MEDIUM COOL (1969)

Title: MEDIUM COOL

Year of Release: 1969

Director: Haskell Wexler

Genre: Drama

Synopsis: A television cameraman covering the 1968 Democratic Convention becomes caught up in the unrest and racial tensions of the era.

Within a film history context: Movies which centered around a cameraman protagonist were rarely featured in cinema before MEDIUM COOL. The first major example in this respect was Edward Sedgwick's silent THE CAMERAMAN (1928). A photographer tries to find work as an MGM cameraman to become closer to a secretary at the studio, with many ups and downs along the way for him. A Buster Keaton vehicle, it was a box office success for MGM, though not personally for the actor, and souring his association with the studio. MEN OF THE HOUR (1935), directed by Lambert Hillyer, was about two newsreel cameramen, and their rivalry, both professional, and personal, especially with regards to a young woman. Jack Conway's TOO HOT TO HANDLE (1938), centered around an ambitious if unscrupulous newsreel cameraman, meeting, and falling for, an aviatrix in China while covering reports there. CHINA GIRL (1942), directed by Henry Hathaway, was concerned with a newsreel cameraman in China during World War II, and how his attachment to a young woman, who is in danger, prompts him to act against the Japanese. In the case of Jack Donohue's CLOSE-UP (1948), a newsreel cameraman inadvertently becomes embroiled in an unseemly situation when he films a segment outside a bank, thus placing himself in peril. MEDIUM COOL fit easily into the category of films about cameramen, however, it added its own touches.

It shared affiliations with those movies where the lead was a newsreel cameraman, such as MEN OF THE HOUR, TOO HOT TO HANDLE, CHINA GIRL, and CLOSE-UP. TOO HOT TO HANDLE, and CHINA GIRL, had more of a topical edge than the other two examples, with the lead characters covering stories in places of unrest. This is something shared by MEDIUM COOL, in that John's predominate project is the 1968 Democratic National Convention, where opposing groups clash in a very public manner over their beliefs, and value systems. Where MEDIUM COOL diverts from the other examples is that John is a cameraman for a television station, which is an updated version of the newsreel cameraman characters from the 1930s and 1940s. Embedded in this, there is also a subtle message of the coldness of the media, particularly in this case, television, and how it captures disturbances on film, but does not serve an edifying purpose in some instances.

In related areas, the other films with newsreel cameraman were not, as such, pungent examinations of the media. Instead of this, these pictures observed the protagonists' reaction to events, and, largely, their relationship with the opposite sex. The presence of a female love interest was apparent in THE CAMERAMAN, MEN OF THE HOUR, TOO HOT TO HANDLE, and CHINA GIRL In MEDIUM COOL, John had a relationship with a nurse, but this transferred over to his friendship with a young mother and her son. It was not a case of true love here, rather, people coming together under trying circumstances, under the veil of threat. This was something which MEDIUM COOL shared with CHINA GIRL, and its newsreel cameraman, who falls for a young Chinese woman whose life is in danger. A strong movie about a television cameraman and his activities, MEDIUM COOL offers a solid account in this regard.

Overview: Haskell Wexler was an American director who made four feature films in his career. He was infinitely more active in the realm of documentary filmmaking, crafting an additional fourteen movies, and shorts. Mr Wexler was also involved as a cinematographer, and camera operator, on pictures such as THE HOODLUM PRIEST, ANGEL BABY, AMERICA AMERICA, THE BEST MAN, IN THE HEAT OF THE NIGHT, THE THOMAS CROWN AFFAIR, COMING HOME, MATEWAN, STUDS LONIGAN, DAYS OF HEAVEN, and THE ROSE, to name just several examples. As director, Mr Wexler's third movie, LATINO (1985), was the exploration of political unrest in Nicaragua, and the relationship between an American Special Forces Trainer, and a young Nicaraguan woman. FROM WHARF RATS TO LORDS OF THE DOCKS (2007), was Haskell Wexler's final movie. Harry Bridges, an Australian-born, American resident, champion of union rights for waterfront and other workers, was the subject here, as were his many legal battles and other challenges. MEDIUM COOL was Haskell Wexler's first picture, and the film for which he is best remembered.

With MEDIUM COOL, Haskell Wexler has crafted an intense, original motion picture. Following the life of a television cameraman covering the 1968 Democratic National Convention, and other incidents, it is an arresting, thought-provoking film. Mr Haskell has achieved this by concentrating on a small group of characters, specifically cameraman John Cassellis, his associate Gus, and Eileen, the young mother he encounters one day. Supporting characters such as the black man John invites for an interview are also effective, saying much about humanity, points still relevant today. Through these people, Mr Wexler examines the role of television and the media on the lives of both those in this business, and the people who, unfortunately, are often exploited, or caught up in this, through their activism on issues. The documentary aura of the piece, and feel for everyday life and issues, is where MEDIUM COOL is at its peak. The movie is stellar in general, but some areas of the film are less than ideal in retrospect.

MEDIUM COOL has a nervy mood, and atmosphere, which is compelling to witness. It maintains the attention from beginning to end, but one specific scene stands out for its incongruity in the film as a whole. John's relationship with nurse Ruth is something which slows down the picture, and could easily have been removed, as its purpose is limited. Ruth seems to exist solely for the purpose of the male-female nude scene, which does nothing for both her character, and John's. One never finds out more about her as she seems to be in the story one minute, and out the next. Presumably it was to point out how much deeper John and Eileen's connection is in comparison to his escapades with Ruth, but it leaves a sour taste in the mouth. Overall, though, in light of the movie's ambitious aims and powerful execution, it is just a small, tawdry part of a much better whole. MEDIUM COOL deserves the acclaim it has received over time for being a telling view of the life of a cameraman, its vision on the state of humanity, and as Haskell Wexler's best work.

Acting: There are two performances which are distinctive in MEDIUM COOL. As cameraman John Cassellis, Robert Forster offers a solid interpretation of the steely man with a sense of integrity, this discerned more in the latter parts of the film. An actor who took on tough guy roles with regularity, this part allows him to incorporate some vulnerability which is refreshing to see. As Eileen, the woman who unexpectedly comes into John's life, Verna Bloom offers the film's best performance. With her quiet ways, and ability to share her thoughts with the audience, Miss Bloom is a standout in MEDIUM COOL.

Soundtrack: MEDIUM COOL has an eclectic soundtrack which is in keeping with its edgy feel. While there are a number of familiar tunes scattered throughout the movie, in many instances employed to express a sense of irony in scenes, the best musical piece is Mike Bloomfield's theme for the movie. Played during the opening credits sequence, and a number of times in the picture, it has an excitable, compelling, mysterious aura that perfectly complements the film, and what it seeks to achieve in its trendsetting, counterculture manner. 

Mise-en-scene: The visual experience is one that works very well in MEDIUM COOL. Haskell Wexler's cinematography is beautiful, capturing everything onscreen with grace. The picture has many outdoor location sequences, and these are all excellent, and boost the film's realism considerably. The highway on which John and his offsider take photos of an injured woman in a car, the unruly neighborhood of Eileen and her son, and the protest scenes, are all well-orchestrated, and memorable sequences. Verna Fields' editing deftly keeps the attention on the characters, and their plights, without being jittery, which in other pictures of the era unnecessarily distracted from the goings-on to appear fashionable.

Notable Acting Performances: Robert Forster, Verna Bloom.

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

Overall Grade: B

Link: IMDB Page

ELECTRA GLIDE IN BLUE (1973)

Title: ELECTRA GLIDE IN BLUE

Year of Release: 1973

Director: James William Guercio

Genre: Drama, Road Movie, Action

Synopsis: A highway motorcycle officer suspects that the suicide of a man was in actual fact a murder, and seeks to get to the truth.

Within a film history context: Before ELECTRA GLIDE IN BLUE, there were several movies which dealt specifically with motorcycle patrol officers. One of the first documented examples was D. Ross Lederman's HELL BENT FOR LOVE (1934). When a highway patrol officer arrests a singer for speeding, he gets on the bad side of a mobster, who tries to make his life a misery. but the policeman evens the score in this early programmer. HIGHWAY PATROL (1938), directed by Charles Coleman, had a highway officer plunged into intrigue by an oil man he arrested, and enlisted by him to find the criminals causing issues in his company. On the other hand, Fred Wilcox's CODE TWO (1953), followed the exploits of three highway patrol officers, and how their pursuit of a truck one day brings them dire consequences. THE WILD ONE (1953), directed by Laslo Benedek, featured a highway patrol officer at the beginning of the picture, who sends away the eponymous wild one, and his fellow gang members. Alfred Hitchcock's PSYCHO (1960), had a key scene with a highway patrol officer, who finds a woman asleep in her car, but allows her to leave after checking her license. In French film BREATHLESS (1960), directed by Jean-Luc Godard, a petty thief steals a car, and is chased by the police, but as a motorcycle officer goes to arrest him, is killed by the criminal. Richard C. Sarafian's VANISHING POINT (1971), contained a short scene where the lead character is pursued by two highway motorcycle officers for speeding, and manages to evade them. ELECTRA GLIDE IN BLUE was the one film of all of these which concentrated intensely on its highway motorcycle police officer.

The vast majority of movies showcased a highway motorcycle officer as a supporting character. THE WILD ONE, PSYCHO, BREATHLESS, and VANISHING POINT are all examples of this. Here, the officer often appeared for one scene, and the viewer does not find out more about them, as their use in the movie is purposely limited in scope. The first two examples show the officers in a position of authority, while the latter two are different. The protagonist in VANISHING POINT sends the officers away without causing them any real harm, but the hood in BREATHLESS actually kills the motorcycle officer who is after him. This event spearheads the action in this particular picture, leading to consequences for the assailant. With ELECTRA GLIDE IN BLUE, though, the entire movie is consumed with an examination of highway motorcycle patrol officers, with one, John Wintergreen, especially the focus. His private life is shown, as are his exploits on the job, and the professional tensions which come with this position. The spectator is provided with fragments of character, and plot information, with a profile for the character built throughout the course of the film. It is also interesting that a certain plot event for the character does have unexpected repercussions much later in the story. This gives the picture an air of justice, in that whatever one does in life brings forth consequences. An entertaining view of a highway motorcycle officer, ELECTRA GLIDE IN BLUE brings forth a proficient account in this arena.

Overview: James William Guercio is an American film director with only a single movie to his credit, being ELECTRA GLIDE IN BLUE. He has been much more active in the realm of music as a musician, songwriter, and music producer. In this case, this review will focus accordingly on Mr Guercio's contributions to this motion picture. 

With ELECTRA GLIDE IN BLUE, James William Guercio has molded an original, if somewhat lacking movie. The tale of a highway motorcycle policeman, and his hijinks on the job, including the investigation of a murder, is handled in a watchable, if flimsy manner. The story, particularly in the first half, seems to be swimming everywhere without any discernible point. This is to say that there are moments of interest, and ELECTRA GLIDE IN BLUE has a knack for being likeable in a twisted, roundabout way. It just seems to try a little of everything in its execution, but this dissipates the overall structure of the story. The story threads, though, do come together in the second half, but by this time, what came beforehand has caused the movie to be lopsided when considering it as a whole. This casual approach to its tone and mood affects one other main component of the picture. The suspense level about solving the murder case is very low, as one never finds out exactly who the victim was, and why the officer really wanted to crack the case. It is, therefore, just another passing incident in the life of its fetching policeman John Wintergreen. The movie, as such, is a pleasant diversion, a visual feast for the eyes, but nothing more than that. A film which tries to be different and partially succeeds in this aim, ELECTRA GLIDE IN BLUE is an interesting effort from one-time director James William Guercio.

Acting: Four performances in ELECTRA GLIDE IN BLUE dominate the movie. In the lead role of policeman John Wintergreen, Robert Blake is wonderful. An actor with a certain je ne sais quoi in his interpretations, he is the perfect as the police officer of many moods and inclinations. As John's detective workmate and friend Harve Poole, Mitchell Ryan is another standout performer. With his authority and serious facial expression, Mr Ryan's presence as the stalwart detective also boosts the movie's watchability. The amour of both John and Harvey, the flighty Jolene, is a showcase for Jeannine Riley. Miss Riley goes all-out in her acting, particularly in the bar sequence, where the truth comes out about her dalliances, giving the character a clear raison d'etre for her actions. The final acting of note was by Elisha Cook Jr. as Willie, a suspect in the murder case. As with Jeannine Riley, Mr Cook goes for the jugular in his role, making viewers understand what makes this man tick, and providing justification for his misdeeds, in ELECTRA GLIDE IN BLUE.

Soundtrack: In terms of its soundtrack, ELECTRA GLIDE IN BLUE is lean in this department. While there are some musical pieces, both diegetic, and non-diegetic, the key musical component is in the opening credits segment by director James William Guercio, and orchestrated by Jimmie Haskell. Its grand and unabashed score reflects the emotions at play in the film, and its barnstorming delivery. 'Tell Me', sung by Terry Kath, which is in the closing credits, casts a soulful, ironic light on the final scenes, with barbarity closing in on equity in an unfortunate manner.

Mise-en-scene: In a visual sense, ELECTRA GLIDE IN BLUE has much to recommend it. Cinematographer Conrad Hall photographs the vast landscapes in the movie, with the desert a predominate setting, with grace, lending these rugged locations an unexpected beauty which adds a verisimilitude all their own. The transition from colour to black and white in the final few minutes is also a testament to Mr Hall's ingenuity. Costuming by Rita Riggs is another great feature of the film, with Robert Blake's uniform wondrous to ponder. With his uniform entirely in black, with matching gloves, dark sunglasses and white helmet, Mr Blake looks the part, his apparel not dating in the least, even after more than fifty years since the picture was released. The same applies for Robert Blake's costuming aside from his policeman getup; classic menswear pieces combined with sophistication. In addition, the Electra Glide motorcycles used by the highway policeman have a mystique, and sleekness about them which enchants, and convinces the viewer.

Notable Acting Performances: Robert Blake, Mitchell Ryan, Jeannine Riley, Elisha Cook Jr.

Suitability for young viewers: No. Adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page