THE YOUNG LOVERS (1964)

Title: THE YOUNG LOVERS

Year of Release: 1964

Director: Samuel Goldwyn Jr.

Genre: Drama, Romance

Synopsis: Two university students discover that love is not all that is required to live an authentic existence.

Within a film history context: Movies about college students finding love have been featured from the early sound era. The first main example was Sam Wood's SO THIS IS COLLEGE (1929). Two college friends become rivals over a fellow student, but discover she is nothing but a tease, and again resume their friendship. COLLEGE HUMOR (1933), directed by Wesley Ruggles, had a similar love triangle scenario, but in this instance, a young college student is pursued by not only a fellow college football star, but also, a professor at the establishment. In David Butler's THE GIRL HE LEFT BEHIND (1956), a young college student has a girlfriend also in college, and does not aspire to much. After she leaves him, he fails an exam, and has to join the army, in light of his grades. Once drafted, he learns a thing or two about how to be a responsible person in this romance movie. Comedy TALL STORY (1960), directed by Joshua Logan, followed the life of a young college basketball player, and the fellow college student who uses her wiles to marry him, but their road to happiness is not a smooth one. In contrast to the earlier entries, THE YOUNG LOVERS was the most in-depth representation of college students falling in love.

It was an updated version of the 1930s movies of college students finding love, with similar romantic scenarios, but with 1960s sensibilities in terms of sexuality, and personal responsibility. The dramatic nature of THE YOUNG LOVERS allows for this, whereby the older examples were rooted in a lighter mood and feel in keeping with the censorship of the times. Aside from this, the intense focus on one particular couple also does away with the more simplistic triangles in SO THIS IS COLLEGE, and COLLEGE HUMOR. THE YOUNG LOVERS also differs from both THE GIRL HE LEFT BEHIND, and TALL STORY, with their emphasis on a male protagonist. In THE YOUNG LOVERS, attention floats from Eddie to Pam in the movie, giving each character sufficient airtime. While both Eddie and Pam want love and romance, the journey here is more about finding themselves, and their footing, in life. This is something tackled in THE GIRL HE LEFT BEHIND, with its male character's escapades highlighted, but that film is comic in its intentions rather than serious compared to THE YOUNG LOVERS. A notable take on college students and their lives, THE YOUNG LOVERS is watchable in this respect for the handling of its themes.

Overview: Samuel Goldwyn Jr. was a prolific producer who made only one film, being THE YOUNG LOVERS. His producing credits included THE ADVENTURES OF HUCKLEBERRY FINN, COTTON COMES TO HARLEM and its sequel, COME BACK CHARLESTON BLUE, THE GOLDEN SEAL, MYSTIC PIZZA, STELLA, THE PREACHER'S WIFE, and THE SECRET LIFE OF WALTER MITTY. He was also involved in television, producing two broadcasts of the Academy Awards, a telemovie, and a number of prime-time series. Due to the fact Mr Goldwyn helmed only one picture, this review shall concentrate upon his work on THE YOUNG LOVERS.

With reference to THE YOUNG LOVERS, Samuel Goldwyn Jr. has fashioned a sensitive exploration of two college students, their blossoming love affair, and the events which mark them in their journey. He has produced a motion picture which has a steady pace, and the ability to clearly enunciate its characters' feelings about their lives. There is a certain sincerity about this movie, and its intentions, which is creditable. It attempts to give depth to the lives of college students, and the difficulties which may be faced by them, instead of finding pat solutions to problems. By no means is the film a deep dive into social issues and realism, even though it touches upon these in the narrative. There are views on personal responsibility and family, which are always pertinent ideas for discussion. The movie provides balance by also featuring romantic scenarios and subtle comedy stretches which do relieve some of the lulls in the story. While THE YOUNG LOVERS has qualities to recommend it, there are some flaws which hinder its overall impact.

The love story between Eddie and Pam is the focal point here, but it never feels as if it is live or die for these characters. Even though there is the best attempt by both performers, and the story, to shore up interest in their romance, it does not catch fire as one would expect. The lack of chemistry between Eddie and Pam causes THE YOUNG LOVERS to seesaw in an uneven manner. What occurs is that the second leads, being Tarragoo and Debbie, come off as being much more animated and interesting than Eddie and Pam. The engaging Tarragoo, and his lively girlfriend Debbie, are the stars of the picture, their dominance making Eddie and Pam's plight rather bland in comparison. This is unfortunate, and causes the movie to lose oomph early on, from which it does not recover lost ground. The presence of Pam's mother Mrs Burns also adds drama and punch whenever she is shown, but alas, her appearances are fitful. If a better connection was present between the leads, it would have been a much better product. A satisfactory attempt to review the lives of college students, THE YOUNG LOVERS is only partially successful in its mission of being topical.

Acting: The acting in THE YOUNG LOVERS is very good, but there are two instances of miscasting which derail the movie. In the lead part of university student Eddie Slocum, Peter Fonda does an acceptable job, but the role is too static for him to shine. The same applies to his co-star, Sharon Hugueny, as Pam Burns, Eddie's other half. However much both performers try, they are stuck in limbo with a lack of chemistry not assisting them. On the other hand, Nick Adams, as Eddie's friend Tarragoo, is excellent. With his agreeable manner, gusto, tough guy attitude, and humor, Mr Adams lights up the screen whenever he is present. As Tarragoo's girlfriend Debbie, Deborah Walley is nicely-matched with Nick Adams, their pairing fun to witness. In a more serious vein was Beatrice Straight as Mrs Burns, Pam's mother. With her piercing gaze, perfect diction, and poise, Miss Straight was another great acting interpretation in the picture. The final acting which deserves mention was Malachi Throne as Professor Schwartz, Eddie's lecturer. An actor of authority, with a metalliferous voice, his Professor was on screen for way too short a duration, but, nevertheless, leaves his mark on THE YOUNG LOVERS.

Soundtrack: Sol Kaplan's score is professional, and appropriate to every scene in the movie without being overwhelming. It reinforces the quiet, slightly illicit feel which THE YOUNG LOVERS tries to achieve in its workings.

Mise-en-scene: THE YOUNG LOVERS has a good handle on its mise-en-scene. Cinematography by Joseph Biroc and Ellsworth Fredericks is clean and crisp, never becoming too dark, but is nicely measured. Fernando Carrere's production design, and the set decoration by Frank Wade, are both excellent, with the university classroom, the painter's studio, and, in particular, the Burns home, well done. Costuming by Wesley Jeffries and Rose Rockney ensures each character is different, and that their garments match their personality. Nick Adams' attire befits his role as the likeable, energetic young Tarragoo, with Beatrice Straight elegantly outfitted as the upper class Mrs Burns.

Notable Acting Performances: Nick Adams, Deborah Walley, Beatrice Straight, Malachi Throne.

Suitability for young viewers: Parental discretion advised. Adult themes.

Overall Grade: C

Link: IMDB Page

ALICE'S RESTAURANT (1969)

Title: ALICE'S RESTAURANT

Year of Release: 1969

Director: Arthur Penn

Genre: Comedy, Drama

Synopsis: The story of musician Arlo Guthrie, who among his activities tries to avoid the draft for Vietnam, sings, roams the countryside, and falls in with the crowd of Alice's restaurant in Massachusetts. 

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was the confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies it had a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating. It led to a sequel in 1970 being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. Also raucous was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. 

SKIDOO (1968), directed by Otto Preminger, was a comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, but not a financial success in its original release. Bob Rafelson's HEAD (1968), was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a young deaf woman looking for her brother in San Francisco, and how through this odyssey she encounters wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. ALICE'S RESTAURANT had that quirky sensibility which infused many of the above films, but added its own touches to the counterculture movies.

As with most of the films in this category, ALICE'S RESTAURANT had a central male protagonist, expressing his views on life, and tubthumping authority whenever possible. THE TRIP, GREETINGS, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS are prime examples of this. These are story worlds where anything can happen, with sometimes outrageous incidents highlighted. This was marked more in the latter three movies, which are all comedic in intention. Where ALICE'S RESTAURANT diverted was that Arlo was a folk singer, whereas in the other movies, their occupations were different. The closest film to ALICE'S RESTAURANT in terms of this was WILD IN THE STREETS, with its rock star becoming president, but that film was geared towards satire, and overt comedy. ALICE'S RESTAURANT, by no means a drama, had comic interludes, but did not send up its characters mercilessly, as exemplified by WILD IN THE STREETS. 

There was a quietness, and a subtlety in ALICE'S RESTAURANT, with the lead going through the mill of draft dodging, and hot and heavy relationships with various women. This was contrasted with the single-mindedness of Max in WILD IN THE STREETS, and how he did anything to progress, even if other people were hurt. A free love mentality, though, was present in both WILD IN THE STREETS and ALICE'S RESTAURANT. It was all about the journey for the free-floating Arlo, rather than the rampant sexuality of the egomaniacal Max Frost. This gave ALICE'S RESTAURANT a thoughtful background which was in keeping with the time of its release. Another interpretation of a counterculture character, ALICE'S RESTAURANT is a beguiling account in this respect.

Overview: Arthur Penn was an American film director from 1958 until 1995, helming thirteen motion pictures. His works were predominately dramas, with action, biopics, crime, and thrillers among his output. Mr Penn's first movie, THE LEFT HANDED GUN (1958), followed Billy the Kid as he avenged the killing of his friend by murdering those involved in this crime, but his actions will affect the lives of his close associates. Next came one of Arthur Penn's most notable movies, THE MIRACLE WORKER (1961). The relationship of blind and deaf Helen Keller with her companion, Anne Sullivan, was brought to the screen in a full-blooded biopic, winning Oscars for both Patty Duke as the young Helen, and Anne Bancroft as Anne. Crime drama MICKEY ONE (1965), was about a stand-up comic who finds himself at odds with the Mob, appropriating the identity of another man, and continuing his comic act. In the compelling melodrama THE CHASE (1966), a young man returns to his Texas hometown after escaping from jail, and the effect of his presence is keenly felt on the townspeople. One of Arthur Penn's most celebrated movies came in the form of BONNIE AND CLYDE (1967). Charting the criminal escapades of Bonnie Parker and Clyde Barrow in the 1930s, with its all-out presentation of violence, and courage of its convictions, this biopic made a definite statement at the box office, where it was one of the year's most successful films. The 1970s brought Arthur Penn further interesting pictures.

LITTLE BIG MAN (1970), told the tale of a supercentenarian man who reminisces about his life from childhood, when he was taken in and raised by American Indians, dealings with General Custer, and other events in this western. Crime again made its mark in NIGHT MOVES (1975). When a private investigator is assigned by an actress to find her missing daughter, he uncovers a lot more than first expected in this modern noir drama. One of Arthur Penn's least successful outings was THE MISSOURI BREAKS (1976). A horse thief comes up against a determined rancher, who, with the assistance of another man, seeks to halt the stealing of horses in a very permanent way. Critically derided, with a low box office take in its era, time, though, has been somewhat kinder to this western. Into the 1980s, the underrated FOUR FRIENDS (1981), surveyed the lives of several characters from the tumultuous 1960s until the early 1980s. Despite good notices from critics, it lost money for its studio. TARGET (1985), mined thriller territory, this time, a woman holidaying in Europe parts with her tour group, this arousing the suspicion of her husband and son, who seek to find her. DEAD OF WINTER (1987), was a venture into horror for Mr Penn. An actress tries to help the financial situation of herself and husband by taking on an acting role, but this is just the start of her problems. Athur Penn's last movie was PENN & TENNER GET KILLED (1989). The exploits of a comic duo made up the content of this black comedy, but it was not a fitting final tribute to the director. ALICE'S RESTAURANT was Arthur Penn's seventh film, but not one of his best efforts.

In the case of ALICE'S RESTAURANT, Arthur Penn has made a passable movie with some edifying passages. Taking as its focus a folk singer who tries to avoid being drafted for Vietnam, and his eventual move to friends in Massachusetts, who live in a deconsecrated church, it is an interesting, if flawed picture. Admittedly, there is a certain charm to the proceedings, and the way in which events occur in a random order, but the storytelling, and style of presentation, has not stood the test of time. It may have been relevant at the time of its release for its notions of the counterculture, and beliefs about the Vietnam War, but in retrospect, has not dated well. The to and fro of the narrative does become grating when watching the movie, as one wants something more concrete in terms of an emotional experience, but it rarely happens. Aside from this, the majority of the action actually takes place away from Alice's restaurant, thus skewing the effectiveness of the title. While the title was utilized to capitalize upon the song of the same name, that is the extent of its function. This is not the be all and end all of matters, but does misinform viewers as to the setting of the film. A picture which tries to be irreverent and current but is now mainly of historical interest, ALICE'S RESTAURANT is a chaotic movie from Arthur Penn.

Acting: There are four acting performances which are striking in ALICE'S RESTAURANT. In the lead role, musician Arlo Guthrie has a natural, relaxed presence which works well with the unconventional feel of the movie. As the eponymous Alice, Patricia Quinn adds realism, spunk, and fire to the picture, making her a flesh and blood figure to whom the audience can relate. In contrast, Alice's intriguing husband, Ray, is a dashing turn by James Broderick. With his appealing swagger but also, quiet moments, Mr Broderick is a distinctive personality who adds depth to the proceedings. The last acting of note was by Michael McClanathan as Shelly, Arlo's sensitive friend. In many instances, Mr McClanathan does not have to say a single word for the viewer to comprehend his feelings, and this makes him another unique persona among the others in ALICE'S RESTAURANT.

Soundtrack: ALICE'S RESTAURANT has a pleasing soundtrack, mainly consisting of songs performed diegetically by Arlo Guthrie, but also, with non-diegetic music sprinkled throughout the movie. It is interesting how the opening credits eschew music, instead offering a sound byte of the draft sequence. The closing credits are entirely converse, with an introspective tune played which continues nicely from the end scene of Alice staring into the yonder. This leaves the movie on a solemn but bittersweet note, and is one of the best moments of ALICE'S RESTAURANT.

Mise-en-scene: ALICE'S RESTAURANT has much going for it in terms of offering viewers a convincing visual experience. Michael Nebbia's cinematography is subtle, not emphasizing colour to a great degree, but with an unforced flair which is symptomatic of the picture as a whole. There are quite a few outdoor sequences in the movie, and these all add to the sense of realism which ALICE'S RESTAURANT stives for in its presentation. Production design by Warren Clymer, and John Mortensen's set decoration, create a fantastical world which the characters inhabit, with Alice's restaurant itself being warm and inviting, and the deconsecrated church two key examples of their expertise. 

Notable Acting Performances: Arlo Guthrie, Patricia Quinn, James Broderick, Michael McClanathan.

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

Overall Grade: C

Link: IMDB Page

Trailer

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

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

RIDE THE WILD SURF (1964)

Title: RIDE THE WILD SURF

Year of Release: 1964

Director: Don Taylor

Genre: Drama, Romance

Synopsis: Three surfers come to Hawaii in search of big waves, and the excitement of competing against fellow surfers.

Within a film history context: With the rise of surf culture in the late 1950s and early 1960s, cinema began to respond with an assortment of movies about surfers. The first notable example was Paul Wendkos' GIDGET (1959). A young woman has her first experience with surfing one summer, and is squired by two surfers, one her age, the other considerably older. GIDGET was the first film released by a major Hollywood studio with a beach and surfing background. Its popularity led to two sequels, being GIDGET GOES HAWAIIAN (1961), and GIDGET GOES TO ROME (1963), several television movies, and television series in the years after. GIDGET and its counterparts were followed by the BEACH PARTY movie cycle, made by American International Pictures. 

Commencing with BEACH PARTY (1963), directed by William Asher, this led to a number of sequels, frequently starring Frankie Avalon, and Annette Funicello. These adeptly combined surfing shots with comedy, and romance. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965), and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big-name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. Aside from the BEACH PARTY movies, there were others which spotlighted surfers.

Leslie H. Martinson's FOR THOSE WHO THINK YOUNG (1964), was about a wild young man looking for romance, with the obligatory scenes of beach action, and surfing mixed in for good measure. Lennie Weinrib's musical BEACH BALL (1965), centered around a crafty, surfer rock and roll group manager employing dubious methods to raise money to purchase instruments for his band, which are discovered by the finance committee. THE SWEET RIDE (1968), directed by Harvey Hart, featured a character who was a surfer, among others such as a tennis player, and a musician, in this light movie. RIDE THE WILD SURF was a movie that took another approach to its surfer characters, and this differentiated it from its counterparts.

Examples such as FOR THOSE WHO THINK YOUNG, and THE SWEET RIDE had a single surfer male character, but RIDE THE WILD SURF contrasted three surfers within its framework. THE SWEET RIDE's surfer was older than those of RIDE THE WILD SURF, and more experienced in life. He was more enmeshed in permissive exploits than the surfers in RIDE THE WILD SURF, whose lives were innocent in comparison. These young men sought fun and romance in Hawaii, but did have a credible backstory which provided further information about them other than their penchant for surfing. Their various views on life, and what they wanted out of it, were explored here. While RIDE THE WILD SURF was not drama-heavy as a film, and did have light moments which recalled the BEACH PARTY movies, there was a deeper look into the psychology of these young men which gave them dimension. 

A young man's battle with his feelings of insecurity to prove himself as a surfer, and another's mission to show that he is more than a surf bum, but a vital human being, were two of the stories which RIDE THE WILD SURF covered. This gave the film a sense of punch which the BEACH PARTY movies lacked, as they were oriented towards comedy, romance, and escapism. In addition, the female love interests in RIDE THE WILD SURF were also three-dimensional, ably backing up the male characters without being superficial. As with the male characters, they were easy on the eyes, making them palatable to the audience in a visual, if superficial sense, but carried weight in being credible halves of a male-female duo. In essence, the dissection of real emotions, and the enunciating of these, is one of the reasons why RIDE THE WILD SURF is one of the better movies about surfers. 

Overview: Don Taylor was a former MGM contract player who began to direct motion pictures in the early 1960s. His output was generally light in tone, with some darker works interspersed. The first of his eleven movies was EVERYTHING'S DUCKY (1961). A comedy about two sailors smuggling a talking duck onto their ship, and the zany consequences of this, starred Mickey Rooney and Buddy Hackett in the lead roles. JACK OF DIAMONDS (1967), focused upon a cat burglar, and his assorted exploits stealing jewels from celebrities, and other activities. ESCAPE FROM THE PLANET OF THE APES (1971), was the third part in the series of science fiction movies, and another profitable entry. Don Taylor next made TOM SAWYER (1973). The musical version of the classic story of a young boy in the 1840s also made money, with a cast including Celeste Holm, Jodie Foster, Warren Oates, and Johnny Whitaker as Tom Sawyer. There was a foray into more dramatic territory for Mr Taylor with ECHOES OF A SUMMER (1976). The heart-rending plight of a family, whose daughter is terminally ill, was the subject of this picture, which again featured Jodie Foster, this time as the young girl. 

Horror indelibly marked THE ISLAND OF DR. MOREAU (1977). The survivor of a shipwreck stumbles upon an island, and becomes involved with a mad scientist, who is doing evil things to the citizens residing on the isle. DAMIEN: OMEN II (1978), was another horror film for Don Taylor. In this continuation of THE OMEN franchise, the demonic young Damien causes further death and destruction to those surrounding him, this time the brother of his father, and his wife. With a great cast including William Holden, Lee Grant, Sylvia Sidney, and Lew Ayres, it was an acceptable sequel to the original THE OMEN. Don Taylor's last film, THE FINAL COUNTDOWN (1980), was a war movie with science fiction overtones. In 1980, an aircraft carrier goes back in time to the attack on Pearl Harbour, the past causing issues for present events. RIDE THE WILD SURF was Don Taylor's second film, and an unspectacular, but solid effort.

In the case of RIDE THE WILD SURF, Don Taylor has created an entertaining motion picture. The story of three surfers heading to Hawaii to catch waves, and compete in surfing contests, Don Taylor makes RIDE THE WILD SURF a fast-moving experience. Mr Taylor accomplishes this by immediately diving into the story, taking spectators on a fun journey into the lives of its three leads. The lack of exposition at the beginning does not hurt the movie, as there is time further down where the audience becomes familiar with the characters, and what they are seeking. It is not a matter here of flaky young men seeking to prove their manhood, or bravado, on the waves, which can become tiresome in other pictures. The objective is of achieving something in their lives to be seen as viable human beings. The best parts of RIDE THE WILD SURF are those where intimate thoughts of the protagonists are aired, as in the case of Jody Wallis, and Steamer Lane. This goes way beyond visions of hulking surfers with no depth, which the BEACH PARTY films sometimes showcased. While it is a positive that one gets to know the characters is great detail, RIDE THE WILD SURF could have improved upon this aspect considerably.

It is pleasing that beach life and shenanigans have largely taken a back seat to more pressing considerations in RIDE THE WILD SURF, and the presence of a plausible story one of its assets, but further work could have been done in this arena. Jody's mindset was intriguing to witness, and how he sometimes shuts Brie away, but this seemed like a teaser, and prelude, to something that was never explored. Likewise, Steamer's protestations to not be seen as a beachcomber by his girlfriend's mother, and her misgivings about him, were also real, and then cast aside to seek harmony in the narrative. If RIDE THE WILD SURF spent more time examining these situations, which were perfectly valid, it would have taken the movie to another level, and even further removed from the BEACH PARTY series. Alas, it appears there was a move to keep the film light and bright, but having added pathos would have been beneficial to a greater impact. A slightly unbalanced but competently handled movie, RIDE THE WILD SURF is notable as attempting to distinguish itself from other beach pictures, and does realize this in its own way.

Acting: RIDE THE WILD SURF features a number of appealing performances. In the lead part of surfer Jody Wallis, Fabian is just right. A teen idol sensation of the late 1950s and early 1960s, it is easy to see why, with his good looks, charismatic manner, and passionate undercurrent just some of the reasons. His other half in the film, Brie Matthews, is given oomph by Shelley Fabares. What could have been a noxious nymphet in lesser hands has been made into a winsome ingenue with a fetching presence. The bouncy Augie Poole is another fun turn by Barbara Eden. An actress with an indefatigable manner, coupled with sharp intelligence, Miss Eden always gives a great account of herself in whatever she appears. Unfortunately, Augie's partner, Chase, does not fit in as well into the equation here. Peter Brown has the right look for the picture, with a pleasant personality, but is miscast as surfer Chase. 

On the other hand, ambitious surfer Steamer is a compelling figure in the person of Tab Hunter. As with Fabian, Mr Hunter was also a teen idol of his time, and here is excellent as a man seeking to prove that he is more than just a transient surfer, ably convincing the audience of this. The apple of Steamer's eye, Lily, is given poise by Susan Hart. A striking actress with a low-key disposition, whose acting career lasted only several years, it would have been interesting to have seen more from her, as her acting was precise. Lily's commanding but protective mother, Mrs Kilua, is in the authoritative presence of Catherine McLeod. With her penetrating stare and canny ways, Miss McLeod was RIDE THE WILD SURF's voice of reason and truth, and rounds out the great acting in the movie.

Soundtrack: For a movie about surfing and the 1960s, RIDE THE WILD SURF is surprisingly lean in terms of its musical accompaniment. This is a win for the picture, as it would have detracted attention away from the story and its characters. Stu Phillips' score works agreeably in the background throughout the film without becoming tiresome. The key departure from this is the final credits sequence, where Jan & Dean's 'Ride the Wild Surf' is employed, thereby tying up RIDE THE WILD SURF in a pleasing way.

Mise-en-scene: RIDE THE WILD SURF has a very good attention to detail in its onscreen viewer experience. Joseph Biroc's Eastmancolor cinematography is clean and beautiful, showcasing the pretty Hawaiian locations to best effect. There is the feeling that the spectator is on the ground with the characters in many instances, so vivid, and intimate is the photography, particularly of the surfing, and beach sequences. Costuming has been carefully arranged to make a distinction between each and every character, this aim successfully accomplished. Editing is also crisp, making the surfing segments flow very well, and evoke excitement and wonder in the viewer.

Notable Acting Performances: Fabian, Shelley Fabares, Barbara Eden, Tab Hunter, Susan Hart, Catherine McLeod.

Suitability for young viewers: Yes. Slight adult themes.

Overall Grade: C

Link: IMDB Page

Trailer

WALL OF NOISE (1963)

Title: WALL OF NOISE 

Year of Release: 1963

Director: Richard Wilson

Genre: Drama, Sport

Synopsis: An ambitious horse trainer's problems on the track extend into his busy personal life, especially with the opposite sex.

Within a film history context: Films which have a horse trainer as their central character have been quite sporadic in cinema history. One of the first major examples was Milton Carruth's BREEZING HOME (1937). The trials and travails of a horse trainer who falls in with some unscrupulous types, but is not drawn into their machinations, were the focus of this movie, along with the lead's romances. SPEED TO BURN (1938), directed by Otto Brower, had a young adult horse trainer who goes through a number of perilous situations, and encounters surly people, in order to see his horse run in the race. S. Sylvan Simon's SPORTING BLOOD (1940), starred Robert Young as a complicated young man who returns to his home town, and seeks to train a horse for a race. He finds not only support and romance, but also, misgivings on the part of others, due to his father's past. HOME IN INDIANA (1944), directed by Henry Hathaway, had an impulsive young man train horses, but not without distraction from the young women who seek to attract, and win his attention. Clarence Brown's NATIONAL VELVET (1944), was the classic story of a budding young equestrienne, and her association with a footloose young man, who together aim to train her horse for a major English racing competition. 

With THE RED STALLION (1947), directed by Lesley Selander, a young boy trains a horse in order to assist his grandmother with her expenses, but finds some nice surprises along the way in his journey. Joseph Newman's THE GREAT DAN PATCH (1949), was based upon the real-life story of racing horse Dan Patch, and his trainer's difficulties not only with the equine but also, his personal troubles. THE STORY OF SEABISCUIT (1949), directed by David Butler, was another example of a true story adapted for the screen. Here, the real-life racing exploits of horse Seabiscuit are the focus, with a trainer's niece falling for a jockey in this family movie. Frank Capra's comedy RIDING HIGH (1950), followed a man whose family want him to take a conventional route in life and participate in the family business, but whose heart lies in horse racing. WALL OF NOISE was one of the most serious of the entries about a horse trainer compared to other examples.

Several of the films, such as SPEED TO BURN, HOME IN INDIANA, NATIONAL VELVET, and THE RED STALLION, featured young adults who trained horses. These largely eschewed romantic subplots, with the exception of HOME IN INDIANA, and were of a family orientation. There was also a subtle coming of age theme present in these pictures, with the young men in question finding not only themselves but also, their purpose in life. WALL OF NOISE was allied more to the films which had an adult horse trainer, with BREEZING HOME, SPORTING BLOOD, THE GREAT DAN PATCH, THE STORY OF SEABISCUIT, and RIDING HIGH. Where WALL OF NOISE diverted was in its mature, intricate storytelling style, where sentimentality was not a presiding feature of the movie. The happy feelings evoked by RIDING HIGH, for example, were not present in WALL OF NOISE, with this film's emphasis of a dramatic nature. This is obvious in many areas of the movie. 

The horse trainer in WALL OF NOISE, Joel Tarrant, was uncompromising, and unsparing in his devotion to his sport, despite the many pitfalls it possesses for him. This gave WALL OF NOISE a harder, more compelling edge which the more conventional narratives could not offer. The other characters in the picture were similarly three-dimensional in their presentation, ensuring that the movie was geared to appeal to an adult audience, rather than to younger viewers. Romance is an area which WALL OF NOISE does not enter, keeping matters on a less mawkish level. Joel does have two dalliances with women in the film, but these exhibit the character's dispassionate feelings towards the opposite sex, not utilizing a softer approach in this arena. An intelligent examination of a horse trainer, and his dealings with those in this set, WALL OF NOISE is a perceptive movie.

Overview: Richard Wilson was an American director of eight motion pictures in his career over a fifteen-year period, from 1955 until 1970. His movies were mainly dramas, with two westerns, and several crime pictures among these. Mr Wilson's first movie, MAN WITH THE GUN (1955), was a western about a mysterious man who arrives in a small town, seeking to restore law and order. In crime drama THE BIG BOODLE (1957), a blackjack dealer is caught in a web of corruption and deceit linked to counterfeit money. Film noir was on the agenda for Richard Wilson with RAW WIND IN EDEN (1958). The arrival of a model, and her friend on a remote Mediterranean island causes waves for a man and his daughter, specifically of the romantic kind. AL CAPONE (1959), was the director's interpretation of the life of the infamous gangster, charting his ascent as crime kingpin, to his jailing. Aside from providing Rod Steiger with a showy role as Al Capone, it was one of the most popular films of its year. 

Crime once again was the focal point of PAY OR DIE! (1960). The career of real-life New York City police officer Joseph Petrosino was examined, particularly his fight against the Manhattan Black Hand racket of the early 1900s. Western INVITATION TO A GUNFIGHTER (1964), followed a gunfighter returning to his home, and finding himself not only without his home but also, marked opposition to his presence on a large scale by the town's inhabitants. THREE IN THE ATTIC (1968), was in contrast to Mr Wilson's other movies. A Don Juan romances three young women simultaneously, but their discovery of his activities leads them to lock him in an attic, where they take turns at having their way with him. Though not critically acclaimed, it was nevertheless a financial success for American International Pictures. WALL OF NOISE was Richard Wilson's sixth picture, and one of his most solid efforts.

With WALL OF NOISE, Richard Wilson has made a smoothly executed, nifty film. Taking the horse racing industry as its centerpiece, especially concentrating upon its lead character, driven horse trainer Joel Tarrant, and the assorted colorful people he encounters, it is a crisply made picture. The director has ensured that the story follows a logical and interesting course, with many surprising twists and turns throughout its running time. Scenes are all perfectly timed and never rushed, the viewer finding out exactly what the characters want, and why. Their passions are all real, and understandable. Some personalities in the movie may appear all bluster on the surface, but the screenplay assists the spectator to look deeper into what motivates these people. Aside from this, the background details of the horse racing industry itself are fascinating to witness, as are the wheeling and dealing to which many of the characters are given. It is obvious that time and effort have gone into research to make the movie as authentic as possible. An insightful peek into the racing world, WALL OF NOISE is an entertaining motion picture from director Richard Wilson.

Acting: WALL OF NOISE has stimulating performances which make the movie an enjoyable experience. In the lead role of Joel Tarrant, hard as nails horse trainer, Ty Hardin is excellent. A handsome actor with a surprising vulnerability which is displayed at just the right time in the film, his acting is strong here. The married woman who turns Joel's head, Laura Rubio, is given shading and humor by Suzanne Pleshette. A lovely actress with a knack for creating mysterious, but earthy heroines, Miss Pleshette's smoky voice and poise remain in the memory. The charismatic, complicated Matt Rubio, construction mogul and racing dabbler, is a sublime turn by Ralph Meeker. Flashing his ever-ready smile, spouting his endless list of schemes, and witty comebacks, Mr Meeker's Matt is a fascinating presence in WALL OF NOISE. Four other performances deserve mention in WALL OF NOISE.

Barnstorming modelling agency owner, and horse enthusiast Johnny Papadakis, is played with vigor by Simon Oakland. With his volatility and cutthroat ways, Mr Oakland turns what could have been a caricature into a distinctive persona. Joel's erstwhile flame Ann is given nuance and depth by Dorothy Provine. Although never a victim who takes things lying down, Ann is hard done by several people in the film, and ably captures the audience's sympathy, ensuring that they are rooting for her to have a happy ending. Spunky jockey Bud Kelsey, who takes a protective stance towards Ann, is given oomph by Jimmy Murphy. With his readiness to defend and attack, and ability to stand up for himself unequivocally, Mr Murphy offers a punchy interpretation of the lively jockey. The final acting of merit was by Murray Matheson as Jack Matlock, Joel's confidant. With his quiet, yet worldly, and philosophical ways, Mr Matheson adds a touch of class, and international pizazz, to WALL OF NOISE.

Soundtrack: William Lava's score is pleasing, adding just the correct amount of boldness, and majesty to WALL OF NOISE. Always measured, never overwhelming scenes, but emphasizing these in the best possible manner, it is a classic-style score which works. 

Mise-en-scene: WALL OF NOISE is a quality product, and this is reflected in what is presented on screen. The black and white cinematography by Lucien Ballard is beautiful, ensuring everything in front of the camera is captured in a crystal clear way. Lighting is also spot on, successfully making outdoor studio sequences convincing. Set decoration by John Austin is also notable, with the chic restaurant which Joel and Laura visit, and Laura's home two of the standouts. Costuming by Howard Shoup works on a subtle level, more marked by the female characters. The wardrobe for Suzanne Pleshette alternates between elegant daywear, and elaborate after five garments, while Dorothy Provine's costuming is toned down, but still stylish.

Notable Acting Performances: Ty Hardin, Suzanne Pleshette, Ralph Meeker, Simon Oakland, Dorothy Provine, Jimmy Murphy, Murray Matheson.

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

Overall Grade: B

Link: IMDB Page

CHASTITY (1969)

Title: CHASTITY

Year of Release: 1969

Director: Alessio de Paola

Genre: Drama

Synopsis: A young woman from a troubled family background takes to the road hitchhiking, finding some happiness, but also angst, along the way.

Within a film history context: Films which feature hitchhiking characters have been around in cinema since the silent era. E. Mason Hopper's THE RIGHT DIRECTION (1916), is an early documented example of this. A young woman begins hitchhiking to take herself, and her younger brother, to a better life away from their miserable existence, and finds problems with the family of the man who picks up her and her brother. One of the most famous scenes of hitchhiking can be found in IT HAPPENED ONE NIGHT (1934), directed by Frank Capra. With Claudette Colbert attempting to gain a ride for her and Clark Gable in a most amusing sequence, it was one of the best ever scenes of hitchhiking to be presented in cinema. William Dieterle's DR. SOCRATES (1935), had a supporting character who was a hitchhiker, in this crime film which starred Paul Muni in the title role. In the overtly titled HITCH HIKE LADY (1935), directed by Aubrey Scotto, a mature woman hitchhikes from New York to California to visit her son, who, unbeknown to her, is in jail. With Leigh Jason's THAT GIRL FROM PARIS (1936), an opera star hitchhikes after leaving her husband-to-be in the lurch, and encounters romance and adventure while hitchhiking. On the other hand, HEAVEN WITH A BARBED WIRE FENCE (1939), directed by Ricardo Cortez, starred Glenn Ford as a young man who hitchhikes across America, accompanied by another man and a woman, to reach his land in Arizona. As with the 1930s and prior, the 1940s also had varied hitchhiking scenarios.

Preston Sturges' SULLIVAN'S TRAVELS (1941), was the story of a film director who conducts unconventional research as a vagrant for his next movie, finding romance along the way. It featured a lead character, played by Joel McCrea, who hitchhiked as part of his personal journey. DETOUR (1945), directed by Edgar G. Ulmer, was much more dramatic. As with SULLIVAN'S TRAVELS, it also had a hitchhiking male protagonist, this time a pianist who becomes enmeshed in intrigue, taking on the identity of the mysterious man with whom he rode. Tay Garnett's THE POSTMAN ALWAYS RINGS TWICE (1946), had a central character who hitchhiked his way into the lives of others in the movie, causing torment. Another film with a shady hitchhiker was THE DEVIL THUMBS A RIDE (1947), directed by Felix Feist. In this tale, an upstanding man takes in a murderous hitchhiker, with many unexpected consequences. Similar to THE POSTMAN ALWAYS RINGS TWICE, Delmer Daves' DARK PASSAGE (1947), began with a main character who hitchhikes to another life, this time escaping from jail, leading to an intricate set of compelling events. Into the 1950s, there were equally interesting hitchhiking scenarios and characters.

As was the case with the films of the mid to late 1940s with their dark post-war premises, TOMORROW IS ANOTHER DAY (1951), directed by Felix Feist, followed a couple involved in a crime who hitchhike to evade capture. Dangerous hitchhikers are again presented in Ida Lupino's THE HITCH-HIKER (1953). In this movie, two fishermen make the grave error of picking up a psychotic man who gives them a chilling pronouncement - after they arrive at their destination, he will kill both of them. Equally tense was THE NIGHT HOLDS TERROR (1955), directed by Andrew L. Stone. A wealthy man picks up a hitchhiker who, along with several others, cause mayhem for the man and his family. In a more exploitation, but surprising vein was Charles Saunders' KILL HER GENTLY (1957). A man picks up two hitchhikers who are wanted criminals, but does not turn them over to the authorities, instead, he propositions them to murder his wife. As with other film decades, the 1960s also had diverse hitchhiking themed films.

A benign view of hitchhiking was brought forth by the Elvis Presley vehicle IT HAPPENED AT THE WORLD'S FAIR (1963), directed by Norman Taurog. Here, two friends hitchhike to the Seattle World Fair as their mode of transport was confiscated by police, finding romance and fun. Marc Lawrence's NIGHTMARE IN THE SUN (1965), co-starring real life couple John Derek and Ursula Andress in the lead roles, followed a married woman who picks up a male hitchhiker, their affair leading to intrigue and murder. A romantic view of hitchhiking could be found in WILD SEED (1965), directed by Brian Hutton. A young woman runs away from home after discovering her true parentage, and meets a drifter, their fraught relationship blossoming over the course of the movie. In contrast, Dennis Hopper's EASY RIDER (1969), altered the mode of transport from automobile to motorcycle, the bikers in the film picking up a number of hitchhikers on their way across the country. CHASTITY is one of the most serious, measured of the movies about a hitchhiker, in this instance, a woman.

In general, female hitchhikers were not an uncommon presence in the pictures prior to CHASTITY's release. There were quite a few examples of female hitchhikers, beginning with THE RIGHT DIRECTION, and continuing with IT HAPPENED ONE NIGHT, HITCH HIKE LADY, THAT GIRL FROM PARIS, TOMORROW IS ANOTHER DAY, and WILD SEED. The scenarios were mainly dramatic in nature, with some comic exceptions such as IT HAPPENED ONE NIGHT and THAT GIRL FROM PARIS. CHASTITY was of the dramatic persuasion, with humor not an element in this case. The movie also lacked the obvious suspense elements which permeated many of the films which had a male hitchhiker, instead featuring a slow buildup of events which examined the lead female hitchhiker in detail for the viewer. It was all psychologically motivated and character-driven, without resorting to action and adventure. CHASTITY offered no easy answers for its protagonist, and could be seen as the most realistic, if pessimistic, of entries about a female hitchhiker. It afforded an intensive look into the psyche of Chastity, making her a thoroughly three-dimensional figure. Romance, if anything, was an ephemeral notion in the picture, thus distancing CHASTITY from WILD SEED, with its happy ending. A solemn portrait of a female hitchhiker, CHASTITY offers a candid insight into its subject for spectators. 

Overview: Alessio de Paola is an American director with only one motion picture to his credit, being CHASTITY. He does not appear to have any other television or stage credits to his name, therefore, this overview will examine his contributions to CHASTITY. With CHASTITY, Alessio de Paola has made an interesting work. Taking as its focus a young woman hitchhiking across the country, and charting her various adventures, and reactions to situations in which she finds herself, it is a passable movie. The strength of the picture is in its showcasing of a complex protagonist, the eponymous Chastity. A young woman who appears rough and tough at first glance, the film presents narrative situations where her character is slowly unraveled to the audience, and why she projects the world-weary, blunt air she possesses. This is the most satisfying, and fascinating part of the movie, whereby the spectator gains a thorough understanding of its central figure. CHASTITY, though, is not a perfect movie in any sense of the word, despite its compelling lead character.

While it is admirable that the film takes its time with the events it portrays, some scenes are overlong. Chasity's experience in the bordello is one of these instances. It seems to take forever, with some grating moments. The sequence with Chastity and client Tommy is one part that could have been successfully abbreviated. Its slow, repetitive nature rapidly gets on the nerves. The best thing which comes out of the bordello scenes, though, is the appearance of lesbian madam Diana Midnight, a woman of many moods and passions. Aside from Chastity, she is the most entrancing character in the film, but it would have been fruitful to learn more about this individual, provocative personality. In addition, further background to Chastity's personal plight would also have been helpful. The final stretches do answer questions about Chastity which were posed throughout the film, but even more information would have been welcome. A well-intentioned work that unfortunately veers towards unevenness, CHASTITY is a solid attempt at giving depth to its main hitchhiking character, and why she has taken to the road in the first place.

Acting: There are three performances in CHASTITY which stand out. In the lead role of Chastity, Cher is excellent in the best of her early roles. Painting a vivid portrait of a young woman burned by life, trying to find her way despite many difficulties, and living by her wits, she brings emotional force and truth to the picture, making the end of the movie shattering to witness. As Eddie, the student who befriends Chastity along her journey, Stephen Whittaker brings a relaxed charm to the part of a man who is her polar opposite, but manages to smooth some of her rough edges. With his personable ways and comely demeanor, Mr Whittaker makes the audience wish that he can win over the hardened Chastity. On the other end of the moral spectrum is lesbian bordello madam Diana Midnight, played with style by Barbara London. With her quiet authority and subtle mannerisms, Miss London is a distinctive actress, whose presence lends an air of mystery, and glamour, to CHASTITY.

Soundtrack: CHASTITY has a soundtrack which works well accompanying the visuals. The opening scenes have a haunting score composed by Sonny Bono which heightens the drama in this sequence, and the closing scenes. There are variations of this score employed throughout the picture that also emphasize the emotive nature of the material. The use of 'Chastity's Song', performed by Cher, builds a picture of the footloose life of the movie's protagonist, but is not nearly as effective as the score in its stirring nature.

Mise-en-scene: What is presented to spectators on screen in CHASTITY is of a high standard. Cinematography by Ben Colman captures everything beautifully, and with crispness. Both indoor, and outdoor scenes are lovely to witness. Exterior locations have been carefully chosen, with the highway, cafes, shops, and other locations adding realism. The main interior used in the movie, being Eddie's house, reflects a dedicated young man whose life is anything but messed up, contrasting this with Chastity's three sheets to the wind view of life. Sadie Hayes' costuming is also excellent, drawing comparisons between Chastity's modern, minimalist attire, and Diana Midnight's cool elegance as the seductive femme fatale of CHASTITY.

Notable Acting Performances: Cher, Stephen Whittaker, Barbara London.

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

Overall Grade: C

Link: IMDB Page

Trailer