FRATERNITY ROW (1977)

Title: FRATERNITY ROW

Year of Release: 1977

Director: Thomas J. Tobin

Genre: Drama

Synopsis: At a college fraternity for young men in the 1950s, hazing rears its ugly head, culminating in tragedy.

Within a film history context: Hazing in academic environments was not a common topic in cinema. One of the first to deal with this was Jack Conway's A YANK AT OXFORD (1938). In this story of a young American man trying the find his way at Oxford, he pushes a replacement runner out of the way in the baton race, which leads to his hazing at the hands of fellow students in this comedy-romance. With comedy MR. BELVEDERE GOES TO COLLEGE (1949), directed by Elliott Nugent, an older man enters college as a freshman, and is subjected to a humorous form of hazing for shaving in Whisker Week. Gordon Parry's TOM BROWN'S SCHOOLDAYS (1951), was more serious. The experiences of a young boy at an English public school, with hazing the order of the day from other students, provided the repercussions of such behaviour in this drama. FOR MEN ONLY (1952), directed by Paul Henreid, looked at how a young man in a college fraternity is subjected to intense hazing, which leads to his death. A professor at the college aims to stop hazing at the establishment in light of this tragic outcome. FRATERNITY ROW dealt extensively, and with sensitivity, with the topic of hazing in its story.

The treatment of hazing in FRATERNITY ROW was, far and away, utterly serious, as was the case in FOR MEN ONLY. In this respect, it was fully removed from the light-hearted depictions of hazing in A YANK AT OXFORD, and MR. BELVEDERE GOES TO COLLEGE. These were in line with the overall comic tone of both of these movies, but their intentions were humorous, and not meant to lower the dignity of the person being hazed. FOR MEN ONLY showed how the young man being hazed, in the end, was indirectly killed by being forced out of the fraternity by the other members, and loses control of his car from the emotional stress. The fallout from this brings hazing, and the person mainly responsible for the young man's death, into the spotlight. 

In FRATERNITY ROW, a young man partakes in a dangerous hazing ritual by a sadistic member, and chokes on a piece of liver. The young man's experience here is brought forth in all its horror, and the tragedy of his death affects not only his closest friend but also, his fellow fraternity members, and the members of a female fraternity. The man who caused this event is castigated by the dead man's best friend, and is not as high and mighty as he was prior to this taking place. There is a keen sadness by the spectator felt for Zac in FRATERNITY ROW, to say that a promising young life has been taken away by a cruel and unnecessary ritual that leaves shock, and death, in its wake. Both FOR MEN ONLY, and FRATERNITY ROW express this sentiment, with the latter's presentation heartrending, and a move for change on this front. A solid account of the effect of hazing, FRATERNITY ROW does a creditable job handling this hot topic.

Overview: Thomas J. Tobin is an American director of a single movie, being FRATERNITY ROW. He has been much more active as a producer, editor, and assistant director not only in cinema but also, on television. As FRATERNITY ROW is Thomas Tobin's sole contribution to feature films as a director, the overview with naturally concentrate on his vision for FRATERNITY ROW.

With FRATERNITY ROW, Thomas J. Tobin has crafted a well-structured, intense motion picture. The story of a college fraternity in 1954, particularly spotlighting the insidious practice of hazing in the institution, and the consequences of an incident gone wrong, it is a movie which flows at a leisurely, but assured pace, and never lags or bores. In establishing the characters, and milieu, the initial opening stretches of FRATERNITY ROW are, to be honest, slightly sluggish. Once this passes, though, the film picks up the pieces, and is compelling for its remainder. FRATERNITY ROW possesses attention to detail not only in informing viewers about fraternity life, but also ensures that the viewer cares about the characters. This is a quality which makes the ending so heart-rending but also, elicits anger in the spectator, with a call to take action. There is both a hardness, and softness to this film which give it balance, and works with the material. It is very interesting to note that the movie was a project in which cast and crew from the University of Southern California participated, and is anything but an amateurish production. Additionally, the screenplay by Charles Gary Allison was based upon his university dissertation about a real-life fraternity occurrence resulting in death. Both of these hold the movie in good stead, imbuing it with realism. An above-average picture about a topic which will always be a bone of contention, FRATERNITY ROW makes one wish that Thomas J. Tobin had helmed another movie.

Acting: An attractive and talented cast have been assembled for FRATERNITY ROW who give their best on screen. As college pledgemaster Rodger Carter, Peter Fox provides the human core of the story, and his interactions with the other characters ensure its emotive delivery. With his strong but earnest presence, Mr Fox is the perfect lead. Rodger's best friend, Zac Sterling is given panache, and appealing idealism by Gregory Harrison. The teaming of both Peter Fox and Gregory Harrison is another asset to FRATERNITY ROW, their relationship real for all to witness, and savour. Rodger's love interest, the vituperative, by the book Betty Ann Martin, is given edginess, and style, by Wendy Phillips. With her ability to play not only the malevolent but also, the vulnerable sides of Betty Ann, Miss Phillips is a three-dimensional, fascinating spitfire. 

At the opposite end of the spectrum is Jennifer Harris, Zac's girlfriend, played with delicacy by Nancy Morgan. Aside from a nice chemistry with Gregory Harrison, Miss Morgan's explosive scene with Wendy Phillips' Betty Ann is something to behold. The final acting of note was by Scott Newman as sadistic pledgemaster Chunk Cherry, whose preoccupation with hazing sets up the film's final act. Mr Newman brings it all to the table with his larger-than-life persona and physical presence, but whose facial expressions make sure that the audience can attest to some glimmers of humanity. A skilled actor for whom this was his final role, Mr Newman was gone way too soon, but here is at his best.

Soundtrack: FRATERNITY ROW showcases a number of tunes throughout its running time, but interspersed nicely at appropriate moments in the story. The movie is careful to never overwhelm with its musical choices, which works in its favour. The best use of music is during the closing credits sequence, played to Don McLean's ethereal rendition of 'If You Can Dream'. This beautiful piece sums up the raison d'etre of FRATERNITY ROW, and adds a palpable emotional force to what is already a potent, compelling motion picture.

Mise-en-scene: The onscreen experience is especially convincing for viewers of FRATERNITY ROW. Cinematographer Peter Gibbons' subtle use of colour is effective, capturing the 1950s in a muted manner which is anything but longing for the nostalgic, which is not the movie's intent by any means. Authenticity is also established by the employment of real-life university locations which command attention, and verisimilitude. Interiors are also of a high standard, with the young mens' fraternity house a standout. One of the most notable features of FRATERNITY ROW is both its opening, and closing credit sequences. The contrast between these speak of the picture as a whole. The opening, with its shots of both male, and female fraternities, seeks to inform the viewer of the history of these, with its lively musical accompaniment. The closing credits are entirely contrary, with its rolling credits set against a black background, and solemn tune. This reflects what has taken place during the course of the film, and what the audience has learned not only about the characters, but about the fragility of life, and the impact of this on their own existence.

Notable Acting Performances: Peter Fox, Gregory Harrison, Wendy Phillips, Nancy Morgan, Scott Newman.

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

Overall Grade: B

Link: IMDB Page

Trailer