THE GAY DECEIVERS (1969)

Title: THE GAY DECEIVERS

Year of Release: 1969

Director: Bruce Kessler

Genre: Comedy, Drama

Synopsis: Two young men try to pass themselves as gay to avoid the draft for Vietnam, but things take twists and turns they did not anticipate.

Within a film history context: Homosexuality in motion pictures was not a common occurrence before the breakdown of film censorship in the late 1960s. There were, though, examples of subtly drawn gay characters and themes in films before THE GAY DECEIVERS. One of the first documented movies in this vein was Sidney Drew's A FLORIDA ENCHANTMENT (1914). In this film, a man and a woman undergo transformations into a gay man and a lesbian via the effect of seeds. It was one of the earliest films to examine gay sexuality in motion pictures, albeit in a comical manner. The love affair of two male musicians was explored in the German film DIFFERENT FROM THE OTHERS (1919), directed by Richard Oswald. Blackmail comes to the fore in this movie, with true love thwarted by a scheming man seeking to make the lovers pay for their forbidden love, with famous German actor Conrad Veidt in the lead as one of the harried musicians. In comparison, another German film, Carl Theodor Dreyer's MICHAEL (1924), spotlighted a gay painter's lover for his male model, and the difficulties their union faced. 

Into the 1930s and 1940s, gay characters were most likely to be presented in a comic manner, unlike the other examples here mentioned, and in supporting roles. Notable divergences from this were found in Pre-Code 1930s American movies such as SUNNY SKIES (1930), directed by Norman Taurog, with a gay romance story, and Raoul Walsh's SAILOR'S LUCK (1933), which also had a gay character. Of the 1940s movies ROPE (1948), directed by Alfred Hitchcock, featured a murderous gay couple, but in line with the censorship of the period, this was very much inferred with delicacy. Moving into the 1950s, there were several intimations of gay characters slightly more open in nature than those of beforehand, with some that definitely pushed the boundaries.

Possibly the most explicit gay themed film of its era, although a short movie, was Jean Genet's A SONG OF LOVE (1950). Set in a jail with prisoners and a guard among its characters, it concentrated upon sexuality, glimpses of nudity, and fantasy in a manner that was a first for its time. Another French film, the full-length THE TERRIBLE CHILDREN (1950), directed by Jean-Pierre Melville, contained a gay character, played by a female actress in a dual role, in a more conventional narrative of heterosexual romance with some homosexual undertones. With Vincente Minnelli's TEA AND SYMPATHY (1956), matters were entirely different. A thoughtful young man is believed to be gay, everyone attempting to change him, but finding sympathy with the wife of his coach. A bowdlerized film version of the stage play, it nonetheless treated its main character with empathy, despite references to homosexuality being discreet. SUDDENLY LAST SUMMER (1959), directed by Joseph Mankiewicz, was much more open about its gay character. Although the character's face is never shown, the impact of his presence in the movie is what propels the narrative, and his death is what drives his cousin, played by Elizabeth Taylor, to mental illness. Segueing into the 1960s, a gradual loosening of the Production Code brought forth franker films with more openly gay protagonists.

In Gregory Ratoff's British OSCAR WILDE (1960), the film followed the famous writer's legal trials and travails with his homosexuality, with Robert Morley in the lead role. Another British picture, A TASTE OF HONEY (1961), directed by Tony Richardson, featured a gay character in this realistic study of a young woman, and her family issues. A more devastating view of gay life and discrimination was presented in Basil Dearden's VICTIM (1961). The taut tale of a married barrister undone by a past gay affair, and involvement with blackmailers, showcased Dirk Bogarde in one of his finest performances. ADVISE AND CONSENT (1962), directed by Otto Preminger, was similar to VICTIM in that the main character's past homosexuality comes back to haunt him, but this time, running for Secretary of State in the United States government. Bryan Forbes' THE L-SHAPED ROOM (1962), had a minor gay character within its structure, in this case a musician. 

A more in-depth examination of homosexuality was featured in TAKE IT ALL (1963), directed by, and starring, Claude Jutra. In this movie, a man's difficulty in coming to terms with his sexual orientation, and relationship with a black woman, made up the content of this picture. Sidney J. Furie's THE LEATHER BOYS (1964), had a gay motorbike rider in its canvas, with a scene in a gay bar also shown. BUS RILEY'S BACK IN TOWN (1965), directed by Harvey Hart, also offered a minor character of the gay mortician who wants to offer more than employment to lead protagonist Bus. Into the mid-1960s, John Schlesinger's DARLING (1965), had a gay photographer in a small part, common for many films of the era to have a homosexual character in a supporting role. 

INSIDE DAISY CLOVER (1965), directed by Robert Mulligan, was an expose of Hollywood, and starred Robert Redford as a man with a shadowy gay sexual orientation. The controversy surrounding this did not help the film at the box office, where it was not a success. More explicit was Andy Warhol and Chuck Wein's MY HUSTLER (1965). The story of an older hustler pursuing a younger one, it was one of Andy Warhol's many gay-themed films to reach audiences in the 1960s. Much more subtle in tone was WINTER KEPT UP WARM (1965), directed by David Secter. The friendship between two young male university students, and their complex feelings for each other, was tackled by the director in this intricate movie. Jean-Claude Lord's DELIVER US FROM EVIL (1966), also had a storyline rooted in human emotion, with gay desire and bisexuality being the burning topics. 

In addition, John Huston's REFLECTIONS IN A GOLDEN EYE (1967), also treated its subject with candor, being an army colonel whose interest in an army private causes him to commit murder. In comparison, a western theme was the basis for LONESOME COWBOYS (1968), directed by Andy Warhol. Featuring five gay cowboys provoking mayhem and indulging in sexual exploits, it was another in the director's unconventional works. In marked contrast, a tense mood thoroughly enveloped John Flynn's THE SERGEANT (1968). The story of an army sergeant, and his passion for a private, was studied in much greater detail than in the related REFLECTIONS OF A GOLDEN EYE, and provided Rod Steiger an excellent role as the eponymous sergeant, with John Phillip Law as the object of his obsession. 

A complex view of homosexuality was also captured in TEORAMA (1968), directed by Pier Paolo Pasolini. An Italian family receives a visitor at their home, who changes their lives, male and female, both sexually and otherwise. A different perspective on sexual relations, it was one of the director's most intimate, challenging works. Bryan Forbes' DEADFALL (1968), had a treacherous gay character, whose actions influenced much of the goings-on in the movie with his dishonest ways. FLESH (1968), directed by Paul Morrissey, was another of Andy Warhol's movies with gay overtones. This time around, a male prostitute services both men, and women among his shenanigans. Guilt about homosexuality, and its aftermath, was played out in Gordon Douglas' THE DETECTIVE (1968). An incisive portrait of a police detective searching for the killer of a man believed to have been gay, it was an excellent showcase for Frank Sinatra in the lead role of the undaunted investigator. THE GAY DECEIVERS was the most overt example of gay characters and situations in its time in the late 1960s.

The preponderance of movies in this category were of a dramatic nature. In general, gay characters in these were tortured souls, carrying on relationships in a cloistered manner, these fraught with nothing but obstacles. DIFFERENT FROM THE OTHERS, MICHAEL, TEA AND SYMPATHY, VICTIM, and ADVISE AND CONSENT were just some of the works in this vein. Others such as MY HUSTLER, LONESOME COWBOYS, TEORAMA, and FLESH presented gay characters as being bold, and without shame for their attraction to the same sex. In sheer contrast, A FLORIDA ENCHANTMENT, SUNNY SKIES, and SAILOR'S LUCK were geared towards comedy, and lighter portraits of gay characters. THE GAY DECEIVERS fit into both these latter sets of films much more than others due to its comical take on gay sexuality and relationships. In some of the dramatic entries, there are views of devious gay characters, specifically in ROPE and DEADFALL. None of this applies in THE GAY DECEIVERS, as the characters in question are depicted as appearing to be in a loving relationship. 

The film posits what it itself describes as the 'normal', and 'straight', being heterosexuality, and that it is the opposite to the real 'normal', being homosexuality. Heterosexuality, thus, is cast in a negative light here, and this is where THE GAY DECEIVERS moves away from other entries in this category of films. Homosexuality here is implied to be freeing, expressing oneself as they wish, and living as they want, on their terms. Heterosexual characters are shown as either being unforgiving, such as Danny's father and Karen, or permissive, such as Elliott, or Mrs Conway. Malcolm and Craig happen to be a happy couple without hangups, but they just happen to be gay. The heterosexual characters seem to complicate their lives much more than the gay ones, and this is something which none of the previous pictures examined. A stimulating examination of gay and heterosexual identities, THE GAY DECEIVERS opens a discussion on this topic with its thoughtful intentions, and execution.

Overview: Bruce Kessler was an American film director with four feature films to his credit. He has been much more active on television, directing episodes of prime-time series ranging from The Monkees, The Flying Nun, Mission Impossible, I Dream of Jeannie, The Rockford Files, and much later with The Commish, Diagnosis Murder, and Baywatch Nights, the name a few from his extensive filmography. In cinema, his work spanned over the course of just three years, with movies of an exploitation orientation, or light fare. Mr Kessler's first picture, ANGELS FROM HELL (1968), was a biker movie. A Vietnam veteran returns home to find his motorcycle club disbanded, and tries to create a new one. He comes up against corrupt policemen who want to block him, but he determines to get his way, at any cost. KILLERS THREE (1968), also had a crime focus. A man just released from prison plots with his girlfriend to steal cash from a bootlegger's safe, with assistance from the man's friend, but their plan takes a nasty turn they never saw coming. Bruce Kessler's final film, SIMON, KING OF THE WITCHES (1971), was about a man's quest to become a god, but this comes at a high price for others in this horror effort. THE GAY DECEIVERS was Bruce Kessler's third movie, and one of his most-known works.

In the case of THE GAY DECEIVERS, Bruce Kessler has fashioned a breezy movie with a firm focus on different sides of the discussion about male homosexuality. It is a fast-moving ride with many entertaining moments but also, offers some food for thought. The film does not lag or become stagnant, always offering something fresh for spectators. THE GAY DECEIVERS immediately dives into its narrative, relating to viewers the story of two young heterosexual men who pretend to be gay to avoid being drafted for Vietnam. The picture highlights their efforts in this endeavour, and how their deception may, in fact, be not as productive for them as first conceived. The weight of this is felt by both men, but, in particular, by Danny. He has the most to lose in terms of his identity, family, and girlfriend, and this is where THE GAY DECEIVERS is at its best. The pathos here is palpable, and how this experience does not leave him untouched is fully explicated. Consequences are presented, and entirely credible. Unfortunately, several pithy scenes do not a picture make, and with reference to THE GAY DECEIVERS, it does have its downsides.

In some ways, the gay angle has its positive features. THE GAY DECEIVERS is at pains to depict Malcolm and Craig as akin to a bickering heterosexual couple, which is a definite contrast to Danny's troubles with girlfriend Karen, and Elliot's lustfulness, and bedhopping habits. There is a loyalty to the other which consequently flies in the face of the heterosexual characters. On the other hand, the stereotyping of the gay couple in terms of their behavior makes them seem both flamboyant, and not real. Possibly it was done to make them stand out from the other characters, but it is overly exaggerated at times. Aside from this, it is never really shown whether Danny or Elliot have learned anything about masquerading as a gay couple. It seems that it is just convenient for the plot, and not peering deeper into their consciousness, especially Elliot's. In effect, their deed was accomplished, and they were not drafted in the end, but it remains on that superficial level. The twist at the very end, while clever in some respects, does seem forced. Having the Colonel act in one way through the majority of the film, and ending another way, was disconcerting. All in all, though, this seems to reflect the intentions of THE GAY DECEIVERS. It is a well-made movie that aims to be fun, has some edifying content, but, in the end, does not explore its topic as thoroughly as it could have.

Acting: There are quite a few stimulating performances in THE GAY DECEIVERS. In the lead role of Danny, one of the two men seeking to avoid the draft, Kevin Coughlin is excellent. An actor gone way too soon at the age of thirty, his naturalistic acting makes the viewer sympathize with him, despite the character's often dubious methods. Danny's best friend, the strapping, athletic Elliot, is given panache by Lawrence Casey. Mr Casey showed that he was much more than a pretty face here, ensuring that Elliot has a sense of dignity, in spite of the actor being shirtless for much of the movie. The girlfriend of Danny, Karen, is a touching turn by Brooke Bundy. Miss Bundy ably highlights her love-struck character, with happiness, and later, confusion, reigning supreme, but she carries it off with effervescence, and charm. Danny's clever, intuitive sister Leslie, is made memorable by Jo Ann Harris. With her keen intellect and straightforward nature, Miss Harris really seems to be Danny's sibling, even resembling Kevin Coughlin with his penetrating stare. Four other actors provide great accounts of themselves in THE GAY DECEIVERS.

As Malcolm's other half, Sebastian Brook is very real as the flamboyant Craig. Mr Brook's theatrical mannerisms are fun to witness, but when he drops this facade in his later scenes, his sincerity shines through. It is unfortunate that Mr Brook only made a small number of films, which is another true talent gone untapped in cinema. The intriguing Duane, neighbour of Danny and Elliot, is a subtle interpretation by Christopher Riordan. Knowing that less is more, the shrewd Mr Riordan knows how to maintain one's attention without going overboard in a picture about gay men and their lives. Colonel Dixon, the odious man who causes Danny and Elliot angst over their draft orders, is a neat performance by Jack Starrett. A film and television director who made quite a few appearances in feature films, is a contrast with his stiff upper lip, to the farcical situations in which the other players find themselves. The final acting of note was by Joe Tornatore as Sergeant Kravits, the Colonel's offsider. With his expressive comic face and ways, Mr Tornatore ups the zany quotient in the film, its last stretches enlivened by his amusing wackiness. 

Soundtrack: In terms of its soundtrack, THE GAY DECEIVERS has a great soundtrack courtesy of Stu Phillips. It works in every respect, from the farcical segments to the quieter stretches, enhancing the moment effectively.

Mise-en-scene: THE GAY DECEIVERS possesses a pleasing attention to detail with its mise-en-scene. Colour photography by Richard Glouner is lovely, making everything onscreen appear natural without being too florid. Interior sets have held up well, not seeming particularly dated, and are of their era, as a bit of a time capsule. The perfect example is Danny and Elliot's rental home, with its garish furnishings fun to witness. Exteriors are also well chosen, with the swimming pool adding veracity to the movie, as do all the outside sequences. With respect to costuming, Norman Salling has selected garments which reflect the characters' distinctive personalities, such as Karen's smart apparel, and Craig's cravats, and coordinating clothing.

Notable Acting Performances: Kevin Coughlin, Lawrence Casey, Brooke Bundy, Jo Ann Harris, Sebastian Brook, Christopher Riordan. Jack Starrett, Joe Tornatore.

Suitability for young viewers: No. Male nudity, female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

TO KILL A CLOWN (1972)

Title: TO KILL A CLOWN

Year of Release: 1972

Director: George Bloomfield

Genre: Drama, Horror

Synopsis: A couple rent a beach house from a physically-challenged Vietnam veteran, but he has much in store for them during their stay.

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, 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 He helped 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 emotional problems played out this time 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.

One of the most infamous depictions 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 second film with Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. 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, and 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 spill over. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in once again assimilating into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. TO KILL A CLOWN differed from other entries in that it was not an exploitation movie, but, rather, centered in suspense, and psychological in tone.

As with many of the films in this category, a disturbed Vietnam veteran fuels the narrative, but in the case of TO KILL A CLOWN, the presentation was not as overt, or flashy as examples MOTORPSYCHO!, ANGELS FROM HELL, or THE RAVAGER. There was a complex series of events in which the true motivations of the veteran come to light both for the characters, and the viewer. Despite its slow build, TO KILL A CLOWN finds its footing in the second half, and the frightening psychology of veteran Major Evelyn Ritchie is revealed. Where TO KILL A CLOWN also differs is in the characters whom the veteran plays against. Bikers were largely in evidence in MOTORPSYCHO! and ANGELS FROM HELL, but a married couple is Evelyn's opposition here. This takes matters in another direction, as one sees the impact of the Major on the lives of this couple. 

The Major exacting his revenge on Timothy and Lily provides the movie with some of its best moments. Evelyn in TO KILL A CLOWN, therefore, takes a leaf out of the many films with a villainous Vietnam veteran with no redeeming features, such as THE RAVAGER, and SKYJACKED. He is bad to the bone, but the spectator is never cognizant of what happened in Vietnam to make him this way. This is, unfortunately, left out of the movie, unlike JUD and WELCOME HOME SOLDIER BOYS, where one is given an intimate account in this respect. An interesting view of a Vietnam veteran, TO KILL A CLOWN is notable for branching off into another direction with its treatment of this character. 

Overview: George Bloomfield was a Canadian director who presided over ten motion pictures in a twenty-nine year period. He made dramas, thrillers, family fare, also, venturing into comedy in his output. Mr Bloomfield's first movie, JENNY (1970), was a tender story about a young woman who has a child out of wedlock, and her marriage to a testy photographer. Despite compatibility issues, they find common ground in the end. CHILD UNDER A LEAF (1974), had a similar, if divergent premise. A woman trapped in an abusive marriage has an extramarital affair, giving birth to her lover's child, but tries to move away from her egotistical husband. NOTHING PERSONAL (1980), was a comedy of an activist professor concerned about the plight of baby seals, and how he is assisted in his mission by a lawyer. Critically roasted in its time, it sunk into oblivion. Thriller DOUBLE NEGATIVE (1980), showcased a man whose wife was murdered, and how he tries to find her killer, and exactly what happened that fateful night. THE ARGON QUEST (1992), was a family movie with two brothers transported to a magical island, with the only way to save it is by finding the giant Argon. JACOB TWO TWO MEETS THE HOODED FANG (1999), was another family picture. A young boy who likes to mention things in twos, goes shopping one day, but is misunderstood by the grocer, subsequently landing in a children's prison. Some friends in the prison assist him, and plan to escape from there in this fantasy movie. TO KILL A CLOWN was George Bloomfield's second film, and one of his best-known.

George Bloomfield has created a satisfactory, if sometimes lacking picture with TO KILL A CLOWN. The story of a married couple renting a cabin on the beach, and their encounter with their landlord, a Vietnam veteran, which has severe consequences for them, is a film with some good moments, but patchy overall in its impact. That is not to say, though, that the movie is without its positive aspects. There is a sound grasp of characters and their idiosyncrasies, and one gets to know them, particularly the married couple, as three-dimensional people. Although the movie changes mood from a comical focus, to a more serious one later, the repartee, and bickering, between the couple does make them relatable. One could easily see them existing in the real world as actual people, with the deft characterizations ensuring this. This also applies to the cunning, unsparing Major Evelyn Ritchie, Timothy and Lily's nemesis. While TO KILL A CLOWN is watchable, and there is a degree of suspense in the movie, there are definite limitations which undermine its power.

There is not an issue with the sequence of events in TO KILL A CLOWN, but the fact that it is lopsided in terms of the impact of the first, and second halves of the picture. The introduction to painter Timothy and wife Lily works, but the preparation for Major Evelyn's entrance into the story is too diffuse. The first half of the movie takes too long to pick up steam, and Evelyn is not utilized sufficiently to create an aura of terror to, in effect, tantalize the audience. The comic sequences with Timothy and Lily are agreeable, but could have been balanced way better intercut with scenes of Evelyn, and what he had planned for the couple. Aside from this, while Evelyn is an ominous presence, one never is given further insight into his Vietnam days, and what made him to be how he was. This is largely left to the side, and the vicious dogs seem to do all the talking in the film in this respect. The second half of TO KILL A CLOWN picks up considerably in pace, but the resolution is not as spectacular as one would expect. It leaves matters hanging, when they could have been decisively dealt with, bringing needed closure to the picture. Despite these flaws, some things can be said about the film. TO KILL A CLOWN attempts to generate an atmosphere of taut tension and terror, but falls short in attaining this aim on a consistent level.

Acting: While the cast of TO KILL A CLOWN is small in size, they offer some great performances. In the lead part of Major Evelyn Ritchie, Vietnam veteran, and central antagonist, Alan Alda plays against type here, showing that he was a versatile actor with his portrayal of the villainous Major. Those smiles and expressions utilized in his other roles have been employed well, showing the Major for the heinous man he is. As Lily, one-half of the married couple in the movie, Blythe Danner, in her movie debut, is excellent. With her husky voice, warmth, and nous, Miss Danner deftly displays all sides of her character with ease, being both the comic, and dramatic elements. The final acting of note was by Heath Lamberts as Timothy, Lily's husband. As with Blythe Danner, Mr Lamberts navigates both the zany parts of his role in the picture, and the more dramatic, with aplomb.

Soundtrack: TO KILL A CLOWN has an appropriate soundtrack which emphasizes the moods which the film seeks to capture, thanks to composers John Hawkins and Richard Hill. Both the opening, and closing credits feature the song "With My Eyes", sung by Georgie Fame, which is a passable tune, but the music after this is an electric guitar piece which stands out for its funky, jazzy tone.

Mise-en-scene: Due attention has been paid to the onscreen experience for viewers of TO KILL A CLOWN. Walter Lassally's cinematography records the proceedings with elan, taking advantage of the beach setting of the story, and also, with the evening scenes shot for maximum suspense. Trevor Williams' art direction is spare, with a limited number of settings, such as the beach house Lily and Timothy share unobtrusive, and keeping the focus on the characters. The opening credits are striking for their use of animation, which imbues the film with an unconventional, 1960s style bent. On the other hand, it also projects a comical mood, which is not what the picture happens to be, thereby misinforming the viewer. This, though, is in keeping with TO KILL A CLOWN's intentions, being a serio-comic drama which veers in either direction throughout its running time.

Notable Acting Performances: Alan Alda, Blythe Danner, Heath Lamberts.

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

Overall Grade: C

Link: IMDB Page