INTERVIEW WITH SONGWRITER PETER RAFELSON

I have the immense pleasure today of welcoming a very special guest, songwriter, music producer, writer and musician Peter Rafelson, to CINEMATIC REVELATIONS for an interview. Peter is the son of late film director Bob Rafelson, whose movies included FIVE EASY PIECES, THE KING OF MARVIN GARDENS [my review of the film can be found here], STAY HUNGRY, HEAD, BLACK WIDOW, MOUNTAINS OF THE MOON, and MAN TROUBLE. Today is a very special occasion for Peter and the Rafelson family, and CINEMATIC REVELATIONS, as it would have marked Bob Rafelson's ninety-first birthday, being February 21, 1933. 

Bob and Peter Rafelson

In his career, Peter has written and produced many top-selling songs for artists such as Madonna, Stevie Wonder, Anne Murray, Elton John, and The Bangles, to name several. In addition, artists such as Taylor Swift, Lady Gaga, Beyonce, Robin Thicke, and Pink have all completed their mixing at Peter’s own studios at the record label, RM Records headquarters. In this interview Peter will be discussing his father’s contributions to THE KING OF MARVIN GARDENS, his own thoughts on the movie, and his career in the music industry.

Peter Rafelson

Welcome to CINEMATIC REVELATIONS Peter!

Athan: Your father was the director of THE KING OF MARVIN GARDENS, a 1972 BBS Production which starred Jack Nicholson, Bruce Dern, Ellen Burstyn, and Julia Anne Robinson as the main quartet of characters. What is it that drew him to helming this picture?

Peter: What is most fascinating to understand is that Bob Rafelson and Jake Brackman wrote the script based on their own real life experiences and stories which rather accurately reflected Bob’s personal perspective on his own relationship with his brother. Jake actually grew up in Atlantic City which provided a wealth of information and sources upon which the film would draw.

You may also take note that this is a common theme in a number of Bob’s films: The desire or lack, thereof to have a whole family and brotherly relationship between two broken men who can be loving yet competitive and even deceitful, yet without malice. This need for connection is a complex and rich dynamic that presents many human issues which we may all relate to and find some truths reflected in our own lives… 

Another perfect example of this theme exists in one of Bob’s own favorite works, the much under-recognized and unappreciated epic tale of Burton and Speke – two broken men, great explorers who together forged a brotherly yet troubled love fraught with tenderness, conflict and even a touch of “bromance” as they were the first white men to ever travel to and discover the source of the great Nile River in Africa: “Mountains of the Moon” is an absolute must-see for anyone who missed it.

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Athan: What did your father most like about THE KING OF MARVIN GARDENS as a movie?

Peter: This film stands out in Bob’s repertoire as his quietest drama, departing from the pugnacious toughness that defined much of his work. Bob was drawn to the story's contemplation of the hollowness of American dreams. In this film, he engages with themes of discontent, anger, and the elusiveness of the enterprise of capitalism, showbusiness, and salesmanship. The movie is characterized by its delicate and hushed tone, contrasting with Bob's typically louder and tougher style. I imagine Bob appreciated the film's study in privations: emotions withheld, pay-offs denied, and its introspective examination of two mismatched siblings caught up in the pretence of American society.

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Athan: THE KING OF MARVIN GARDENS featured beautiful cinematography by Laszlo Kovacs, and spotlighted the outdoor locations in a haunting, memorable manner. Scenes such as Jack Nicholson and Bruce Dern conversing on horseback at the beach are dazzling to witness. How did your father feel about these location sequences in the final product?

Peter: In many ways, the dilapidated setting of gloomy Atlantic City boardwalks, empty beaches and failing business was the perfect poetic symbol which represented the characters' own struggles. It harkened back to a day long past when the soul of America was strong and alive. This represents another common theme in Bob’s work: the dysfunctional romanticizing of the failure of the American Dream. Many of his characters feel out of place and out of sync with their own surroundings. I imagine Bob felt that this film captured that essence and sentiment well.

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Athan: Among the works in his filmography, how did your father view THE KING OF MARVIN GARDENS in comparison to his other movies?

Peter: This film was clearly made without any expectation of having great commercial success at the box office. Ironically a few of Bob’s films which were never considered to be commercial have gone on to be regarded and revered as some of the greatest American cinema in history. Bob was a strong believer in the notion that the only opinion to heed, is your own. I think this film was Bob’s chance to create without any restrictions or concerns for financial gain - this allowed him to create his purest most personal and authentic work.

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Athan: When did you yourself first see THE KING OF MARVIN GARDENS, and what impressions did it make upon you as a viewer?

Peter: I was always allowed to see my father while he edited his work or watched dailies. "The King of Marvin Gardens" has left profound impressions on me at different stages of my life, with its sombre meditation on the fragility of the American Dream set against the backdrop of a decaying Atlantic City. It was a departure from the typical Hollywood narrative; the pacing was slow, almost contemplative, which allowed the melancholy to seep through. Jack Nicholson's subdued performance as David Staebler was a stark contrast to his more flamboyant roles, and Bruce Dern's portrayal of the desperately dreaming con artist brother was simultaneously sympathetic and unsettling. The film's exploration of disillusionment and the complexity of familial bonds was haunting, lingering in my mind long after the credits rolled. Clearly I would always relate the events and sentiments to my own personal family. It was not just a movie; it was a poignant reflection on ambition, reality, and the elusive nature of happiness which I have experienced throughout my own life journey and personal family life.

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Athan: Were you present during the making of THE KING OF MARVIN GARDENS? If so, what reminiscences do you have of it in retrospect?

Peter: I was on set in Atlantic City with my sister and mother during the filming – this was a strange wonderland where I was able to explore and experience locations in a very unique and private fashion.  I am actually on camera in the one large crane shot of the crowd dispersing on the boardwalk following the pathetic parade sequence. I can spot my young self with my beautiful late siter, Julie running together - this makes the film rather personal and yet – I see so much of my family and the life we all had in the 70’s – it is always entertaining to watch and reflect back on the curious times – a time-capsule of America and of my own life.

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Athan: Have you kept in contact with any of the cast members from THE KING OF MARVIN GARDENS?

My mother is still quite close with Ellen Burstyn – her son and I are best friends since we were born. On occasion, I still see Jack at family and holiday gatherings. I call him every year on his own birthday. I see Bruce Dern at industry events – nicest guy, you’ll ever meet.

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Athan: When did you first realize that you wanted to be a musician, and involved in the music industry?

Peter: At birth I was diagnosed as a “Rhythm Baby” I grew up in and around a home filled with world famous artists, actors, musicians, creatives and crazy people. At a very young age I was interested in music. I was given many different lessons by many different celebrities and world leaders. I was dyslexic with a gift for learning music. By age of six I was already playing guitar and piano. In 1969    The Monkees group broke up and was disbanded while my parents were at the Cannes film festival accepting the Palme d’Or award with the entire cast of Easy Rider. When a massive truck pulled up to our family home I was eight years old and all alone. The driver asked me where to take all The Monkees' musical instruments – I told him to hide them all in my basement. No one knew for six months while I taught myself to play every single instrument. By age 14, I was already playing in all the top rock clubs in Hollywood. By age 21 I had written and produced hits songs and was playing on many of the hit albums as a studio session player. By age 25 I had the biggest number one #1 hit of Madonna’s as a writer producer - “Open Your Heart” made history as the first #1 Hit song with a songwriter that had no publishing company nor contract. I kept all the rights and decided to just manage my own catalog. The next year I won two ASCAP [American Society of Composers, Authors and Publishers] awards: Writer of the Year and Publisher of the Year. 

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Athan: You have worked with many eminent performers in the recording industry as mentioned at the beginning of the interview. Your collaboration with Madonna in “Open Your Heart” was a blockbuster, hitting number one, among your many musical successes. For you as a songwriter, what was your feeling at the time when the song achieved this status?

Peter: This is an interesting back-story. I spent a year waiting for moments to go into a big studio owned by someone who promised to get my demo to Cyndi Lauper. They failed miserably and I was distraught – when I finally was finishing the mix I saw a box with a tape that they were sending to a Warner Bros. Records artist’s manager. They refused to include my demo and I left with my cassette copy of the song, very sad – that night I put on gloves and a ski mask and broke into the studio where I added my own song to their tape and I never told a soul. When they were contacted, they were told they had one of their own songs chosen by the hit artist Madonna and they were all excited.  

What nobody realized was that the song she picked was the last song on their tape – however I never told them my song was the last song added. The hardest thing I ever did was to keep quiet for an entire year without telling anyone what happened – finally Madonna’s album, True Blue was released, and I had the fourth single, “Open Your Heart” which became her biggest hit. Thirty million copies later, it’s all history. To answer your question, when the song went to number #1 the entire journey and fate of my life was like a dream that has never ended – small moments, small choices, small decisions which changed the course of the universe – bigger than anyone can ever understand. Magic is real and determination is rewarded.

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Athan: Was there one instance in your musical career, be it in the music industry, film or television mediums, when everything came together faster than initially expected, and surprised even yourself when this occurred?

Peter: I never was surprised because I spent my entire life preparing for the moments of which you ask.  10,000 hours to master a single skill – this is not just a saying – and I mastered a few – so when you put in the time and work it is literally decades of dedication all to be ready for a single moment – I believe one needs to be a bit crazy to believe that the moment you were always waiting for will come – don’t be afraid of living a bit crazy and be ready when your moment comes.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Peter: After having thirty-one #1 songs to my name, perhaps my most ambitious legacy is DigiRAMP.com – a technology that will change the work and give every person the tools to manage and control their own rights and value. I always have no less than 10 projects in the works.  Here’s a short list of just a few companies and projects I am currently developing:

https://linktr.ee/peterrafelson

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Thank you so much today for your time Peter, and for the insight you have provided into Bob Rafelson, THE KING OF MARVIN GARDENS, the art of music, songwriting, and musical collaborations. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Peter Rafelson links

*RMC Sites & Links to Rafelson info and companies:

http://www.peterrafelson.com - personal credits/bio

http://www.rafelson.com          - corporate

http://www.rmcstudiogroup.com - recording/mixing studios

http://www.rmrecords.com      - record label #1

http://www.4screenent.com - record label #2

http://www.digiramp.com          - rights and assets management

http://www.musicintofilm.com - music licensing

http://www.electrolizard.com    - supervision/placement

http://www.digitalpostlounge.com - post & facilities

http://www.activatehervoice.com - female empowerment

http://www.rmc360.com - VR content production 

http://www.electracast.com - podcasting & audio-first network

+Peter Rafelson official website

+Peter Rafelson IMDb page

+Bob Rafelson IMDb page

+THE KING OF MARVIN GARDENS IMDb page

 

A COLD WIND IN AUGUST (1961)

Title: A COLD WIND IN AUGUST

Year of Release: 1961

Director: Alexander Singer

Genre: Drama

Synopsis: A young man living in an apartment building falls for an older woman also residing there, unaware that she is a stripper.

Within a film history context: Movies which feature a female stripper as a main character have been quite common in film history. Many of the early depictions downplayed the stripper aspect, portraying characters as exotic dancers, in keeping with the film censorship of the times. One of the first to deal with the topic was Steve Sekely's MIRACLE ON MAIN STREET (1939). A stripper trapped in a bad marriage dabbles in crime with her husband, but meets another man, who helps change her life around. In contrast, LADY OF BURLESQUE (1943), directed by William Wellman, was of a suspense orientation. When members of a burlesque troupe begin to end up dead, one of its main performers investigates the murders of her fellow performers. Richard Fleischer's ARMORED CAR ROBBERY (1950), featured a scheming stripper involved in adultery, and deception in this film noir. CITY THAT NEVER SLEEPS (1953), directed by John Auer, was another film noir. A married policeman's life unravels in dramatic fashion, largely thanks to his stripper girlfriend, who has her finger in many pies. Joseph Newman's THE HUMAN JUNGLE (1954), also traded in suspense. The killing of a stripper is the impetus for an investigation into this crime, with another stripper involved in all the mayhem. 

Exploitation feature NAUGHTY NEW ORLEANS (1954), directed by Sidney Baldwin, had a stripper character as its core, and how her boyfriend discovers her true occupation in the most unexpected way. Victor Vicas' character study THE WAYWARD BUS (1957), included a stripper among the characters in this drama. SCREAMING MIMI (1958), directed by Gerd Oswald, was a florid tale of a stripper plunged into a world of madness and murder by a crazed psychopath. Another film with crime leanings was Samuel Fuller's THE CRIMSON KIMONO (1959). When a stripper is murdered in Los Angeles, this precipitates a chain of events in the lives of two detectives investigating this case, and how their love lives become entangled in the process. In contrast, EXPRESSO BONGO (1959), directed by Val Guest, had a stripper main character who was the girlfriend of the film's central protagonist, an unscrupulous talent agent seeking to exploit others at whim. A COLD WIND IN AUGUST was a prime example of a movie which had a stripper character as the central focus of the picture.

In movies such as CITY THAT NEVER SLEEPS and THE WAYWARD BUS, the stripper was a supporting character if anything. THE HUMAN JUNGLE and THE CRIMSON KIMONO, in comparison, were unique in that the respective stripper's death initiated the action in the narrative, being the search for her killer. On the other hand, the stripper characters in these were more a plot device than fully fleshed out characters. Some insight was provided into them, but it could be said that they were a gimmick to utilize, and dispose of for the sake of storytelling. A COLD WIND IN AUGUST had more in common with those examples where the stripper was front and center of the action, such as MIRACLE ON MAIN STREET, LADY OF BURLESQUE, NAUGHTY NEW ORLEANS, and SCREAMING MIMI. These movies dealt at length with their stripper protagonist, and the films themselves were consumed with their passions. Other facets of A COLD WIND IN AUGUST are interesting to note.

A COLD WIND IN AUGUST diverted from those entries where suspense was the order of the day, such as in SCREAMING MIMI. It concentrated upon the domestic view of the stripper's life, something slightly shared with NAUGHTY NEW ORLEANS. A COLD WIND IN AUGUST, though, could be seen as the most down-to-earth in terms of the treatment of its female stripper character. There was little, if any melodrama, or sensational events. Criminals and murderers did not have a place in the story. A COLD WIND IN AUGUST was the most character-driven of all the films about a stripper, and this sense of reality was one of its refreshing aspects. It traded in interpersonal relationships, self-respect, the world, and a woman's place in this. There was also a domestic setting which the other films, by and large, did not possess, thus, the character's private life was seen in greater detail. A full-blooded interpretation of a stripper, A COLD WIND IN AUGUST is the most down-to-earth of all the movies in this category.

Overview: Alexander Singer was an American director who helmed five feature films in his career. The majority of these centred upon their female characters, and their interactions with the opposite sex. Mr Singer presented their flaws, foibles and strengths, warts and all for viewers to sympathize and understand, if not necessarily to agree with. Alexander Singer was particularly adept at showcasing actresses in strong roles. Mr Singer's second movie, PSYCHE 59 (1964), was an elegant, suspenseful drama about a woman's loss of memory, and the impact this had on her life, and that of her sister and husband. Patricia Neal was a standout as the pained woman, with Samantha Eggar as her equally complex sister. Next came LOVE HAS MANY FACES (1965). A picture-perfect romance tale of a woman suspected of a crime in Acapulco, it was an attractive, if labored movie, notable mainly for the expensiveness of Lana Turner's wardrobe.

Mr Singer's fourth movie, and entirely different from his others, was CAPTAIN APACHE (1971). A western about an American Indian, and his involvement in political intrigue, was a change of pace, albeit not a successful one. Lee Van Kleef, Stuart Whitman, and Carroll Baker did their best to bring the film to life, but it was not enough to save it. Alexander Singer's final feature, GLASS HOUSES (1972), was the story of a California family on the brink of breakdown. Mr Singer's best film, an unjustly forgotten, and original movie with much emotional detail and nuance, unfortunately, has all but disappeared from view. As Alexander Singer's directorial debut, A COLD WIND IN AUGUST again concentrated upon a female protagonist, and was a passable first effort. 

With A COLD WIND IN AUGUST, Alexander Singer has made a watchable, if at times sluggish, movie. Taking as its focus a strong female character, in this case, a stripper, and exploring her personal, and professional lives in an intimate manner for the viewer, it is as its best in these moments. One essential facet raises the film considerably, though. It is careful to depict its protagonist as a fully three-dimensional person, and the stripper aspect is but a small part of the entire picture. There is no exploitation of the stripper angle, instead, concentrating upon how the woman in question, Iris, is trying to put the pieces of her life together, but how her former occupation comes back to haunt her. The movie shows just one scene in the burlesque house, and this is to its credit. A lesser filmmaker would have taken an opposite approach, and used the stripper segments for titillation purposes, While the film is to be applauded for this move, there are deficiencies in the picture which do hamper it as a whole.

Apart from its clearly defined central character, A COLD WIND IN AUGUST also does the same with its lead male Vito. To a degree this works in establishing a background for him, but many of the scenes with him are less than compelling. The segments where he is shown relating to other young people of his age group seem a little too much like filler. These do display his somewhat shifty attitudes, but the dramatic punch is not there. The movie carries weight in the most heated moments, such as the difficulties which arise in Vito and Iris' May-December romance, but these are separated in many instances by sequences of lesser impact. Presumably this was to balance the narrative overall in terms of peaks and valleys, but it thereby stagnates at these times. An uneven but sincere attempt at a study of a female stripper, A COLD WIND IN AUGUST is a satisfactory picture.

Acting: A COLD WIND IN AUGUST has several stimulating performances. In the lead role of Iris Bradford, Lola Albright is excellent. Miss Albright makes Iris fully understandable to the audience, with her thoroughly engaging presence the main reason to view this movie. As the object of her longing, Vito, Scott Marlowe complements Lola Albright well. Playing someone younger than his actual years, Mr Marlowe brings a boyish vigor, and charming awkwardness to the role which works. Vito's father Papa Pellegrino is made memorable by Joe De Santis. Mr De Santis' serene, humorous voice of reason meshes seamlessly with Scott Marlowe, and the two actors even have a slight resemblance which bodes well for their roles as father and son.

Soundtrack: Gerald Fried's music in A COLD WIND IN AUGUST adds an immediacy, and freshness, to scenes. The jazzy score complements the film's stronger, racier stretches, but also, quieter music works to emphasize the moments of reflection in the movie. 

Mise-en-scene: Care has been taken in creating a convincing onscreen world in A COLD WIND IN AUGUST. Floyd Crosby's black and white cinematography suits the material, giving it a starkness which works in light of the picture's treatment of desire and sexuality. In terms of interiors, Iris' apartment is attractive without seeming unrealistic, and offers a clear view of the action to spectators. The opening credits are innovative, comprising sketches which leave no doubt as to the occupation of its main character, and the content of the movie. Costuming by Norah Sharpe for Lola Albright offers an expansive view of its character, from formal attire, to more casual wear, in keeping with what is required in the scene. In addition, these clothing selections lend Iris a mystique which befits her role as a tigress. Ted Towey's wardrobe for male characters reflects their respective socioeconomic levels and mindsets, such as Vito's youthful choices in clothing. 

Notable Acting Performances: Lola Albright, Scott Marlowe, Joe De Santis.

Suitability for young viewers: No. Adult themes, low-level violence.

Overall Grade: C

Link: IMDB Page

EXPLOSION (1969)

Title: EXPLOSION

Year of Release: 1969

Director: Jules Bricken

Genre: Drama

Synopsis: A disturbed young man teams up with a hippie in order to avoid being drafted for Vietnam, but his fragile emotional state, and actions, causes his friend no end of angst.

Within a film history context: Movies which explore post-traumatic stress disorder (PTSD) as a result of military participation have been around for many years onscreen. One of the first was William Dieterle's THE LAST FLIGHT (1931). Young veterans from World War I spend their hours whiling away time in Paris, drinking excessively to dull their pain, and become involved with a woman, among their exploits. William Dieterle also directed another film about PTSD, being I'LL BE SEEING YOU (1944), this time, with an American setting. In this movie, a man suffering from shell shock falls for a woman just released from prison to spend time with family at Christmas, but her past may get in their way in this sentimental romance. Edward Dmytryk's TILL THE END OF TIME (1946), concentrated upon several World War II veterans, and the difficulties they faced in coming to terms with their lives as civilians. One of the most famous films dealing with returning veterans was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. A touching exploration of veterans, and their return to society, albeit with great hurdles, it was one of the highest-grossing films of the decade, and a triumph for all involved. Anthony Kimmins' MINE OWN EXECUTIONER (1947), featured a character who suffered from psychological trauma after being trapped in a Japanese prisoner of war camp. 

At the beginning of the 1950s came one of the most famous films dealing with PTSD, being THE MEN (1950), directed by Fred Zinnemann. Focusing upon a World War II army veteran who lost the use of his legs after being shot in the spinal region, and his relationship with his fiancée, it gave Marlon Brando a meaty part as the young veteran. Another closeup of emotional issues caused by war could be found in Fred Wilcox's SHADOW IN THE SKY (1952). Here, a man has been placed in a mental facility as his psychological issues have taken over his life, but his return to society is successful in the end. 5 AGAINST THE HOUSE (1955), directed by Phil Karlson, had a character who suffered from PTSD after his stint in the Korean War. On the other hand, Richard Thorpe's TIP ON A DEAD JOCKEY (1957) showed how a man who fought in the Korean War experienced PTSD, manifested in his behaviour, such as divorcing his wife, and falling into drink and gambling. The real-life story of American Indian Marine Ira Hayes was dramatized in THE OUTSIDER (1961), directed by Delbert Mann. In this film, Mr Hayes' depression after serving in the Marine Corp during the Iwo Jima battle, and subsequent alcoholism, were spotlighted, with Tony Curtis in the lead role. A rare film dealing with PTSD was Bobby Davis' A TORN PAGE OF GLORY (1968). Concentrating upon the problems of Vietnam veterans, and the emotional upheaval they experienced, it was mainly notable for starring Aldo Ray in the central role. EXPLOSION was an entirely different view of PTSD than previous entries for one striking reason.

All the films above had a protagonist who directly suffered from PTSD after serving in a war, with THE LAST FLIGHT, TILL THE END OF TIME, THE BEST YEARS OF OUR LIVES, and A TORN PAGE OF GLORY containing a number of male characters in this predicament. The lead character of EXPLOSION, though, did have PTSD, but did not himself serve in the Vietnam War. His PTSD was as a consequence of the death of his brother, who fought in the war, but died in combat. This was one of the rare occasions when the impact of the death of a family member from war was explored in cinema, and how it manifests in the younger brother's emotional problems. In the other films, the reactions of family members to the veteran's return are of a supporting, or secondary nature, to the lead's emotional issues. In EXPLOSION, the brother's feelings about his older brother's death, coupled with a cold and domineering father, and the absence of his mother, take center stage. These conditions are seen to create a combustive atmosphere for the young brother, who cannot come to terms with the loss of his sibling. It is a unique view of PTSD, and the consequences of war, which far too often is overlooked with an emphasis on the direct impact of war on the particular soldier. A striking view of PTSD, EXPLOSION is an underrated examination of this in film. 

Overview: Jules Bricken was an American director of three motion pictures in his fifteen-year career. He was more active on television, directing and producing episodes of prime-time television such as The Ford Theater Hour, Four Star Playhouse, The Ray Milland Show, Studio 57, Naked City, and Dr. Kildare. His first film, DRANGO (1957), was a western about a remorseful man who becomes governor of a city, but was involved in unrest which caused death and destruction, unbeknownst to the city's citizens. In Mr Bricken's final movie, DANNY JONES (1972), a young Welsh man wants to make his mark on the world, rebelling against his father in the process. EXPLOSION was Jules Bricken's second picture, and a very good effort.

With EXPLOSION, Jules Bricken has crafted an original, haunting film. Following the life of a young man mourning the loss of his brother in Vietnam, and the fallout from this event, it is an unusual, yet oddly compelling tale. From the outset, the narrative appears to be constructed in a loose manner, the chain of events not organized in an obviously logical way, but as the picture unravels, this is dispelled. It does feel as if it has been slapped together in the first half, but this is just an example of its freeform, labyrinthine structure which keeps one guessing. EXPLOSION picks up considerably in its second half, with the elements coming together in a most unexpected way. All the pieces of narrative and character information which the movie gradually releases begins to make sense, providing insight into its tortured protagonist, and why he acts and feels the way he does. This is admirable to witness, but in pursuing a fluid sequence of events in its structure, EXPLOSION misses out on important plot points which would have further boosted the picture.

Alan's father Mr Evans has an important place in the movie in its first half, but in the second is largely nowhere to be seen. His callous and indifferent treatment of his sons, which leads his eldest to fight in Vietnam to keep up appearances of a wealthy family, is quite powerful, but his no show later in the story is a letdown. Having Alan's psychiatrist Dr Neal function as a surrogate father does fill the void, but hearing Mr Evans' reaction to Alan's plight would have added immeasurably to the film. As with Mr Evans, Peter's girlfriend Doris is prominent in the initial part of the film, and has a telling scene with Dr Neal, but, again, she disappears. While EXPLOSION emphasizes the interaction between Alan and friend Richie in the picture, which is not to its detriment, Doris' role in the film subsequently takes a back seat. There was more that could have been explored here, as her sorrow at Peter's passing was strong. In saying this, it is clear that the director has tried something different here with his work on the effect of war, in this case the Vietnam War. An underappreciated movie about a topic which still burns today, EXPLOSION is a proficient film about war, and those it directly touches.

Acting: There are four performances in EXPLOSION which are worthy of mention. In the lead role of Alan, a young man who misses his older brother, and who turns his life upside down in the process, Gordon Thomson does well. An actor who later cornered the market on television with his portrayals of men in fraught relationship with their fathers on serials Dynasty and Santa Barbara, here he does likewise, with his clean-cut looks and sinister edge making Alan a compelling figure. As Alan's friend Richie, Don Stroud once again brings his special presence to bear on EXPLOSION. There is a chemistry between Alan and Richie, and Mr Stroud's humanness, and empathy, brings forward another perspective on Alan. The girlfriend of Alan's brother, Doris, is a distinctive part for Michele Chicoine. Although her role in the movie is limited, she does have some strong moments not only with Alan but also, Alan's therapist, Dr Neal. Aside from Richie, Dr Neal is another sympathetic figure in EXPLOSION. Richard Conte makes every second count as the pained psychiatrist who tries to help his patient Alan, but is hindered by circumstances beyond his control. 

Soundtrack: In terms of its soundtrack, EXPLOSION does a creditable job in this arena. The movie commences, and concludes with song 'Little Boy', performed by Robin Ward, with lyrics by Sol Kaplan, and William McCallay. It utilizes the late 1960s/early 1970s feature of a theme song at both the beginning, and end of a film, with what has been learned by the viewer between both points in time. Aside from this, Sol Kaplan's score emphasizes the tense nature of the story, and the central character's emotional mood swings, and deadly outbursts, with style. 

Mise-en-scene: EXPLOSION offers an effective onscreen experience for viewers. Cinematography by Joseph Brun captures both indoor scenes with ease, and the many outdoor sequences have an immediacy about them which invites belief in the story, and its characters. Bruce Grimes' art direction creates a world of contrasts with the stifling, gothic, dark atmosphere of the Evans family home, and the freedom of the outdoors, where Alan comes unstuck. Costume design by Ilse Richter is also another asset, with the formal attire adorned by Alan, his father, and doctor compared to the hippie clothing worn by Richie, inviting non-verbal comparisons between these characters, and their socioeconomic level. 

Notable Acting Performances: Gordon Thomson, Don Stroud, Michele Chicoine, Richard Conte.

Suitability for young viewers: No. Adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

Trailer