WALL OF NOISE (1963)

Title: WALL OF NOISE 

Year of Release: 1963

Director: Richard Wilson

Genre: Drama, Sport

Synopsis: An ambitious horse trainer's problems on the track extend into his busy personal life, especially with the opposite sex.

Within a film history context: Films which have a horse trainer as their central character have been quite sporadic in cinema history. One of the first major examples was Milton Carruth's BREEZING HOME (1937). The trials and travails of a horse trainer who falls in with some unscrupulous types, but is not drawn into their machinations, were the focus of this movie, along with the lead's romances. SPEED TO BURN (1938), directed by Otto Brower, had a young adult horse trainer who goes through a number of perilous situations, and encounters surly people, in order to see his horse run in the race. S. Sylvan Simon's SPORTING BLOOD (1940), starred Robert Young as a complicated young man who returns to his home town, and seeks to train a horse for a race. He finds not only support and romance, but also, misgivings on the part of others, due to his father's past. HOME IN INDIANA (1944), directed by Henry Hathaway, had an impulsive young man train horses, but not without distraction from the young women who seek to attract, and win his attention. Clarence Brown's NATIONAL VELVET (1944), was the classic story of a budding young equestrienne, and her association with a footloose young man, who together aim to train her horse for a major English racing competition. 

With THE RED STALLION (1947), directed by Lesley Selander, a young boy trains a horse in order to assist his grandmother with her expenses, but finds some nice surprises along the way in his journey. Joseph Newman's THE GREAT DAN PATCH (1949), was based upon the real-life story of racing horse Dan Patch, and his trainer's difficulties not only with the equine but also, his personal troubles. THE STORY OF SEABISCUIT (1949), directed by David Butler, was another example of a true story adapted for the screen. Here, the real-life racing exploits of horse Seabiscuit are the focus, with a trainer's niece falling for a jockey in this family movie. Frank Capra's comedy RIDING HIGH (1950), followed a man whose family want him to take a conventional route in life and participate in the family business, but whose heart lies in horse racing. WALL OF NOISE was one of the most serious of the entries about a horse trainer compared to other examples.

Several of the films, such as SPEED TO BURN, HOME IN INDIANA, NATIONAL VELVET, and THE RED STALLION, featured young adults who trained horses. These largely eschewed romantic subplots, with the exception of HOME IN INDIANA, and were of a family orientation. There was also a subtle coming of age theme present in these pictures, with the young men in question finding not only themselves but also, their purpose in life. WALL OF NOISE was allied more to the films which had an adult horse trainer, with BREEZING HOME, SPORTING BLOOD, THE GREAT DAN PATCH, THE STORY OF SEABISCUIT, and RIDING HIGH. Where WALL OF NOISE diverted was in its mature, intricate storytelling style, where sentimentality was not a presiding feature of the movie. The happy feelings evoked by RIDING HIGH, for example, were not present in WALL OF NOISE, with this film's emphasis of a dramatic nature. This is obvious in many areas of the movie. 

The horse trainer in WALL OF NOISE, Joel Tarrant, was uncompromising, and unsparing in his devotion to his sport, despite the many pitfalls it possesses for him. This gave WALL OF NOISE a harder, more compelling edge which the more conventional narratives could not offer. The other characters in the picture were similarly three-dimensional in their presentation, ensuring that the movie was geared to appeal to an adult audience, rather than to younger viewers. Romance is an area which WALL OF NOISE does not enter, keeping matters on a less mawkish level. Joel does have two dalliances with women in the film, but these exhibit the character's dispassionate feelings towards the opposite sex, not utilizing a softer approach in this arena. An intelligent examination of a horse trainer, and his dealings with those in this set, WALL OF NOISE is a perceptive movie.

Overview: Richard Wilson was an American director of eight motion pictures in his career over a fifteen-year period, from 1955 until 1970. His movies were mainly dramas, with two westerns, and several crime pictures among these. Mr Wilson's first movie, MAN WITH THE GUN (1955), was a western about a mysterious man who arrives in a small town, seeking to restore law and order. In crime drama THE BIG BOODLE (1957), a blackjack dealer is caught in a web of corruption and deceit linked to counterfeit money. Film noir was on the agenda for Richard Wilson with RAW WIND IN EDEN (1958). The arrival of a model, and her friend on a remote Mediterranean island causes waves for a man and his daughter, specifically of the romantic kind. AL CAPONE (1959), was the director's interpretation of the life of the infamous gangster, charting his ascent as crime kingpin, to his jailing. Aside from providing Rod Steiger with a showy role as Al Capone, it was one of the most popular films of its year. 

Crime once again was the focal point of PAY OR DIE! (1960). The career of real-life New York City police officer Joseph Petrosino was examined, particularly his fight against the Manhattan Black Hand racket of the early 1900s. Western INVITATION TO A GUNFIGHTER (1964), followed a gunfighter returning to his home, and finding himself not only without his home but also, marked opposition to his presence on a large scale by the town's inhabitants. THREE IN THE ATTIC (1968), was in contrast to Mr Wilson's other movies. A Don Juan romances three young women simultaneously, but their discovery of his activities leads them to lock him in an attic, where they take turns at having their way with him. Though not critically acclaimed, it was nevertheless a financial success for American International Pictures. WALL OF NOISE was Richard Wilson's sixth picture, and one of his most solid efforts.

With WALL OF NOISE, Richard Wilson has made a smoothly executed, nifty film. Taking the horse racing industry as its centerpiece, especially concentrating upon its lead character, driven horse trainer Joel Tarrant, and the assorted colorful people he encounters, it is a crisply made picture. The director has ensured that the story follows a logical and interesting course, with many surprising twists and turns throughout its running time. Scenes are all perfectly timed and never rushed, the viewer finding out exactly what the characters want, and why. Their passions are all real, and understandable. Some personalities in the movie may appear all bluster on the surface, but the screenplay assists the spectator to look deeper into what motivates these people. Aside from this, the background details of the horse racing industry itself are fascinating to witness, as are the wheeling and dealing to which many of the characters are given. It is obvious that time and effort have gone into research to make the movie as authentic as possible. An insightful peek into the racing world, WALL OF NOISE is an entertaining motion picture from director Richard Wilson.

Acting: WALL OF NOISE has stimulating performances which make the movie an enjoyable experience. In the lead role of Joel Tarrant, hard as nails horse trainer, Ty Hardin is excellent. A handsome actor with a surprising vulnerability which is displayed at just the right time in the film, his acting is strong here. The married woman who turns Joel's head, Laura Rubio, is given shading and humor by Suzanne Pleshette. A lovely actress with a knack for creating mysterious, but earthy heroines, Miss Pleshette's smoky voice and poise remain in the memory. The charismatic, complicated Matt Rubio, construction mogul and racing dabbler, is a sublime turn by Ralph Meeker. Flashing his ever-ready smile, spouting his endless list of schemes, and witty comebacks, Mr Meeker's Matt is a fascinating presence in WALL OF NOISE. Four other performances deserve mention in WALL OF NOISE.

Barnstorming modelling agency owner, and horse enthusiast Johnny Papadakis, is played with vigor by Simon Oakland. With his volatility and cutthroat ways, Mr Oakland turns what could have been a caricature into a distinctive persona. Joel's erstwhile flame Ann is given nuance and depth by Dorothy Provine. Although never a victim who takes things lying down, Ann is hard done by several people in the film, and ably captures the audience's sympathy, ensuring that they are rooting for her to have a happy ending. Spunky jockey Bud Kelsey, who takes a protective stance towards Ann, is given oomph by Jimmy Murphy. With his readiness to defend and attack, and ability to stand up for himself unequivocally, Mr Murphy offers a punchy interpretation of the lively jockey. The final acting of merit was by Murray Matheson as Jack Matlock, Joel's confidant. With his quiet, yet worldly, and philosophical ways, Mr Matheson adds a touch of class, and international pizazz, to WALL OF NOISE.

Soundtrack: William Lava's score is pleasing, adding just the correct amount of boldness, and majesty to WALL OF NOISE. Always measured, never overwhelming scenes, but emphasizing these in the best possible manner, it is a classic-style score which works. 

Mise-en-scene: WALL OF NOISE is a quality product, and this is reflected in what is presented on screen. The black and white cinematography by Lucien Ballard is beautiful, ensuring everything in front of the camera is captured in a crystal clear way. Lighting is also spot on, successfully making outdoor studio sequences convincing. Set decoration by John Austin is also notable, with the chic restaurant which Joel and Laura visit, and Laura's home two of the standouts. Costuming by Howard Shoup works on a subtle level, more marked by the female characters. The wardrobe for Suzanne Pleshette alternates between elegant daywear, and elaborate after five garments, while Dorothy Provine's costuming is toned down, but still stylish.

Notable Acting Performances: Ty Hardin, Suzanne Pleshette, Ralph Meeker, Simon Oakland, Dorothy Provine, Jimmy Murphy, Murray Matheson.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

REPORT TO THE COMMISSIONER (1975)

Title: REPORT TO THE COMMISSIONER

Year of Release: 1975

Director: Milton Katselas

Genre: Crime, Drama

Synopsis: A novice police officer becomes obsessed with a policewoman, unknowing that she is also on the force, but his, and her lives, are turned upside down by his infatuation.

Within a film history context: Movies with a female policewoman main character did not appear regularly in cinema history. One of the first to deal with the subject was William J. Cowen's WOMAN UNAFRAID (1934). A policewoman assists several young women of dubious backgrounds to get back to life in this early programmer. IT SHOULDN'T HAPPEN TO A DOG (1946), directed by Herbert Leeds, was a comedy of a reporter and a woman teaming up to investigate racketeering, unknowing at first that she is a police officer. Matters were of a more dramatic nature in Joseph Pevney's UNDERCOVER GIRL (1950). A young female police officer goes incognito to find the killers of her father, in this film noir with Alexis Smith as the titular character. CALLING BULLDOG DRUMMOND (1951), directed by Victor Saville, had a female policewoman team with the famous detective to overthrow a vicious gang in London. 

John Lemont's THE SHAKEDOWN (1960), featured a female undercover police officer assigned to investigate an underworld outfit cum modelling agency as a model, but when she is recognized, things take a sinister turn. At the opposite end of the spectrum was CARRY ON CONSTABLE (1960), directed by Gerald Thomas. In this Carry On entry, the antics at a suburban police station are delineated, with two female police officers among many men in this zany comedy. Montgomery Tully's FOG FOR A KILLER (1962), followed a female police officer going undercover to help catch a serial killer murdering blonde women in this British movie. On the other hand, POLICEWOMEN (1974), directed by Lee Frost, centered around a rough and tough policewoman who insinuates herself into a female crime syndicate, but comes unstuck when her line of work is discovered. REPORT TO THE COMMISSIONER's female police officer was one of the most subtle character portraits in the genre.

The movie had most in common with the dramas where a female police officer goes undercover for a certain reason, such as UNDERCOVER GIRL, THE SHAKEDOWN, FOG FOR A KILLER, and POLICEWOMEN. In the previous four cases, as with Patty in REPORT TO THE COMMISSIONER, the respective policewomen have a sense of fair play and justice about them in bringing criminals to justice. UNDERCOVER GIRL varies slightly from these as the mission to bring criminals to justice is on a personal, rather than professional basis. The officer in POLICEWOMEN, though, has a private love life, which is something Patty does not possess. The treatment here is of the exploitation film vein, with bed scenes and nudity part and parcel, the latter appearing fleetingly in REPORT TO THE COMMISSIONER. Patty's private life, therefore, is of an intricate, complicated nature, entirely at odds with POLICEWOMEN's orientation. 

In REPORT TO THE COMMISSIONER, Patty's existence is intruded upon by her professional life, due to her fellow male police officer's intervention in this, which causes untold problems. The movie displays the differing sides of its female police officer, thus ensuring that a complete portrait is drawn for the audience, and subsequently a three-dimensional person comes to life for the viewer. The slant is psychological than overt, which was obvious somewhat with POLICEWOMEN's main character displaying her martial arts skills. A convincing, judicious depiction of a female police officer, this is one of REPORT TO THE COMMISSIONER's best assets.

Overview: Milton Katselas was the director of four motion pictures from 1972 to 1979. He tackled both light fare with a romantic slant, and more intense topics in his oeuvre. Mr Katselas' first film, BUTTERFLIES ARE FREE (1972), was a comedy drama about a blind man, and his relationship with a spirited young woman, which raises the ire of his concerned mother. 40 CARATS (1973), was another of his movies with a comedy romance spin. An American divorcee has a fling with a young man while holidaying in Greece, and is shocked to see that he is her daughter's new boyfriend when she returns home in this May-December romance film. WHEN YOU COMIN' BACK, RED RYDER (1979), was Milton Katselas' final picture. An emotionally distraught Vietnam veteran harasses patrons of a Texas diner in this film adaptation of a stage play. REPORT TO THE COMMISSIONER was Milton Katselas' third and penultimate movie, and a satisfactory effort. 

With REPORT TO THE COMMISSIONER, Milton Katselas has made an interesting, if uneven film. The story of a neophyte New York City policeman, and his fixation with an undercover female police officer, with her true identity unbeknownst to him, it is a film with quite a few strong moments, and is a passable motion picture. The director has achieved this effect in several ways. Mr Katselas has succeeded in creating a credible, cut-throat world of crime and punishment in the movie which works. While the topic in other hands may have been given over to becoming a haven for sleaze, with an emphasis on execrable physical detail, Milton Katselas has kept matters on a more discreet, businesslike level. There is a realism about this production, and control where things do not go too far in terms of content. The director has not exploited his story, and characters, just for the sake of cheap thrills, and this lends REPORT TO THE COMMISSIONER an air of authenticity. Despite these strong suits, the picture, though, does have a tendency to be tedious in its execution.

It is a plus that REPORT TO THE COMMISSIONER is unhurried in how it unfolds onscreen for the spectator, peering deep into situations and character interactions. A faster pace, though, would have made the film a sharper viewing experience. Scenes such as the physically-challenged Joey's time on a skateboard in the streets of New York are incongruous, taking away from the careful, somber mood from beforehand. Another grating segment is the elongated elevator scene with Bo and Stick. It takes forever to get where it should be, and defies patience in the process. Aside from this, the film's structure is problematic in retrospect. Knowing the outcome from the beginning, and working backwards from there in flashback, does subtract much suspense from the movie. If REPORT TO THE COMMISSIONER unraveled in a linear progression, this would have heightened the degree of surprise, and anticipation on the part of the viewer. A solid picture which affords a view into the underbelly of New York City in the 1970s, REPORT TO THE COMMISSIONER could have been a far superior movie with better handling.

Acting: REPORT TO THE COMMISSIONER has a number of unique performances which assist in making the movie watchable. As Bo Lockley, the diffident rookie detective who sets events in motion, Michael Moriarty succeeds in a difficult role. From sad to happy, uncertain to dangerous, he covers a gamut of emotions in a convincing manner. The object of his obsession, fellow undercover officer Patty Butler, of whom he is unaware is also on the force, Susan Blakely is excellent in one of her best early roles. The combination of intuition, sensitivity, and streetwise instincts meld together to make Patty a striking figure, qualities which Miss Blakely delivers in spades. Bo's offsider Richard Blackstone comes alive in the person of Yaphet Kotto. Knowing when to be serious, and when to allow the humor to take center stage, Mr Kotto is another notable thespian here. Assistant District Attorney Jackson, who interviews Bo at the film's end, is another knowing turn by William Devane. With his insistent voice, and ability to get down to brass tacks, Mr Devane is entertaining as always here. The final acting of merit was by Richard Gere as pimp Billy, obstacle to Bo in his quest to meet Patty. In his acting debut, Mr Gere's Billy projects a cool, but intriguing apathy which ruffles the feathers of Bo, and looks the part of the hustler with his offbeat, but distinctive attire. 

Soundtrack: REPORT TO THE COMMISSIONER has a very lean soundtrack, with tense music composed by Elmer Bernstein played throughout pivotal scenes. The brief opening credits sequence features an accompanying musical piece for its short duration, the closing credits including a version which is longer in duration.

Mise-en-scene: The pieces come together to make REPORT TO THE COMMISSIONER realistic on a visual level. Mario Tosi's cinematography is perfect, offering a view of the seamy, dark world of the film in subtle Metrocolor. Location shooting is another significant element of REPORT TO THE COMMISSIONER, with the many outdoor scenes something which could not be duplicated in a studio. Interiors also work well, such as the police station, Stick's unkempt apartment, and the disco set oozing authenticity. Costuming is in keeping with the respective personalities of the characters, with Patty's on the job wardrobe sharply contrasting from her home apparel, the police superiors with their expensive suits, and Billy's showy clothing standing out.

Notable Acting Performances: Michael Moriarty, Susan Blakely, Yaphet Kotto, William Devane, Richard Gere.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

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