CAPTAIN MILKSHAKE (1970)

Title: CAPTAIN MILKSHAKE

Year of Release: 1970

Director: Richard Crawford

Genre: Drama, War

Synopsis: A young Marine on leave from the Vietnam War falls for a young woman, and is caught up in a number of antiwar, and counterculture events at this time.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s, which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967), was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with psychological problems played out in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

A most infamous depiction of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Burt Topper's THE HARD RIDE (1971), featured bikers similar to others in the genre, but this time around, the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions between them spill over. On the other hand, Gunther Collins' JUD (1971), was an independent film which followed a Vietnam veteran, and charted his return to society in a most thoughtful manner. Different in scope and character, SKYJACKED (1972), directed by John Guillermin, showcased a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, CAPTAIN MILKSHAKE again surveyed a Vietnam veteran, but diverted in many ways from previous entries.

In surveying the other movies in the genre, it is refreshing that CAPTAIN MILKSHAKE has a Vietnam veteran who is basically well-adjusted psychologically. This was evident also in THE BORN LOSERS, with its mentally-sound lead character, and in JUD, where he managed to maintain a sense of himself, despite being in some stressful situations. Many of the other movies capitalized on the respective veteran's mental instability, such as in MOTORPSYCHO!, ODDO, THE RAVAGER, and WELCOME HOME SOLDIER BOYS. This was mainly employed for visual purposes, whereby violent passages occur with a veteran losing his grip on reality, and turning against those who he feels have wronged him, with innocent people in the firing line in some instances. This was particularly evident in WELCOME HOME SOLDIER BOYS, but the difference with the former films is that it had a well-developed storyline which explored why the veterans wreaked havoc on a small town and its inhabitants. None of this appears in CAPTAIN MILKSHAKE, which gives it a point of difference from the other slam-bang movies.

In CAPTAIN MILKSHAKE, Paul silently ponders his life while having flashbacks of his tour of duty in Vietnam. Viewers are given first-hand knowledge of Paul's thought processes, instead of him exploding for inexplicable reasons, which does stifle the realism of MOTORPSYCHO!, ODDO, and THE RAVAGER. Paul actually enunciates his experiences in Vietnam to other people, setting up a debate on the issue in which the audience can participate. In addition, CAPTAIN MILKSHAKE is also notable for its anti-war sequences featured throughout the movie. This is something that the other movies did not contain as they were straight narratives in comparison to CAPTAIN MILKSHAKE. The segments are slanted toward peace, and anti-Vietnam war sentiments, but, nevertheless, are important as a movie which takes a strong position on war and its aftermath. The scene with the mother of a Vietnam soldier who died in conflict is one of the best scenes in the film, moving in its execution. One of the best of the pictures about Vietnam war veterans, CAPTAIN MILKSHAKE is a candid movie.

Overview: Richard Crawford is an American director with only CAPTAIN MILKSHAKE to his credit. In addition to helming the movie, he also was responsible for the writing, and producing capacities. As he only made a single movie in his career, naturally the overview will concentrate on Mr Crawford's contribution to CAPTAIN MILKSHAKE.

With CAPTAIN MILKSHAKE, Richard Crawford has crafted a thought-provoking and daring motion picture. Taking as its subject a Vietnam veteran who has returned to his hometown on leave, and the many challenges he faces, it is both entertaining but also, an emotional movie experience. Mr Crawford has successfully juxtaposed a number of elements in his film, with the exploration of the lead character and his psychological makeup, late 1960s/early 1970s counterculture, romance, and anti-war sentiments. In general, these mesh well during the course of the movie, and keep things fresh and always evolving. The film is at its height particularly when examining the leisurely romance between carefree, hippy Melissa, and pensive returning veteran Paul, their family interactions, and the various anti-war set pieces the picture features. Story events unfold in a manner which is pleasing to witness, in keeping with the film's measured tone. There are, though, a number of aspects which unfortunately do go against the movie's grain as a whole.

While CAPTAIN MILKSHAKE is observant as a movie in terms of its milieu and characters, it does feel sometimes that it is too keen-eyed in certain instances. These do take up time which could have been better served in more emotional set pieces, a strength of the movie. Several examples come to mind. Paul and his friend visiting the bar with the topless waitress does nothing to further the story, only providing the film with a cheesy, exploitative feel. The scene where Melissa skinny dips in the pool with her friends, likewise where she and Paul do the same in the ocean, are needless, and only offer superficial titillation, but nothing more. Sequences where drugs are featured also seem to drag the film's pace. It could be said that these were representative of the picture's time period, but in retrospect, feel dated. CAPTAIN MILKSHAKE would have done well by looking at Melissa's relationship with her mother, and Paul's with his mother. This would have given them even more background, and a useful back story. In spite of these weaknesses, some things can be said about CAPTAIN MILKSHAKE. It is a sincere movie which convinces viewers of its anti-war stance with style, and in an edifying manner.

Acting: There are six performances in CAPTAIN MILKSHAKE which deserve praise. In the lead role of Marine Paul Fredericks, on leave from Vietnam, Geoff Gage is excellent. With his clean-cut looks and thoughtful manner, Mr Gage leaves one to ponder the absence of a talented actor to cinema. Paul's ladylove, the restless but sensitive Melissa, is played with jazzy appeal by Andrea Cagan. Her subtle anti-establishment leaning, and dislike for niceties, makes Melissa a nice match for Paul. As Paul's mother Mrs Fredericks, Belle Greer is another understated acting interpretation. Her comforting ways, and lack of pretension, steer her to the role of best mother in the movie. Three other actors contribute great work in CAPTAIN MILKSHAKE.

As Thesp, one of Melissa and Paul's friends, and a major instigator of the anti-war movement, David Korn offers yet another distinctive portrayal to CAPTAIN MILKSHAKE. Mr Korn's unique presence lends a visual counterpart to Paul and the other male characters, as a warrior in the picture. Melissa's upwardly mobile mother, Mrs Hamilton, is a small but telling role for Darlene Conley. Her singular presence is rewarding to witness, as it assists in explaining Melissa's reticence for refinement, and is entertaining in and of itself. The final acting of note was by Joanne Moore Jordan as Mrs Randolph, a woman in the anti-war peace rally who has lost her son in Vietnam. Miss Jordan makes clear her stance for the audience, appearing to become emotional at any time, but keeping her composure, ensuring that Mrs Randolph is one of the most telling characters in CAPTAIN MILKSHAKE.

Soundtrack: Despite being a picture of the early 1970s, CAPTAIN MILKSHAKE is pleasingly light-handed in its approach to its soundtrack. The movie could have been weighed down by a frenetic soundtrack, but thankfully is not of this orientation. There are a number of songs played at various moments in the narrative, with some diegetic uses of these. The most prominent is 'Untitled Protest', performed by Country Joe and the Fish. With its clear but no-nonsense take on the topic of war, it is a perfect summing up of the futility of war, adding a foreboding atmosphere to the film's end.

Mise-en-scene: Visually, CAPTAIN MILKSHAKE has much to recommend it. Cinematography by Robert Sherry is beautiful, particularly the beach scenes which the picture utilizes throughout its running time. The contrast between black and white, and colour photography also works well, and provides the film with a stimulating bridge between different scenes. The visual effects by Reggie Hager, Joe Purcell, and Harry Woolman, especially at the movie's conclusion, are also effective, lending it a pathos, and starkness, which haunts the senses.

Notable Acting Performances: Geoff Gage, Andrea Cagan, Belle Greer, David Korn, Darlene Conley, Joanne Moore Jordan.

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

Overall Grade: B

Link: IMDB Page

Trailer