STAY HUNGRY (1976)

Title: STAY HUNGRY 

Year of Release: 1976

Director: Bob Rafelson

Genre: Comedy, Drama, Sport

Synopsis: A young heir to an Alabama family fortune purchases a gymnasium business, but has to contend with dirty business dealings alongside this.

Within a film history context: Movies about bodybuilding have not been a common sight in cinema before STAY HUNGRY. One of the very first movies showing a bodybuilder is William Dickson's ultra short, non-narrative film SANDOW (1896). Featuring British bodybuilder Eugen Sandow in a variety of poses, it was the earliest documented film about this subject. There were quite a few short international movies in this documentary vein over the intervening years, with real-life weightlifters showing their moves on camera. On the other hand, GENTLEMEN PREFER BLONDES (1953), directed by Howard Hawks, was about two showgirls traveling to Paris. There was a musical scene with Jane Russell and some bodybuilders, but that was the extent of their appearances in the picture.  Richard Thorpe's ATHENA (1954), was also a comedy musical about a staid lawyer entering a family of health and wellness enthusiasts, with scenes of bodybuilders being trained by the grandfather of a young woman for the Mr. Universe contest. What emerged after this period in cinema, though, were the sword and sandal pictures, generally with a muscleman lead character, set in biblical times. 

While these had been in existence from the earliest days of cinema, their presence was more pronounced from the 1950s onwards. Many of these were shot in Italy, with titles such as the HERCULES and GOLIATH series of films from the late 1950s until the mid-1960s. These generally starred American bodybuilder actors, with Steve Reeves, Mark Forest, Gordon Scott, and Dan Vadis, to name a few performers. In contrast, with MUSCLE BEACH PARTY (1964), directed by William Asher, a group of beach goers find that their beach has been taken over by bodybuilders and their manager, and seek to correct this. Again, there is plenty of muscle flexing to go around in this comedy. John Erman's MAKING IT (1971), was very different in this respect. It presented a bodybuilding gym teacher who had more than a thing or two to teach the main character, a promiscuous high schooler. ALL ABOUT ALICE (1972), directed by Ray Harrison, was an exploitation take-off on ALL ABOUT EVE. Here, the bodybuilder character carries on affairs with two women, who are played by men, and spends the majority of his screentime bereft of any clothing. STAY HUNGRY was the one film where bodybuilders were given greater screentime, especially in the case of one character.

The majority of examples released prior to STAY HUNGRY utilized bodybuilders in a more decorative sense, without being standalone characters. GENTLEMEN PREFER BLONDES, ATHENA, and MUSCLE BEACH PARTY are prime samples of this. The Hercules, Goliath, and associated movies spotlighted a muscleman protagonist, but these were along the lines of biblical epics with little insight into the particular character. MAKING IT, on the other hand, featured a meaty scene where the bodybuilding gym teacher exacts revenge upon the student who had an affair with his wife. ALL ABOUT ALICE had a bodybuilder in a state of near-total undress, but without a real personal life, in this transvestite-themed picture. STAY HUNGRY was different from the others, as its bodybuilder character, Joe Santo, was able to express his thoughts on life, which provided the necessary depth, and background, to him. While Joe flexed and posed his way in the movie, his function was more than that, giving a human touch to someone who could have been a two-dimensional he-man. He had relationships with others in the film which gave him a place in the movie. In the last stretches, the other bodybuilder characters did have a purpose aside from the decorative, but, overall, Joe Santo was in complete contrast to this. An interesting take on bodybuilding, STAY HUNGRY brought forward a more thorough view of this sport than previous entries on the topic.

Overview: Bob Rafelson was an American director of ten motion pictures, also contributing a short segment to an eleventh. His movies ranged from comedy, drama, to suspense, covering a wide spectrum of genres. Mr Rafelson's film debut was HEAD (1968), the movie spin-off of the comedy television series The Monkees, featuring the eponymous singing group caught in zany situations. Although the picture was not successful financially, it led to greater things for Mr Rafelson. Bob Rafelson's next film, FIVE EASY PIECES (1970), charted the life of a footloose construction worker who, in fact, was a talented pianist. With Jack Nicholson in the lead role, it was an enlightening viewing experience which was warmly received not only critically, but also, at the box office, and won many awards. THE KING OF MARVIN GARDENS (1972), was Bob Rafelson's third picture. An introspective study of two brothers, polar opposites in nature, and their dealings with women and life, it was largely unappreciated in its time, but now stands as one of the director's most haunting works. With Jack Nicholson, and Bruce Dern as the brothers, it was a strong film. Into the 1980s came THE POSTMAN ALWAYS RINGS TWICE (1981). A remake of Tay Garnett's 1946 version of the same name, it contained sexual content which the original version did not include due to the Hays' Code. Starring Jack Nicholson, it was a solid success at the box office. Suspense indelibly marked BLACK WIDOW (1987). A spider woman who marries men only to dispatch them for their money, and the female investigator seeking to bring her to justice, was a showcase for Theresa Russell as the femme fatale, and Debra Winger as the woman hot on her trail. 

Next came one of Bob Rafelson's most prestigious movies, MOUNTAINS OF THE MOON (1990). The story of British explorers Richard Francis Burton and John Hanning Speke's expedition in Africa, in all its difficulty, was brought to the screen with immediacy and precision, but, unfortunately, without commercial success. Comedy was next on the agenda for Mr Rafelson with MAN TROUBLE (1992). Reuniting the director with Jack Nicholson, it was about a guard dog company head who becomes involved with a woman under threat by mysterious criminals. Alas, this also did not make money for its studio. Mr Rafelson also contributed a segment entitled 'Wet', to the 1996 TALES OF EROTICA, which was about an affair between a hot tub salesman, and a seductive woman. BLOOD AND WINE (1996), was another foray into suspense territory for Bob Rafelson, again with Jack Nicholson in the lead. A scheming wine seller short on cash, and high in debt, plots to steal a necklace to allay his financial issues, but things spin out of control for him. The director's final theatrical film was NO GOOD DEED (2002). When a police detective falls into a robbery, he is taken hostage, but his connection to a woman who is part of this syndicate complicates matters to no end. STAY HUNGRY was Bob Rafelson's fourth movie, and one of his most solid works.

With STAY HUNGRY, Bob Rafelson has crafted an entertaining, spirited picture. Taking as its focus a young man who purchases a gymnasium, but gets in over his head with associated matters related to this deal, it is a fun movie experience. In directing this film, Mr Rafelson has succeeded in fashioning a picture which deftly combines drama, and, in particular, comic elements with ease, but the fusion of these is never jarring. Transitions from scene to scene are seamless, ensuring a rollicking ride for the spectator. There is pathos in the movie which can be discerned, but it is never morose or overbearing. It emanates from the characters, especially Craig, and STAY HUNGRY nicely captures his journey, and what he, and the audience, have learned in the interim. Several of Bob Rafelson's films have comic touches interspersed with high drama, such as HEAD, FIVE EASY PIECES, THE KING OF MARVIN GARDENS, and MAN TROUBLE, but in STAY HUNGRY, these segments greatly suit the overall mood of the piece. Sequences such as Craig dancing to country music, and the bodybuilders leaving the contest, and spilling out into the street, are nice flourishes which create a sense of je ne sais quoi in their execution. A diverting excursion into the zany, but plausible, STAY HUNGRY is a pleasure to watch.

Acting: STAY HUNGRY has a number of notable performances. As Craig Blake, the young man who buys a gym, only to fall into unforeseen trouble with his venture, Jeff Bridges adds another great interpretation to his repertoire. While Mr Bridges excels in drama, he has a marvelous penchant for the comic, with his dancing scene one of the funniest sequences in a 1970s movie, for that matter, in all of cinema. Craig's ladylove, the dynamic Mary Tate Farnsworth, is a fun turn by Sally Field. Well-matched with Jeff Bridges, their union more than cuts the mustard, with the combination of comic, and serious moments, working well. Strong but quiet bodybuilder Joe Santo is made memorable by Arnold Schwarzenegger. With his low but commanding voice and unique presence, Mr Schwarzenegger makes Joe a sympathetic presence in STAY HUNGRY. Franklin, a worker at the gym, is a showy role for Robert Englund. With his jovial, fast-talking ways always making him an enjoyable personality on film, here he does it again with a small, but palpable appearance. As Amy, Craig's aunt, Fannie Flagg brings pizazz and style to the film with her cameo. With her relaxed manner, and personable demeanour, Miss Flagg adds a touch of glamour to the film. 

Soundtrack: STAY HUNGRY has a spare use of music which serves it well. The soundtrack, composed by Byron Berline and Bruce Langhorne, is graceful and serene, with the opening credits accompanied by a scene in the forest, thereby lending it a lyrical feel. The closing credits are contrary, with the jolly banjo tune played over images of all the movie's players, putting the madcap feel of the picture into perspective. There are certain uses of incidental music, such as the water-skiing sequence, where Craig and Joe jog near the bridge, and when the bodybuilders are on the street, which work with the onscreen action, emphasizing either the wackiness occurring, or the quieter moments. One of the best uses of diegetic music in the film, though, is the dancing scene with Craig being swept up by the banjo rhythms. The music adds to the uninhibited mood of the sequence, and is easy to see why Craig reacts in this way to this enchanting piece.

Mise-en-scene: Visually, STAY HUNGRY is just right. Victor Kemper's photography nicely captures the action, with the outdoor scenes particularly noteworthy for enhancing the beauty of the forest depicted. Production design by Toby Carr Rafelson clearly differentiates between the key locations in the movie. The lush Blake family home, with its aura of comfort and ease, the gym building, with its front desk, and gymnasium room replete with equipment, and Amy's splashy home, are pleasing to the eye, and realistic, also courtesy of set decorator Robert Gould. Costuming by Nancy McArdle, and G. Tony Scarano, is naturalistic. Two examples are the wardrobe worn by Jeff Bridges, which is well-tailored, and Fannie Flagg's dress in the party sequence, which is refined, and flattering. 

Notable Acting Performances: Jeff Bridges, Sally Field, Arnold Schwarzenegger, Robert Englund, Fannie Flagg.

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

Overall Grade: B

Link: IMDB Page

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ROLLER BOOGIE (1979)

Title: ROLLER BOOGIE

Year of Release: 1979

Director: Mark L. Lester

Genre: Drama, Comedy, Sport

Synopsis: A young upper-class woman with a love for skating falls for an ambitious working-class skater, teaming up with friends to save their favourite roller-skating venue from closure.

Within a film history context: Roller disco was a short-lived fad of the late 1970s which grew out of disco, which was all the rage at the time. As a film genre, it was similarly ephemeral, with a handful of movies devoted to the topic. One of the first to deal with roller disco was J. Robert Wagoner's DISCO GODFATHER (1979). In this movie, a crime and action drama, a retired policeman owns a disco, and does his best to put drug dealers in their place. SKATETOWN U.S.A. (1979), directed by William A. Levey, was about the rivalry between two young men for a cash prize in a roller disco competition. Robert Greenwald's XANADU (1980), came at the tail end of the roller disco craze. A musical fantasy concerning an artist, and his love for a sprightly young woman, featured numerous roller disco set pieces throughout its running time. ROLLER BOOGIE was released in 1979, at the height of roller disco, and was one of the most financially successful films in the cycle.

As with the latter two examples, ROLLER BOOGIE was entirely consumed with roller disco skating as a subject. In terms of locations, SKATETOWN U.S.A. was more restricted in this sense than ROLLER BOOGIE and XANADU. It took place almost fully inside a roller disco alley, with some forays into outdoor spaces. ROLLER BOOGIE was more fluid in this arena, due to its story of a young roller skater, her family life, and skating not only beachside but also, in the roller-skating alley. SKATETOWN U.S.A.'s story was contained by its story, being the competition between two young skaters for a money prize. One is not exposed to their family lives as such, even though there are small insights into their lives prior to being in the roller-skating alley. In addition, the humor in ROLLER BOOGIE is far less contrived than the antics in SKATETOWN U.S.A. They emerge out of pre-existing situations and characters, rather than being concocted for momentary amusement. Where ROLLER BOOGIE and SKATETOWN U.S.A. find common ground is in the many skating sequences they showcase. These set pieces are handled well in each movie, with glittery visuals offering the requisite visual eye candy for viewers. Aside from this, romance is one of the main features of ROLLER BOOGIE which runs throughout the film. SKATETOWN U.S.A. has more subtle instances of this, preferring to concentrate on the music, musical acts, and skating scenes more than romance. A sound example of a roller-skating disco movie, ROLLER BOOGIE is a charming picture.

Overview: Mark L. Lester is an American film director who has made twenty-seven films thus far from 1973 to 2014, with one upcoming project. His output is a selection of dramas, action, comedy, adventure, and crime among others. Mr Lester's first movie, STEEL ARENA (1973), was the story of a race car driver, and how his penchant for death-defying stunts may get him into serious trouble. Action was again in the cards in TRUCK STOP WOMEN (1974). A mother and daughter running a bordello go up against gangsters who are trying to take over their outfit. WHITE HOUSE MADNESS (1975), was a satire about the administration of Richard Nixon, and how everything that could go wrong, did, in this comedy. One of Mark Lester's notable first efforts came in the form of BOBBIE JO AND THE OUTLAW (1976). The tale of a young country singer, and her entanglement with a criminal, culminating in several crimes, was a breakout role for Lynda Carter as the eponymous Bobbie Jo. Suspense, on the other hand, permeated STUNTS (1977). The mystery of what really happened on a movie shoot, with a stuntman dying, is investigated by the man's brother, who assumes his sibling's place in the production. Into the 1980s, Mark Lester made varied motion pictures.

CLASS OF 1984 (1982), was the story of a teacher arriving at a high school, and encountering nothing but problems from its controlling, hardcore gang of violent students, who make his life sheer hell. Mark Lester then made a foray into science fiction with FIRESTARTER (1984). A young girl with pyrotechnic abilities is sought after by a government agency, who take a great interest in her gifts for specific reasons. One of Mr Lester's highest grossing films was action blockbuster COMMANDO (1985). When the daughter of an army colonel is kidnapped by archcriminals, he determines to find her, no matter what the consequences. ARMED AND DANGEROUS (1986), was a move into comedy for Mark Lester. A former policeman and a lawyer make career changes into security, and inadvertently becomes mixed up in shady business, but discover corruption in their company, and aim to investigate this. The 1990s were also a time of filmic activity for Mark Lester, with action high on his agenda.

CLASS OF 1999 (1990), was a sequel to the director's own CLASS OF 1984. This time around, violence again has been rearing its ugly head in American high schools. A new school principal tries to reinstate order, enlisting the assistance of robots in his mission, but things take a sinister turn in this science fiction movie. In SHOWDOWN IN LITTLE TOYKO (1991), two policemen with a penchant for martial arts team up to protect a witness against Japanese organized crime, but are confronted by hard facts in this action vehicle. NIGHT OF THE RUNNING MAN (1995), once again mined action territory. A taxi driver comes into a large amount of money, which is from the Mafia. and a hitman pursues him tenaciously to retrieve the cash. THE EX (1996), featured a psychopathic young woman who would do anything to return to her ex-husband, resorting to murder to accomplish her goal. Another movie from Mark Lester with a sociopath protagonist was MISBEGOTTEN (1997). A warped man seeks to have a child by artificial insemination, becoming a father, but then turns the life of the woman mothering his child, and her husband, upside down. 

Into the 2000s and beyond, Mark Lester made similar films with action/adventure/crime themes. In the case of BLOWBACK (2000), a series of murders occur in the style of a dead criminal, but this casts doubts as to whether he really is deceased, and actually has a hand in these crimes. In BETRAYAL (2003), a hitwoman ends up with a large amount of money from a job which has gone awry, and runs away to avoid being taken down by a mob boss for the cash. STEALING CANDY (2003), was about three former criminals who kidnap an actress to perform a pay per view pornographic film, but things are murkier than first envisioned in this thriller. GROUPIE (2010), detailed how a groupie joins a rock band, with a series of murders taking place after his arrival. With horror movie POSEIDON REX (2013), the search for treasure close to the island of Belize reawakens a dormant predator which causes torment aplenty. DRAGONS OF CAMELOT (2014), Mr Lester's last movie to date, was a tale of Camelot, and his evil sister Morgan, in her quest to rid herself of the Knights of the Round Table. ROLLER BOOGIE was Mark Lester's sixth film, and one of his most entertaining efforts.

Mark Lester has delivered a humorous and diverting movie with ROLLER BOOGIE. The story of a young upper-class woman seeking fame as a roller skater, and her involvement with a fellow skater from the working class, it is a fun motion picture. Admittedly, the film is light and frothy, aiming to please the audience in its bold, unashamed manner. It does not aspire to be high art, but seeks to be a pleasant time-passer, which is a positive quality. ROLLER BOOGIE knows exactly to whom it is aimed, being teenagers and their families, and does not beat around the bush in this respect. The film builds slowly but surely, and has a number of well-orchestrated sequences which raise it above other films in the roller-skating genre. The humor is actually funny, and there are no messy slapstick segments which seem forced. The tone is happy, but not overly empty-headed. For all its good features, there are a number of flaws which do not assist ROLLER BOOGIE in its intentions.

It is pleasing to witness the presence of skater Terry's mother and father in the film, especially as matters come full circle for the family at the end, but their importance in the narrative has been undercut by the satirical nature of their presentation. Showing them as caricatures in the initial stages of the movie is disappointing, as they could have been given much more deserved depth. Additionally, Franklin is a zany, accident-prone, upper-class preppy character, but it would have been great to find out more about him, and why he wants Terry so. Again, giving greater coverage to these characters would have added much needed zing to the final product. ROLLER BOOGIE also has a pleasing array of supporting characters who make their presence felt. As with others in this ilk, giving characters such as Hoppy, Gordo, and, above all, Jammer, more airtime, would have added further to the movie. Alas, there is only so much time that can be expended on peripheral characters, which is symptomatic of many pictures. In the final analysis, though, ROLLER BOOGIE is a proficient roller-skating film, and an enjoyable outing from Mark L. Lester.

Acting: There are distinctive performances in ROLLER BOOGIE which give the movie life and verve. As Terry Barkley, the young woman who yearns for more out of her upper-class existence, and finds this in roller skating, is a nice turn by Linda Blair. Her transition from a bored young woman, to someone with a purpose, is well enunciated by Miss Blair. As Bobby, the young man seeking Terry's heart, Jim Bray is natural, with a sincere screen presence. A champion roller skater in real life, he would have been great in further movies, this being his only film. Hoppy, one of Bobby's friends, is given fun treatment by James Van Patten. With his penchant of mispronouncing words, and general fun-loving nature, Mr Van Patten is lively. In contrast, the direct but catty Lana, is imbued with unassailable spirit by Kimberly Beck. Watching Miss Beck chew up Franklin, and others, are some of the brightest parts of the picture.

Albert Insinnia as the relaxed Gordo, another of Bobby's friends, contributes subtle humor as Hoppy's foil. An actor with warmth and an approachable demeanor, Mr Insinnia radiates a leisurely vibe here. As the sex-mad, accident-prone Franklin, who wants Terry, but always makes a hash of things, Christopher Nelson makes the viewer feel for him, despite his lecherous ways, which make for rollicking set pieces throughout the picture. The owner of the roller-skating venue, Jammer, is given authority by Sean McClory. With his no-nonsense ways, but vulnerability, Mr McClory delivers in his small role. The final acting of note is by Mark Goddard as one of the gangsters seeking to close the skating alley for redevelopment. His piercing gaze, and sheer audacity, can be keenly felt here, making Thatcher one of the best villains of 1970s cinema.

Soundtrack: ROLLER BOOGIE has a spirited soundtrack which blends exceptionally well with the visuals. The opening credits feature 'Hell on Wheels', performed by Cher, a strong tune that bolsters the movie from the get-go. In the closing credits, 'Roller Boogie' is played, another forceful song, this time warbled by Bob Esty. There is also a happy sprinkling of pop songs of the era utilized throughout the picture, with examples such as 'Boogie Wonderland', and 'Summer Love'. The soundtrack never becomes tiresome as there is always something different on offer musically, which keeps the film hopping.

Mise-en-scene: ROLLER BOOGIE offers a good visual experience for viewers. Dean Cundey's colour cinematography is pleasant without being too garish. As the movie is shot predominately in outdoor locations, these are nicely captured, such as the boardwalk at the beach, and the exterior of the Barkley family home. Costuming by Linda Bass, Jack Buehler, and Urbana Villafane nicely contrasts the casual wear of Bobby's friends, to the more sophisticated wardrobe of Terry's parents and family friends. This points to subtle class differences between the characters expressed in a non-verbal manner. Editing is another solid aspect of the picture, with scenes connected well, and the skating sequences conjuring excitement in the spectator. 

Notable Acting Performances: Linda Blair, Jim Bray, James Van Patten, Kimberly Beck, Albert Insinnia, Christopher Nelson, Sean McClory, Mark Goddard.

Suitability for young viewers: Parental discretion advised. Brief male nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer