LOVERS AND OTHER STRANGERS (1970)

Title: LOVERS AND OTHER STRANGERS

Year of Release: 1970

Director: Cy Howard

Genre: Comedy

Synopsis: Mike and Susan are preparing for their upcoming marriage, but their family and friends have their own marital, and other issues with which to deal.

Within a film history context: There have been a great variety of movies over the years with an Italian-American male central character. One of the first was Reginald Barker's silent THE ITALIAN (1915). An Italian man seeks to build a new life in America, awaiting the arrival of his love from Italy. Their life together in the United States, though, is filled with heartache and pain, in this affecting early movie. Into the sound era, THE GUILTY GENERATION (1931), directed by Rowland Lee, had two Italian-American gangsters battling it out for supremacy, but their feud takes a surprising turn when their son and daughter, respectively, fall in love. One of the most famous movies about an Italian-American was Howard Hawks' SCARFACE (1932). The life and times of a violent, and unrepentant gangster was the focus here, with Paul Muni in a top role as the complex Tony Camonte. 

Decidedly different in tone was HUDDLE (1932), directed by Sam Wood. A young Italian-American man working in a steel mill yearns for a better life, winning a scholarship to Yale, but his family background may work against him in this romance. Charles Reisner's THE WINNING TICKET (1935), was a comedy about an Italian-American barber who purchases a lottery ticket, which turns out to be the winning one, but the subsequent loss of the ticket causes nothing but mayhem in this light film. MAN OF THE PEOPLE (1937), directed by Edwin Marin, featured an Italian-American attorney in a difficult predicament - he tries to be of assistance to those who need it, but mobsters are the ones who can make it happen for him. Bernard Vorhaus' FISHERMAN'S WHARF (1939), followed an Italian-American fisherman, and his personal troubles, particularly those incited by others. 

With THEY KNEW WHAT THEY WANTED (1940), directed by Garson Kanin, an Italian-American vintner sets in motion a twisted chain of events in his pursuit of a young woman via a letter, which conceals his true identity. In contrast, Robert Siodmak's CRY OF THE CITY (1948), was of a power struggle between a policeman, and his opponent, an unsparing criminal, two Italian-Americans who were former friends, over the latter's unseemly activities. In a similar yet different vein was KNOCK ON ANY DOOR (1949), directed by Nicholas Ray. A lawyer defends a young Italian-American man of murder by painting a picture of a disadvantaged youth drawn into crime, but the effectiveness of this is at the core of this picture. Joseph Mankiewicz's HOUSE OF STRANGERS (1949), revolved around an Italian-American man whose three brothers allow him to go to prison, and his retaliation when he leaves jail.  

Crime again made its mark in BLACK HAND (1950), directed by Richard Thorpe. A man whose father was killed by the Mafia years ago comes to avenge his death in New York City. Fritz Lang's CLASH BY NIGHT (1952), had an Italian-American fisherman becoming involved with a mysterious woman, who may have designs on another man, being his friend. FROM HERE TO ETERNITY (1953), directed by Fred Zinnemann, was a World War II drama with an Italian-American supporting character, Maggio, played to perfection by Frank Sinatra in this pungent, highly popular movie. Another serious movie with an Italian-American character was Delbert Mann's MARTY (1955). The touching story of a butcher, and a teacher was a triumph for its lead, played by Ernest Borgnine, winning Oscars not only for Mr Borgnine but also for Best Picture, Director, and Screenplay. SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was the biopic of Italian-American boxer Rocky Graziano, charting his early life, to his prizefighting as an adult. Elia Kazan's racy BABY DOLL (1956), was the story of a young Mississippi woman who wraps men around her little finger with utter ease. The main one in this position was her husband, the other, an Italian-American cotton farmer, to whom she takes a shining in this controversial film. 

THE MIDNIGHT STORY (1957), directed by Joseph Pevney, featured an Italian-American policeman whose father figure, and friend, a priest, is killed, and sets out to discover who committed this crime. Phil Karlson's THE BROTHERS RICO (1957), followed an Italian-American man who thought that he was done with the Mafia, but whose brothers force him into involvement again with the mob. WILD IS THE WIND (1957), directed by George Cukor, was a move away from crime themes into character-driven territory. An Italian-American farmer brings a woman from Italy, the sister of his late spouse, to be his second wife, but his treatment leads her to fall for her new husband's ranch hand. Crime once again made its presence felt in Richard Wilson's AL CAPONE (1959). The life of the infamous criminal was dissected here, with Rod Steiger in the lead role. INSIDE THE MAFIA (1959), directed by Edward L. Cahn, was yet another crime saga with an Italian-American protagonist. This time, a crime kingpin back in America pulls strings to dispatch his opposition, subsequently ingratiating himself into other situations. 

Real-life crime incidents were depicted in Richard Wilson's PAY OR DIE! (1960). The life of Italian-American New York City policeman Joe Petrosino's life was the focus, particularly his efforts to quash organized crime at the turn of the 1900s. A softer approach was evident in LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. An Italian-American musician has a one-night stand with an Italian-American department store assistant, their difficulties heightened when she falls pregnant, and their dilemma as to what they will do with the baby. A crime angle again infused Gordon Douglas' TONY ROME (1967). In this instance, an Italian-American private detective is assigned by a man to locate jewels stolen from his young daughter, with many twists and turns along the way. WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese, revolved around a young Italian-American man, and his relationship with a young woman, which is affected by events from her past that haunt him. LOVERS AND OTHER STRANGERS took a dissimilar approach to its depiction of an Italian-American man.

Many of the movies in this category were of Italian-American men linked to organized crime, or other illicit activity. LOVERS AND OTHER STRANGERS diverted from this model, firstly, with its comic orientation, and secondly, a more family-centric story structure. HOUSE OF STRANGERS and THE BROTHERS RICO were the two films which explored a family dynamic more so than others, but these were of a dramatic nature. The conflict between brothers in these was presented strongly, but in LOVERS AND OTHER STRANGERS, the brothers are decidedly friendlier in their dealings. This is in keeping with the picture's breezy, upbeat tone. This is not to say, though, that Mike's family are any less defined than the previous two examples. LOVERS AND OTHER STRANGERS is at pains to show the Italian-American Vecchio family in detail, also including Mike's parents and brother. This provides different perspectives from each family member which greatly adds richness to the film. Other facets of the movie are worth considering. 

While Mike in LOVERS AND OTHER STRANGERS is a main character, and his marriage preparations are juxtaposed to the situations of his family, and other guests, he does take a backseat somewhat to the associated narrative activity. This is as LOVERS AND OTHER STRANGERS follows a multi-character arrangement, whereby the lives of almost a dozen people aside from Mike and fiancée Susan are compared, and contrasted with the couple. The Vecchio family is shown alongside Susan's family, the Hendersons, who have a world of their own, with some marital tensions thrown in. Mike and Susan could be posited as being the most 'normal' of their family and friends as all they wish to be is together, without any complications, which do hinder some of the other couples in the movie. Mike's status as an Italian-American man, also, is not made an issue in the film. It as such downplays the race angle, with him thereby accepted by an American family for their daughter. There is not the attribution of Mike being a criminal, a hood, or a boxer in the picture, and this allows for another vision of Italian-American manhood away from stereotypical perspectives from other examples. A refreshing view of an Italian-American male character, LOVERS AND OTHER STRANGERS offers a stimulating change of pace in this respect.

Overview: Cy Howard was an American director with only two directorial efforts to his credit, being much more active on television as a writer, and producer on prime-time series, and telemovies. His final film, EVERY LITTLE CROOK AND NANNY (1972), was a comedy of errors about an Italian- American New York gangster who forces a teacher to vacate from a building he has just acquired, despite her having a long lease there. What eventuates is a twisted chain of events whereby the teacher seeks revenge by acting as a nanny, which leads to many other comic consequences for both herself, the gangster, and others. LOVERS AND OTHER STRANGERS was Cy Howard's first movie, and his finest achievement as a director.

Cy Howard has crafted a highly entertaining, engaging motion picture with LOVERS AND OTHER STRANGERS. Taking as its focus a young, engaged couple slated to be married, and surrounding this story arc with the accompanying personal events of their family and friends, it is a smoothly-rendered, astute piece of filmmaking. Mr Howard has succeeded in making his characters real and relatable, without ever slipping into caricature. The screenplay examines the minutiae of human relationships, and clearly explains to the audience exactly where the characters are coming from. The viewer becomes intimately acquainted with what is occurring onscreen, and the movie is akin to watching the lives of real people unravel. Although LOVERS AND OTHER STRANGERS is an intensive work, and attempts to cover all the bases, there are some sections which are lacking when considering the picture as a whole. 

Giving airtime to all the many relationships in the film is a good quality of LOVERS AND OTHER STRANGERS, but this does leave one of these segments less coverage than it should have received. One would expect to witness more of Mike and Susan's appealing union, but this does not happen. They appear fitfully, and while their scenes are all of a high standard, it leaves one yearning to see more of them. Mike's standoffish behaviour, and Susan's quiet spitfire nature are not utilized sufficiently. Another deficiency is the treatment of Bernice, Hal's wife. Having the spirited Bernice only function as a comic prelude to scenes of husband Hal with Kathy is disappointing. There was something special in the character of Bernice, and not finding out more about her was one of the biggest drawbacks in the movie. Aside from these flaws, and putting these to one side, some things can be said about LOVERS AND OTHER STRANGERS. It is an agreeable picture which deserves its status as one of the premier comedies of the 1970s, and Cy Howard's best movie. 

Acting: It is undeniable that LOVERS AND OTHER STRANGERS contains many distinctive performances which ensure it remains delightful throughout its running time. As Mike, a young man slated for marriage, but uncertain if it is really for him, Michael Brandon is in one of his best early performances. A player who gets to the heart of his characters in a straightforward manner, never seeming actorish, he adds punch whenever he is onscreen. Mike's fiancée Susan is given equally formidable treatment by Bonnie Bedelia. With her intuitive edge, and charming manner of speaking, Miss Bedelia matches well with Michael Brandon as the more emotionally secure half of this couple. Bea, Mike's vocal mother, is made memorable by Bea Arthur. With her dominant voice and no-nonsense way of doing things, Miss Arthur provides some of the most touching, funny scenes in the movie. Bea Arthur is more than matched every step of the way by Richard Castellano as Frank, her impassive husband. Seeing beyond Frank's hangdog expressions and sullen behaviour, Mr Castellano makes Frank an identifiable husband, and father figure in the film, with a surprising vulnerability displayed at the end of the picture. Susan's mother Bernice is played with sweetness and light, but intelligence, by Cloris Leachman. While Miss Leachman has not been employed to full capacity here, nevertheless, her glowing presence is still welcome. Five other actors give excellent accounts of themselves in LOVERS AND OTHER STRANGERS.

The pained but sympathetic Kathy is played with utter assurance by Anne Jackson. With the ability to make her character, who appears comic on the surface, and to infuse her with a pathos which gives this other woman sheer substance, is a resounding testament to this talented actress. At the other end of the emotional spectrum, the sharp-tongued Wilma tosses her barbs with panache courtesy of Anne Meara. Miss Meara is fun either sparring with husband Johnny, grumbling about her mother-in-law, and generally adding spice wherever she is present. Wilma's macho husband Johnny is another unique acting contribution, with Harry Guardino in full force with Anne Meara, as Johnny and Wilma duke it out in this battle of the wills, and sexes. Susan's bookish cousin Brenda comes alive in the person of Marian Hailey. With her insistent tone of voice, and references to books, Brenda is another lively figure in this gallery of characters. The final acting of note is by Diane Keaton as Joan, daughter-in-law of Bea and Frank. Appearing in the final section of the movie, Miss Keaton bestows another perspective on marriage in LOVERS AND OTHER STRANGERS, which allows it to come full circle with her congenial, but astute, portrayal of a woman in a marital crisis.

Soundtrack: LOVERS AND OTHER STRANGERS has an effective soundtrack which covers all the bases in terms of the movie's intentions. The opening credits sequence has a rendition of 'Comin' Thru To Me' by Country Coalition between scenes which contain witty dialogue and action, punctuating this well. 'For All We Know', performed by Larry Meredith, is featured in the scenes leading to Mike and Susan's wedding, and also, in a different version during the closing credits. It is more reflective in tone than the previous tune, deftly emphasizing the delicacy of the relationships in the movie. This is presumably to highlight the poignancy of the main relationships in the film, but it is replaced by the livelier 'Comin' Thru To Me' once more at the conclusion of Mike and Susan's scene in their apartment.

Mise-en-scene: LOVERS AND OTHER STRANGERS creates a believable world which the characters inhabit in the picture. Cinematography by Andrew Laszlo is beautiful, the Metrocolor film stock making everything appear natural, both indoor, and outdoor sequences. Alan Hicks' set decoration is also excellent, drawing nice contrasts between Mike and Susan's apartment, the comfortable, homey Vecchio family home, and the more elaborate Henderson residence. There is the subtle reference to socioeconomic status with this, but this is not something aggressively pursued by the movie. Costuming is also another great asset to the movie, with Albert Wolsky's creations, particularly for the actresses during the wedding and reception segments, elegant, and appropriate to each character. The opening sequence is also striking, with a conversation between Mike and Susan intercut with cast and crew credits, and Wayne Fitzgerald's two colour film title nicely set against a black background.

Notable Acting Performances: Michael Brandon, Bonnie Bedelia, Bea Arthur, Richard Castellano, Cloris Leachman, Anne Jackson, Anne Meara, Harry Guardino, Marian Hailey, Diane Keaton.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

MURPH THE SURF (1975)

Title: MURPH THE SURF (Alternate title: LIVE A LITTLE, STEAL A LOT)

Year of Release: 1975

Director: Marvin J. Chomsky

Genre: Drama, Action, Biography

Synopsis: Career criminals, and surfers Jack Murphy, and Allan Kuhn, plan a heist to steal precious gems from a museum. 

Within a film history context: With the rise of surf culture in the late 1950s and early 1960s, cinema began to respond with an assortment of movies about surfers. The first notable example was Paul Wendkos' GIDGET (1959). A young woman has her first experience with surfing one summer, and is squired by two surfers, one her age, the other considerably older. GIDGET was the first film released by a major Hollywood studio, Columbia, with a beach and surfing background. Its popularity led to two sequels, being GIDGET GOES HAWAIIAN (1961), and GIDGET GOES TO ROME (1963), several television movies, and television series in the years after. GIDGET and its counterparts were followed by the BEACH PARTY movie cycle, filmed by American International Pictures. 

Commencing with BEACH PARTY (1963), directed by William Asher, this led to a number of sequels, frequently starring Frankie Avalon, and Annette Funicello. These adeptly combined surfing shots with comedy, and romance. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965) and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big-name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. Aside from the BEACH PARTY movies, there were others which spotlighted surfers.

Leslie H. Martinson's FOR THOSE WHO THINK YOUNG (1964), was about a wild young man looking for romance, with the obligatory scenes of beach action, and surfing mixed in for good measure. RIDE THE WILD SURF (1964), directed by Don Taylor, contrasted the lives of three young surfers competing in Hawaii not only for the surf but also, the young women. Lennie Weinrib's musical BEACH BALL (1965), centered around a crafty, surfer rock and roll group manager employing dubious methods to raise money to purchase instruments for his band, which are discovered by the finance committee. THE SWEET RIDE (1968), directed by Harvey Hart, featured a character who was a surfer, among others such as a tennis player, and a musician in this light movie. MURPH THE SURF came later in time than the 1960s films, being released in 1975, but was notable for its differences from the other examples.

In common with the afore-mentioned movies, MURPH THE SURF had scenes of its lead characters surfing, relaxing on the beach, and other related activities. There was plenty of location footage which highlighted scenic places, and spaces, in this vein. Where it diverted was that its surfers were not teenagers, or twenty-somethings. They were men in their thirties, more seasoned by life in this respect, than young men yearning for romantic adventures. Their relationships with women were not romantic in nature, but more adult in tone. It was not a fairytale world of true love in MURPH THE SURF, as depicted in the BEACH PARTY movies, with their romantic misunderstandings peppering the story. With its male-female relationships treated with flippancy at times, MURPH THE SURF was a film for adults rather than teenagers or young adults. Other facets of the movie are also of interest.

In a related manner, the light-hearted, simplistic scenarios of BEACH PARTY, and others of its type, were not present in MURPH THE SURF. It did, though, have a cavalcade of events and happenings which marked all the surfer movies, but in MURPH THE SURF, these were of a more complex nature, in keeping with the film's real-life events. Both lead protagonists were career criminals who loved to surf, a distinct change from the largely crime-free world of BEACH PARTY series. Furthermore, while many of the movies had surfers in a supporting role, such as the GIDGET movies and THE SWEET RIDE, MURPH THE SURF offered two central male characters. This afforded contrasts in how both men saw life and love. The intricate nature of male characters in MURPH THE SURF harked back to GIDGET's Burt Vail, and his complicated persona. Another version of a film about surfers, MURPH THE SURF offered an original view in this respect.

Overview: Marvin J. Chomsky was an American director who made five motion pictures in his career. He was extremely prolific on television, presiding over thirty-one telemovies, and scores of episodic television series. His first movie, EVEL KNIEVEL (1971), was a biopic of the American stuntman, with George Hamilton in the lead role. It was a financial success based upon its comparatively low budget. Next came western MACKINTOSH AND T.J. (1975). The relationship between a cowboy, and a young man whom he meets one day under difficult circumstances, was notable as the last screen performance by Roy Rogers as the aging cowboy. GOOD LUCK, MISS WYCKOFF (1979) was contrary in tone. An unmarried schoolteacher has an affair with a black school janitor, which causes waves in a small Kansas town in the 1950s. Marvin Chomsky's cinematic swan song came in the form of TANK (1984). An army sergeant comes up against a ruthless sheriff, and they face off over a number of issues in this action movie. MURPH THE SURF was Marvin Chomsky's second film, but not one of his best efforts.

With MURPH THE SURF, Marvin Chomsky has made a disappointing motion picture. The story of real-life criminal Jack Murphy, and his friendship with Allan Kuhn, their partnership revolving around a jewel heist, it is a ponderous viewing experience. There are a number of reasons why this is so. The movie is a retelling of real events, but there is nothing remotely exciting about the presentation of these. One never feels involved with what is taking place, as emotion that should have been present, but is nowhere to be found. The characters, and their journey, are secondary to the anticipation built for the jewel robbery sequence which, of itself, fails to capture the imagination. While the movie, as such, cannot be accused of glamorizing crime, there is no suspense in seeing if the characters actually carry out their deeds, or evade prosecution. MURPH THE SURF, in honesty, functions as a dramatization of real events, with certain liberties taken, but that is the extent of its effectiveness. It is a plodding picture which has a few interesting sections, but that is all. One of the most monotonous heist movies ever produced, MURPH THE SURF is a forgettable movie.

Acting: MURPH THE SURF has a handful of striking performances which stand out. As Jack Murphy, master criminal, jewel thief and surfer, Don Stroud delivers an excellent portrayal of a charismatic, complicated man drawn to this way of life. An actor who always brings heart and soul to his acting, making his protagonists real, and sympathetic, despite many objectionable deeds, Mr Stroud is one of the film's best assets. Unfortunately, the same cannot be said for Robert Conrad, as Allan Kuhn, Jack Murphy's partner in crime. While he certainly looks the part as a man who almost lives on the beach, he does not make the same impact as his co-star, seeming lost against Don Stroud's dominant personality. As Ginny Eaton, Jack Murphy's girlfriend, Donna Mills, though, is radiant as the sensitive young woman who takes Jack too seriously. An actress with a luminosity about her, Miss Mills' role is too brief, but she still makes her mark in MURPH THE SURF.

Soundtrack: Phillip Lambro's instrumental score adds an urgency, and tension to MURPH THE SURF, which makes it one of the movie's best features.

Mise-en-scene: MURPH THE SURF offers a convincing onscreen experience for viewers. Exterior locations lend the film a freshness, and realism, which could never be achieved in a studio. Interior sets by Don Ivy and John McCarthy Jr. are also believable, such as the apartment where Jack and Allan reside with their girlfriends, planning their underhanded schemes. Costuming by Norman Salling is in keeping with the Florida coastal theme, with swimsuit changes for the central duo and their amours at the beach, deftly contrasting these with smart, relaxed attire for more formal events.

Notable Acting Performances: Don Stroud, Donna Mills.

Suitability for young viewers: No. Adult themes.

Overall Grade: D

Link: IMDB Page