THE HOLLYWOOD KNIGHTS (1980)

Title: THE HOLLYWOOD KNIGHTS

Year of Release: 1980

Director: Floyd Mutrux

Genre: Comedy, Sex Comedy, Teen Comedy

Synopsis: A night in the life of The Hollywood Knights car club members in 1965 Beverly Hills.

Within a film history context: Teenage sex comedies were highly visible on cinema screens in the 1980s. While sex comedies have been present since the beginning of cinema, the 1980s had a large number of teen-oriented films, of varying degrees of quality. The push to bring younger viewers into the cinema, coupled with a new generation of talented performers and personnel, seeking to 'speak' the language of this audience, was the impetus for this genre. There were many examples of these over the decade, but for the sake of brevity, some main examples which appeared onscreen until 1984 will be highlighted. PRIVATE LESSONS (1981), directed by Alan Myerson, was about a French housekeeper who looks after a businessman's son for the summer, emphasizing sexuality and coming of age themes. It was successful at the box office, which may have been partly attributable to Miss Kristel's reputation from her appearances in the EMMANUELLE erotic comedy franchise. 

Definitely one of the most famous, if bawdy teen comedies was the PORKY'S series, beginning with PORKY's in 1981. Directed by Bob Clark, this first instalment was a hugely profitable movie that spawned two less successful sequels. Its unabashed raunchiness pushed the boundaries of teen sex comedies at the time, and inspired many imitators. 1982 brought the less saucy, but still raucous FAST TIMES AT RIDGEMONT HIGH, directed by Amy Heckerling. With a number of actors in early roles such as Phoebe Cates, Jennifer Jason Leigh, Sean Penn, and Judge Reinhold, it was a blend of comedy and drama, more topical in nature than the other films, but still with teen themes and situations. Further films showcased the teen sex theme in different ways. Robert J. Rosenthal's ZAPPED! (1982), had a young teenager with telekinetic powers use his gift for comical revenge purposes. It was another successful movie which had a later sequel in 1990. 

One of the most fondly remembered sex comedies was RISKY BUSINESS (1983), directed by Paul Brickman. More subtle in manner than the all-out films such as PORKY'S, it made a big star of its lead actor, Tom Cruise, apart from grossing a very healthy profit. Nostalgia received another workout in Rafal Zielinski's SCREWBALLS (1983). Set in the 1960s, it was about high school students and their shenanigans. As with the majority of these films, it also was a financial success, if critically shunned. In the manner of PRIVATE LESSONS, MY TUTOR (1983), directed by George Bowers, was another spicy entry in the genre. The story of two young men vying to lose their virginity, with one becoming involved with his alluring French tutor, was a money-making film for Crown Productions. Equally ribald, but in a broader comic manner, was Chuck Vincent's HOLLYWOOD HOT TUBS (1984). Following a young man who works by repairing the hot tubs of the affluent and wealthy in Hollywood, it had a number of funny sequences alongside the more risqué stretches. THE HOLLYWOOD KNIGHTS was among the first teen sex comedies in 1980, but one of the most inadequate.

All the teen sex comedies had sexual content of varying degrees in their narratives, some more overt than others, with PRIVATE LESSONS and MY TUTOR prime examples. The vast majority of these films were generally centered on one male character, following the course of his life in the film. Those in this vein included PRIVATE LESSONS, RISKY BUSINESS, MY TUTOR, and HOLLYWOOD HOT TUBS. In these instances, young men are brought out of their shell by an experienced female character, who in many cases, was older than them. FAST TIMES AT RIDGEMONT HIGH was an oddity among teen sex comedies as it balanced both male, and female characters within its context. It is also notable as an example of a multi-character film, something shared by THE HOLLYWOOD KNIGHTS, but the similarities with that picture end there. 

FAST TIMES AT RIDGEMONT HIGH defined its characters clearly, and the viewer could easily identify with them. One became acquainted on a micro-level with them, and why they acted as they did. THE HOLLYWOOD KNIGHTS, on the other hand, had a greater quantity of characters, but lacking individuality in this way. They were young men seeking to raise hell, but just for the sake of it. The vast majority of male characters were, in effect, interchangeable as characters, and negligible in the final analysis. At first glance, the closest example to THE HOLLYWOOD KNIGHTS would appear to be PORKY's, with its many male characters, and attention to sexual matters. PORKY's, at the very least, had the grace of making its characters more distinct, and exhibited a more coherent storyline, something which THE HOLLYWOOD KNIGHTS could not accomplish. A low-grade entry in the 1980s teen sex comedy genre, THE HOLLYWOOD KNIGHTS is a lackluster movie.

Overview: Floyd Mutrux is the director of five feature films over twenty-three years, his first being released in 1971, and his final one in 1994. Mr Mutrux's films display a partiality for 1950s and 1960s Americana, and penchant for nostalgia. His inaugural movie, DUSTY AND SWEETS MCGEE (1971), was a drama about two young drug addicts in Los Angeles, roaming the streets, and documents their lives. Floyd Mutrux's second picture, ALOHA, BOBBY AND ROSE (1975), was an uneven, but perceptive account of love between a car mechanic, and a fast-food waitress, which rang the box office bell in its time. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. Mr Mutrux's final movie, THERE GOES MY BABY (1994), was another foray into 1960s America, this time charting the lives of several Los Angeles high school students, and their reactions to events in the society of the time. As his penultimate picture, THE HOLLYWOOD KNIGHTS was another of Floyd Mutrux's box office hits, but, in light of his other movies, not a sterling effort.

Floyd Mutrux has made a disappointing film with THE HOLLYWOOD KNIGHTS. A tale of rebellious car club members on Halloween Night, 1965, and their assorted escapades and pranks, particularly targeting the police force, it is a dispiriting viewing experience. It has nothing in common with Mr Mutrux's other films, which, despite their faults, did have a semblance of a solid storyline, and something to savor in terms of emotional force. ALOHA, BOBBY AND ROSE, and AMERICAN HOT WAX are prime examples of this, both having the courage of their convictions. With THE HOLLWOOD KNIGHTS, the emotional impact is largely not present, and blunted, with the picture's insistence on showcasing unfunny, cruel, and demeaning lowbrow humor. The concentration on sexuality also becomes boring very quickly, as it is antic based, rather than coming from the heart. Explorations of sex, and its humorous angles come part and parcel in teen sex comedies, but here have been delivered in such a frenetic manner, one resorts to headshaking at the pace of it all.

THE HOLLYWOOD KNIGHTS maintains things on a superficial level almost throughout its entire running time, and this saps the film of depth which would have added much-needed pathos to the proceedings. The film, for example, is at pains to present the friction between The Hollywood Knights and the police, but it just adds up to a collection of stunts, without ever delving into why this situation developed in the first place. The adulterous liaison of Jacqueline Freedman and Nevans has its amusing passages, but one never finds out why they are so attracted to each other. The parts of the movie which, on the one hand, seems out of place with the hive of activity, but have emotional strength, are the romantic issues of Duke and Suzie, and Duke's friendships with Jimmy, and mechanic Smitty. These moments are true to life, and stand out for their realism in a film given to being a den of iniquity. Jimmy's upcoming tour of duty in Vietnam is a great scene in the film, leaving one hoping to know what happened to him, but this is never resolved. Unfortunately, these meaty segments are too few and far in between, resulting in a lopsided picture. One of Floyd Mutrux's less accomplished movies, THE HOLLYWOOD KNIGHTS stands out for all the wrong reasons as a dismaying film. 

Acting: There are several performances which are worthy of mention in THE HOLLYWOOD KNIGHTS, these standing out despite the movie's overwhelming push towards vulgarity. As the oversexed Jacqueline Freedman, one of the opponents of The Hollywood Knights, Leigh French is extremely amusing. With her high-pitched voice, and expert comic delivery, Miss French makes whatever she does, or says funny. She recalls comedian Alice Pearce from cinema, and television series Bewitched as the first Mrs Kravitz. The highly put-upon Dudley is made memorable in the capable hands of Stuart Pankin. His penchant for the English language, and participation in various zany escapades, make Mr Pankin another of the film's comic assets. At the opposite end of the spectrum, the owner of Smitty's car repair shop, Smitty, is given depth and realism by James Jeter. A character actor whose presence adds an authenticity to this part of the picture. Mr Jeter is perfect. Three other actors contribute great performances in THE HOLLYWOOD KNIGHTS.

As the former Hollywood Knights member Duke, in love with Suzie Q, Tony Danza turns in a sincere rendition of a young man trying to make the best of his life, and sharing this with the woman he loves. With his enthusiasm and hopefulness, Mr Danza ensures the audience is on his side. The object of his affections, Suzie Q, is also given intensive treatment by Michelle Pfeiffer. Possessing an ethereal presence, Miss Pfeiffer, as with Tony Danza, makes the trials of Duke, and Suzie Q, a great story thread in the movie. The final acting of note was by Gary Graham as Jimmy, Duke's friend headed to Vietnam. Mr Graham makes Jimmy a very real and three-dimensional person with his incisive acting, and reactions, convincing the viewer of his predicament, being that he may not return after his tour of duty.

Soundtrack: The soundtrack of THE HOLLYWOOD KNIGHTS is dotted with many rock and pop hits of the 1960s in both a diegetic, and non-diegetic sense. These are often played in brief as background noise, but are evocative of the 1960s. Tunes include 'California Dreamin', by the Mamas and the Papas, 'Big Girls Don't Cry', by The Four Seasons, and 'In the Midnight Hour', by Wilson Pickett, to name a few. The closing credits are accompanied by 'Hollywood Knights', sung by Brooklyn Dreams, summing up the adventures of the characters as witnessed by spectators in THE HOLLYWOOD KNIGHTS.

Mise-en-scene: THE HOLLYWOOD KNIGHTS has certain virtues on a visual level which cannot be disputed. Cinematography by William A. Fraker is well-measured for a movie which is set in the 1960s, with a nostalgic feel for the era, and, thankfully, without being overly colorful or bright. Art direction by Lee Fischer deftly creates a world that the characters inhabit, with the drive-in, and Smitty's repair shop some of his best set pieces. Darryl Levine's costume design is sound, especially notable are the jackets worn by the Hollywood Knights, seeming of the 1960s.

Notable Acting Performances: Leigh French, Stuart Pankin, James Jeter, Tony Danza, Michelle Pfeiffer, Gary Graham.

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

Overall Grade: D

Link: IMDB Page