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