J W COOP (1971)

Title: J W COOP

Year of Release: 1971

Director: Cliff Robertson

Genre: Western, Drama, Road Movie

Synopsis: After being released from prison, J W Coop aims to reassume his place as a professional rodeo cowboy.

Within a film history context: Character studies of rodeo cowboys have been onscreen since the silent period of cinema. One of the first was silent film THE CALGARY STAMPEDE (1925), directed by Herbert Blache. In this movie, a cowboy is thought to have murdered his amour's father, but is declared innocent when the real culprit comes to light. In D. Ross Lederman's THE RIDING TORNADO (1932), Tim McCoy battles horse thieves and becomes involved in intrigue, while also falling for a young woman. Actor John Wayne featured in many films of the era as a rodeo cowboy, and Fred Allen's RIDE HIM, COWBOY (1932), was no exception. Here, Mr Wayne takes on a horse which is thought to have committed murder, but his investigations lead to the real assailant, which lands him in jail. Many of the films of this era had a solid storyline which explored more dramatic angles, while others had a more comic outlook.

SOMEWHERE IN SONORA (1933), directed by Mack V. Wright, was a comedy drama of a rodeo cowboy attempting to curb the robbery of his lady friend's silver mine. In Lloyd Bacon's COWBOY FROM BROOKLYN (1938), a rodeo cowboy was challenged in his pursuit of a career in radio with a catch - that he show evidence he was, indeed, a cowboy. In a similar humorous fashion, THE COWBOY AND THE LADY (1938), directed by H.C. Potter, was a mistaken identity comedy, with a wealthy woman acting as a maid, and falling for a down-to-earth rodeo cowboy. The 1940s followed a comparable thematic line, with comedies, dramas, and musicals in the cowboy motif prevalent.

Gene Autry was the lead in CAROLINA MOON (1940), directed by Frank McDonald. In this film, Mr Autry brought justice to a place where landowners had been illegally divested of their holdings by an unscrupulous man, with some musical trimmings. In Joseph Kane's KING OF THE COWBOYS (1943), Roy Rogers joins forces with other men to end the demolition of government warehouses by criminals. Diverting from the previous themes, A LADY TAKES A CHANCE (1943), directed by William A. Seiter, mined more romantic territory. In this picture, cowboy John Wayne entrances Jean Arthur, and they become an item. In contrast to the 1940s films, the 1950s movies brought with them less sentimental, and tougher explorations of the rodeo cowboy theme.

THE LUSTY MEN (1952), co-directed by Nicholas Ray and Robert Parrish, was a look into the more domestic aspects of a rodeo cowboy's life, with the wife of a cowboy baulking at her husband's involvement in the sport. Richard Fleisher's RODEO (1953), in a similar manner to THE LUSTY MEN, documented the impact of rodeo on a cowboy's life, and how this affected both himself, and his wife. Different in approach was BUS STOP (1956), directed by Joshua Logan. Starring Marilyn Monroe as Cherie and Don Murray as Bo, the film's cowboy protagonist, it explored the relationship between the leads, as Bo wanted to marry Cherie, and live with her on his ranch. Moving into the 1960s, John Huston's THE MISFITS (1961), was a realistic drama of a cowboy falling in love with a divorced woman, again starring Marilyn Monroe, exploring the repercussions of this union. 

HUD (1963), directed by Martin Ritt, was the story of an unorthodox Texas rodeo cowboy who makes the existences of everyone around him a misery with his self-centred view of life. Burt Kennedy's THE ROUNDERS (1965), charted the comical exploits of two cowboys, and the many zany situations in which they find themselves. In comparison, TICKLE ME (1965), directed by Norman Taurog, was an Elvis Presley vehicle with the singer as a rodeo cowboy who falls into work at a ranch which is, in fact, an all-female fitness centre. Peter Tewksbury's STAY AWAY, JOE (1968), was another film with Elvis Presley as a rodeo cowboy. In this instance, the escapades of an American Indian rodeo star are highlighted, specifically attempting to assist his people in a number of unconventional ways. J W COOP was one of the strongest, and most serious of the films dealing with a rodeo cowboy. 

J W COOP was definitely of the dramatic persuasion, but its focus was on weaving a character portrait for viewers, thus avoiding action scenarios. Many of the earlier examples had predominate action-adventure leanings, such as THE CALGARY STAMPEDE, THE RIDING TORNADO, and KING OF THE COWBOYS. The personal lives of the rodeo cowboy took a back seat to visual spectacle here. From THE LUSTY MEN onward until HUD, though, there was an attempt at more intimate, candid portraits of rodeo cowboys, these moving away from the more simplistic narratives from beforehand. J W COOP falls into this category of movies, charting the reactions of other people to the particular rodeo cowboy, and his lifestyle. There is a deeper synthesis of viewpoints on display for viewers to ponder about its main character, instead of a rodeo cowboy just saving the day for others. Furthermore, J W COOP did concentrate on its lead, as did RODEO, BUS STOP, THE MISFITS, and HUD, but the cast of supporting players did not remain fixed, as was evident in HUD, with Hud taking on, and being contrasted, with the other characters. The people who largely come and go in J W COOP are utilized differently than prior examples. As J W COOP is the study of a man seeking to be a rodeo cowboy, and this entails going from one place to another, the fluid nature of the story reflects this, as the movie thereby has some relation to road movies. There are shades of this in J W COOP, but these parts always relate back to J W Coop himself, without becoming another type of film. One of the most intriguing of the pictures of a rodeo cowboy, J W COOP adds its own flourish to this collection of movies. 

 

Overview: Cliff Robertson was an American actor who appeared in over fifty motion pictures during his fifty-two year screen career. As a performer, he won a Best Actor Academy Award for his performance as an intellectually disabled man in CHARLY (1968). Mr Robertson directed only two pictures in his career, with THE PILOT (1980), being his second and final effort. The struggles of an airline pilot to maintain his balance in the face of alcohol addiction was the focus here, but the movie was not a popular success. Cliff Robertson's first picture, J W COOP (1971), was his best film, and the one for which he will be most remembered as a director.

With J W COOP, Cliff Robertson has crafted an earnest, lyrical film. Taking as its main focus a middle-aged cowboy seeking to make it big on the rodeo circuit after a long absence, it is a thoughtful and touching movie experience. Mr Robertson achieves this effect in the following ways. He displays a sheer respect for, and understanding of, his protagonist, way of life, and motivations. Cliff Robertson makes certain that the audience comprehends exactly where J W Coop is coming from, and identification with its engaging protagonist is therefore guaranteed. Aside from this, J W COOP has a uniquely luxurious pace and tone which allow for scenes to unravel in a natural, dignified way. It quietly takes its time with everything, and this unrushed feel is one of its best qualities. Even with the more raucous stretches, these are not out of place, as J W COOP has the correct balance to accommodate these. J W COOP does have many qualities to recommend it, but there are specific aspects which could have benefitted from improvement. 

The spectator is offered an intense look into what makes J W Coop tick from his first appearance in the movie, but his backstory is insufficiently examined. There is some time given to his family life, particularly his relationship with his mother and father, but J W Coop's personal life prior to his prison term is sketchy to say the least. More details about him would have made the movie even stronger, such as the revealing sequence with his father, which was fleeting. In addition, the pairing of J W and Bean does have credibility, but, again, her life is an enigma. Bean is a hippie, but the reasons that brought her to being one are not explored. The May-December romance of J W and Bean seems to be founded on the basis of a younger woman wanting an older man, but what is behind this, again, remains something for viewers to work out in their own mind. These gaps are frustrating to witness, but, thankfully, do not hinder the picture as a whole. One thing, though, is for certain in speaking of this film. J W COOP is Cliff Robertson's most solid directorial achievement, and a penetrating character study of a rodeo cowboy, and the sport itself.

Acting: There are several illuminating performances in J W COOP which are worthy of mention. In the lead role of rodeo cowboy J W Coop, Cliff Robertson is in yet another great acting portrayal. A versatile actor with a serious approach to his craft, able to play all sides of the emotional spectrum, here makes the complex J W Coop someone for whom the audience can sympathize. There are three actresses in smaller roles who, nonetheless, are notable for their contributions to the movie alongside Cliff Robertson.

As Dora Mae, the touchy barmaid in the middle of a slow-burn argument, Beverly Powers makes a strong impression in her brief role, suggesting that there was much more to her than first meets the eye. An actress active from the early 1960s until the mid-1970s, she makes the maximum of her limited engagement count. The flirty Bonnie May, able to mouth innuendo and suggestive talk with ease, and sheer glee, is brought to life by Mary-Robin Redd. With her calm, uninhibited manner, her stint in the movie is all the more amusing after her altercation with Big Marge. The last contribution of note to the movie is by Marjorie Durant as Big Marge, one-time love of J W Coop from the past, and his all-round supporter. Miss Durant is rollicking, and always fun to watch here, but also displays a nous, and sensitivity, giving Big Marge a depth, and adding another perspective on the life and times of J W Coop.

Soundtrack: J W COOP has a soundtrack which definitely complements the onscreen action. The score by Don Randi is perfect, ticking all the boxes. Alternately tender, boisterous, and touching, it suits every situation in which it is employed. Likewise, Louie Shelton's guitar rhythms are also beautiful, adding a thoughtful edge to the movie, especially evident in the second half of the opening credits. 

Mise-en-scene: J W COOP is utterly convincing with what it presents to viewers in a visual sense. Frank Stanley's cinematography splendidly captures the rugged landscapes which the movie spotlights, giving these an air of dignity, and wonder for the eye to behold. Exterior locations are all excellent, and well-selected. They offer an impressive non-verbal account of the protagonist's life which speaks volumes. Editing by Alex Beaton is another strong suit, with the rodeo scenes edited for maximum impact, and, in particular, the final moments of the picture.

Notable Acting Performances: Cliff Robertson, Beverly Powers, Mary-Robin Redd, Marjorie Durant.

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

Overall Grade: B

Link: IMDB Page

LIFEGUARD (1976)

Title: LIFEGUARD

Year of Release: 1976

Director: Daniel Petrie

Genre: Drama

Synopsis: A thirty-something lifeguard reassesses his life after attending his high school reunion.

Within a film history context: Movies with a lifeguard central character were not common in cinema before 1976, with only several examples where they had varying weight in the narrative. One of the first documented is a silent film believed to be lost, being William Beaudine's TWO WEEKS OFF (1929). Here the lifeguard was the third party in a love triangle between a department store assistant, and a plumber, in this romantic comedy. UNDERSEA GIRL (1957), directed by John Peyser, had a very minor lifeguard character who was in several scenes, but by no means a main part of the action. Richard Thorpe's FUN IN ACAPULCO (1963), featured Elvis Presley as a hotel lifeguard who falls into romance, and strikes a rivalry with a smarmy fellow lifeguard, in this musical property. Australian movie THEY'RE A WEIRD MOB (1966), directed by Michael Powell, included two sequences of lifesavers on a beach, the second an extended scene of a lifeguard administering CPR on a swimmer. 

In Bruce Kessler's raucous THE GAY DECEIVERS (1969), two young men, one of them a lifeguard, do their utmost to avoid being drafted for military service, posing as gay in their mission to avoid Vietnam. THE SET (1970), directed by Frank Brittain, similarly had a major character who was a lifeguard, but who was a distinctly intricate personality within the course of the narrative. Noel Black's COVER ME BABE (1970), included a short scene of a lifeguard on the beach attempting to resuscitate a swimmer. The saucy comedy GROUP MARRIAGE (1972), directed by Stephanie Rothman, featured a lifeguard, who was one of the six major characters in this diverting examination of morals and mores. LIFEGUARD was a movie in which the lifeguard protagonist was its central figure, and propelled the action in the story.

It had most in common with those pictures where the lifeguard assumed a primary or main role in the film, such as TWO WEEKS OFF, FUN IN ACAPULCO, THE GAY DECEIVERS, THE SET, and GROUP MARRIAGE. These films, to varying degrees, depicted the employment conditions of the particular lifeguard, but concentrated more upon their personal life than anything else. There were privileged glimpses into how they operated as lifeguards, but these only took up a fraction of screen time. LIFEGUARD diverted away from these examples as it was fully consumed with both the personal, and professional existence of its protagonist. One becomes intimately acquainted with Rick, especially why he is a lifeguard, why he wants to stay one, and the reasons for him to not seek alternate employment. Being comfortable with his life, despite becoming older, and less effective over time as a lifeguard, gives the movie a poignancy, in Rick hanging onto a youth that is slipping through his fingers.

Another aspect of LIFEGUARD provides it with an emotional authenticity. Aside from his working life, Rick's private life is also afforded intensive treatment, this explaining why he flits from one woman to the other, as he does not want to have responsibilities. Having casual relationships works for him, without real attachment. This is a view of the world where people do not hurt each other, but are there for one another in a more easy-going manner. His accompanying life on the beach is also vividly captured, with all the different situations he finds himself in working as a lifeguard made clear. Life on the beach is not all surf and sand, though, and this gives the movie a realism which bodes well for it. This all, therefore, ensures a thorough psychological portrait of Rick, which sets the movie apart from the other films, where it is never really made clear why one has become a lifeguard. The best picture about a lifeguard, LIFEGUARD is an incisive movie.

Overview: Daniel Petrie was a Canadian director who made nineteen motion pictures in Hollywood from 1960 until 1997. His films were mainly dramas, with some diversions into more otherworldly themes. Mr Petrie's first movie, THE BRAMBLE BUSH (1960), was a melodrama about a doctor returning to his hometown to see his dying friend, and the personal, and professional complications which ensue for him as a result of a heartrending decision he makes. The reality-driven A RAISIN IN THE SUN (1961), looked at a black family, and the effect an insurance payout has on them both financially, and emotionally. STOLEN HOURS (1963), was a Susan Hayward dramatic vehicle, with a wealthy and wayward woman struggling not only with health issues but also, romance. Comedy came calling for Daniel Petrie in THE SPY WITH A COLD NOSE (1966). A dog with a listening device implanted is gifted to the Russian president, with the canine then falling ill, and being sent to a veterinarian. British spies must get to the dog to remove the bug before it is returned to the Russians in this farce. 

Daniel Petrie's eighth film was the controversial revenge romance BUSTER AND BILLIE (1974). The tale of an unexpected love blossoming between a popular high school senior, and a misunderstood young woman, was a strong and emotional movie, and one of Daniel Petrie's best, most-memorable efforts. THE BETSY (1978), was the film adaptation of a Harold Robbins best-seller about the lust-driven antics of a car manufacturing family, and its power-hungry patriarch. Despite being savaged by critics, it rang the box office bell to a considerable degree in its time. RESURRECTION (1980), was a journey into the paranormal for Daniel Petrie. When a woman's husband is killed in a car crash, and she temporarily passes away, only to come back to life, she discovers that she now possesses psychic powers, these causing angst in her private life. Realism took precedence again in police drama FORT APACHE, THE BRONX (1981). The life and times of a hardened police officer in the tough Bronx district was another moneymaker, with Paul Newman in the lead role. In complete contrast, THE BAY BOY (1984), was a period piece set in the 1930s. Based upon the director's childhood in Canada, it recounted the life of a young man in a small mining town, and his coming of age. 

Another perspective on childhood was present in SQUARE DANCE (1987). A young girl living in the country with her grandfather relocates with her mother to the city, this sea change something she finds difficult to accept. ROCKET GIBRALTAR (1988), followed a retired screenwriter's family problems, which come to a head at his birthday party reunion. Science fiction COCOON: THE RETURN (1988), was the sequel to the original COCOON movie, continuing the story of a group of elderly people, and their return to earth. The film was not as successful as the first entry, and just broke even financially. Daniel Petrie's penultimate movie, LASSIE (1994), was yet another version of the classic story of the legendary, gentle border collie. THE ASSISTANT (1997), marked Daniel Petrie's last cinematic sojourn. In the early 1900s, a young Gentile man falls for a Jewish girl, who is the daughter of his employer, with interfaith conflicts thus arising. LIFEGUARD was Daniel Petrie's ninth picture, and one of his most solid achievements.

Daniel Petrie has crafted a meaningful motion picture with LIFEGUARD. The story of a thirtyish lifeguard, closely following his personal, and professional lives, it allows the viewer to immerse themselves deeply in the psychology of its protagonist. Showcasing complicated, conflicted characters is something which runs through Daniel Petrie's oeuvre, with A RAISIN IN THE SUN, BUSTER AND BILLIE, and RESURRECTION prime examples of this. LIFEGUARD is no exception, as its lead character is thoroughly three-dimensional in nature. It is not a case of a beach bum who refuses to grow up; the movie clearly enunciates the reasons for Rick's behaviour. Aside from this, there is also an unrushed feel to LIFEGUARD which serves it well. The mood and pace are reflective of its beach setting, working in tandem with the waves striking the sand. The lack of overt melodrama is also pleasing, and in keeping with its dreamy, but realistic orientation. LIFEGUARD does have many qualities to recommend it, but certain flaws come to mind when observing the movie more critically.

Rick's open-door policy of relationships with women is easily discerned, but his time with Tina in the picture reeks of exploitation. While this scene appears to express Rick's sexual irresistibility to women, having Tina jump onto him naked, is not one of LIFEGUARD's best moments.  It takes away from the lyrical feel that the film achieves so well. In addition to this, some of LIFEGUARD's characters could have done with further spotlighting, as the interpretations were intriguing. Rick's fellow lifeguard Chris seems to just react to him, and spout quips, but finding out more about him would have added to the movie. Machine Gun falls into the same category, with both his, and Chris' stories, underdone. Thankfully, other characters such as Wendy, Larry and Cathy are well-defined, these meshing with Rick on a much more even level. While LIFEGUARD has faults, thankfully these are not all-encompassing. A contemplative piece with some pertinent philosophical views on life, LIFEGUARD is a solid movie from Daniel Petrie.

Acting: LIFEGUARD offers several meaningful performances to spectators. In the lead role of California lifeguard Rick Carlson, Sam Elliott is perfectly cast. With his charming drawl, physical presence, and world-weary perspective on life, Mr Elliott makes Rick come alive as a compelling, engaging figure. He has a natural, unaffected presence on film which makes him easy to like. Rick's former high school girlfriend, Cathy, who reappears in his life, giving him another view on life, is well-drawn by Anne Archer. A combination of smarts and sensitivity, Miss Archer's Cathy is an effective foil for Sam Elliott's Rick. The needy, restless Wendy, who takes a shine to the older Rick, is excellently portrayed by Kathleen Quinlan. Miss Quinlan makes her feelings evident to the viewer, and ensures that she has their understanding, which is a mark of an intuitive actress. 

Chris, Rick's offsider lifeguard, is well-played by Parker Stevenson. With his easy-going ways and ready smile, it is regrettable that Mr Stevenson's role is too small in size, nevertheless, he has some pithy scenes in the picture. Rick's friend Larry, played by Stephen Young, is another fine performance in LIFEGUARD. As the supportive, genial Larry, Mr Young captures many different moods and feelings, but his ultimate loyalty to Rick makes Larry a very real personality in the movie. The final acting of note in LIFEGUARD was by Steve Burns as Machine Gun, a young man who trades quips with Rick on the beach. Mr Burns is alive as Machine Gun, his exchanges with Sam Elliott's Rick memorable, making one wish he would have had extra screen time in LIEFGUARD. 

Soundtrack: The use of music in LIFEGUARD assists in creating a soothing, pensive ambiance for viewers which complements the visuals, and pathos the film evokes so well. Dale Menten's ethereal rendition of 'Time and Tide', is featured both during the opening and closing credits, with an instrumental version played at various intervals throughout the film. There is also the notable inclusion of 'Falling in Love with the Wind', performed by Carol Parks. It is utilized during a single scene in LIFEGUARD, but, as in the case of 'Time and Tide', beautifully enunciates the movie's themes, and mirror its likeable, but conflicted protagonist.

Mise-en-scene: What appears onscreen is one of LIFEGUARD's assets as a movie. Ralph Woolsey's cinematography perfectly captures the beauty of the predominate beach setting, lending it a vibrance, and enticing appeal that works. Interiors, such as the Carlson family home, Cathy's place, and Rick's apartment, are well-lit, with appropriate use of darker areas which reflect realistic lighting in these areas. In the opening credits, the title design by Dale Tate is bold and fresh, with the movie's title font in white capitals, in keeping with the casual feel of the film as a whole.

Notable Acting Performances: Sam Elliott, Anne Archer, Kathleen Quinlan, Parker Stevenson, Stephen Young, Steve Burns.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Trailer