in a New Orleans tenement, sparks fly. With Marlon Brando in a showy role, it was a raw slice of life which encountered some censorship hurdles in its time, and a multiple Oscar-winning movie that made money for its studio. VIVA ZAPATA! (1952), was another vehicle for Marlon Brando. The biopic of the Mexican revolutionary leader Emiliano Zapata was brought to the screen in rousing fashion, with Marlon Brando a standout in the lead. Another great film from Elia Kazan came in the form of ON THE WATERFRONT (1954). When a former boxer turned dock worker becomes involved in union politics, his life is on the line for his beliefs in this pungent movie. Yet another teaming of Marlon Brando and Elia Kazan, it was a major commercial, and critical success of its era, winning multiple Oscars, including Best Picture. 

Into the mid-1950s, EAST OF EDEN (1955), told the story of two brothers vying for their father's affection, and attention, in turn of the 1900s California. It was a showcase for James Dean, and an illustrious cast including Raymond Massey, and Julie Harris. Next came the controversial BABY DOLL (1956), for Elia Kazan. The racy story of a young woman twisting two men around her little finger in rural Mississippi was a challenge to the censorship of the times, this leading to more notoriety for the movie. A FACE IN THE CROWD (1957), also pushed the envelope in terms of its themes and treatment. The rise of a country singing drifter into a media superstar, and his fall from grace was faithfully recorded by the director. A great showcase for its cast, with Andy Griffith in the lead, supported by Patricia Neal, Lee Remick, Walter Matthau, and Anthony Franciosa. The 1960s, and after, were decades of further strong films from Elia Kazan.

SPLENDOR IN THE GRASS (1961), was a lush romance of high school sweethearts in 1920s Kansas. With its uninhibited treatment of the central love story, and chemistry between Natalie Wood and Warren Beatty, in his breakout role, it was both critically and commercially successful. More solemn was AMERICA AMERICA (1963). The journey of a young man from unrest in Ottoman Turkey to America, along with the attendant issues of moving to the United States, it was based upon the life of Elia Kazan's uncle. Mr Kazan did not helm a picture for several years after AMERICA AMERICA, but made a return to the screen with THE ARRANGEMENT (1969). The tale of a man with mental issues whose life is on a downward spiral, and marriage is on the rocks, was another thoughtful picture from the director. Elia Kazan's final cinematic outing, THE LAST TYCOON (1976), focused upon a movie mogul, and his very complicated professional life. Based upon a F. Scott Fitzgerald novel which quietly references to Irving Thalberg, it was not a success financially. THE VISITORS was Elia Kazan's penultimate movie, and one of his best works.

With THE VISITORS, Elia Kazan has constructed a compulsively watchable motion picture. The story of a reunion of Vietnam veterans at the home of one of these, who is cohabiting with his girlfriend and child, and the fallout of this, is handled by the director in a tense, highly-organized manner. Narrative events are all logical and flow tremendously well, with scenes hypnotic to witness. There is that same sense of shrewd observation of people, and their actions, which infuses all of Mr Kazan's work, with GENTLEMAN'S AGREEMENT, A STREETCAR NAMED DESIRE, ON THE WATERFRONT, and A FACE IN THE CROWD some of the more notable examples of this. It is also reminiscent of Elia Kazan's social conscience, taking on topics, and providing perspectives of this, in this case, Vietnam. Other examples are anti-Semitism in GENTLEMAN'S AGREEMENT, racial tensions in PINKY, and corruption in ON THE WATERFRONT. This is admirable, and THE VISITORS is no exception to the director tackling difficult topics. While THE VISITORS has many laudable aspects, there are some omissions which could have improved the final product.

The movie's take on Vietnam is thoroughly interesting, the set-up of scenes well done, but sometimes, it would be better if the pace did pick up slightly in some sequences. By presenting a bird's eye view of events in THE VISITORS, as if the viewer is intruding upon real life, the director has tried to be as faithful as possible to his characters, and their actions. If the film got to the point faster in some instances, it would not feel as drawn-out as it sometimes did. In addition, the lack of flashbacks to what occurred in Vietnam between the three male characters does take a little away from the proceedings. Just a few of these scattered through the movie would have given so much in terms of deepening knowledge of the characters, and why matters were so devastating. In looking at THE VISITORS as a whole, though, certain points can be made, despite some flaws. It is a succinct movie from Elia Kazan which delivers a powerful viewing experience, and makes one think about Vietnam, veterans, and what they went through during their tour of duty. 

Acting: Four main performances make THE VISITORS memorable. As Bill, the man who testified against his friend for a crime in Vietnam, James Woods is excellent as the naive man who believes that the past is behind him with regard to his former friends, and their experiences there. Bill's girlfriend, Martha, the only female character in the movie, is played with conviction by Patricia Joyce. An actress with a dearth of film roles, she projects intelligence as a woman placed in an untenable situation by her boyfriend, and her own accepting nature. Martha's father Harry is distinctively brought to life by Patrick McVey. With his jolly manner and warmth, Mr McVey is the liveliest character in the movie. The man wronged by Bill, Mike Nickerson, is acted with sheer authenticity by Steve Railsback. With his measured facial expressions, body language and cold stare, Mr Railsback provides the most impressive, complex performance in THE VISITORS.

Soundtrack: THE VISITORS is striking in its lack of musical accompaniment to the visuals. This was presumably to direct the audience's attention to what was taking place onscreen, with the story itself being utterly compelling, and hard from which to turn away. The only instance where music is featured is in a quiet scene with Martha speaking with Mike and Tony at the dinner table, with strains of J.S. Bach's 'Lute Suite #1'. Performed by guitarist William Matthews, these play in the background on a non-diegetic basis. This points to the civil but uncomfortable relationship between Martha and her husband's two former army friends, adding a touch of subtle suspense to the proceedings.

Mise-en-scene: The visual experience for spectators in THE VISITORS is one of its best accomplishments. Nicholas Proferes' cinematography captures both indoor, and outdoor locations beautifully. Exterior filming takes advantage of the freezing winter conditions, and landscapes, which is a metaphor for the icy emotions which are on display in the movie. The house in which the bulk of the picture takes place is also atmospheric, with dark rooms, and a general claustrophobic aura, also reflecting the film's unique perspective. Opening, and closing credits sequences are spare, and stark, featuring a black background, with credits in white. This is effective in conveying the quiet, unsettling tone which THE VISITORS strives for in its presentation.

Notable Acting Performances: James Woods, Patricia Joyce, Patrick McVey, Steve Railsback.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page