JENNY (1970)

Title: JENNY

Year of Release: 1970

Director: George Bloomfield

Genre: Drama, Romance

Synopsis: A young woman is left pregnant by a man, and befriends a sullen photographer, who agrees to be the father of her child.

Within a film history context: Movies revolving around an unwed mother have been in existence since the silent era. One of the first documented in this vein was Emile Chautard's MAGDA (1917). When a young woman from a small town goes to the city, she marries and has a child with a man. What she discovers is that the marriage was a hoax, and consequently leaves her to support a child. Her downfall begins here, as she drifts into unsuitable employment, and a number of other issues resurface. With IT (1927), directed by Clarence Badger, matters were of another persuasion. A perky department store salesgirl seeks to assist her roommate in a time of need, but this lie causes issues in her private life she never envisioned. Into the sound period, Frank Capra's FORBIDDEN (1932), was about a young woman who meets a man on a cruise, and subsequently falls pregnant to him, but is unaware that he is already married. In A FAREWELL TO ARMS (1932), directed by Frank Borzage, an ambulance driver and a nurse in World War I Italy fall in love, and she falls pregnant. Despite resolving to be together, a number of misunderstandings ensue, building to a tragic end to their affair. Alexander Hall and George Somnes' TORCH SINGER (1933), diverted from others in terms of its story. A woman who has had a child out of wedlock gives it up for adoption, but becomes a torch singer with a questionable way of life in this drama. 

ANN VICKERS (1933), directed by John Cromwell, had the distinction of its main character, a social worker, falling pregnant twice out of wedlock to two different men, finding a measure of happiness the second time around. John Stahl's ONLY YESTERDAY (1933), begins during World War I, when a young woman has an affair with a man, who is slated to fight in the war. When they meet again many years later, he does not remember her, and has a son in tow. DOCTOR MONICA (1934), directed by William Keighley, centered around a female obstetrician, who finds out the hard way that her husband had an affair with another woman, as she delivers the baby of his mistress. In Mitchell Leisen's TO EACH HIS OWN (1946), a young woman in American during World War I has a baby to a pilot, and gives up the illegitimate child for adoption. She watches his life unfold from a distance, but finds out that second chances in life do exist. On the other hand, SIN OF ESTHER WATERS (1948), directed by Ian Dalrymple and Peter Proud, had a young woman in 1870s London fall pregnant to a faithless man, forced to raise the child on her own. 

Mitchell Leisen's NO MAN OF HER OWN (1950), starred Barbara Stanwyck as a woman who befriends two people on a train, who eventually die, and assumes the identity of the wife. She is welcomed into the family, but her former lover blackmails her over her deceit, with which she was uncomfortable anyway, leading to a surprising ending. UNWED MOTHER (1958), directed by Walter Doniger, the title of which left no doubt as to the status of its main character. When a young woman from a farm goes to Los Angeles, she is loved and left pregnant by a Lothario, and has the baby. Giving up the child for adoption, she rues the day she made this decision in this drama. Richard Quine's THE WORLD OF SUZIE WONG (1960), featured a young Chinese prostitute who had a child out of wedlock, and was involved with an American architect in this drama. In contrast, the unmarried mother in THE SANDPIPER (1965), directed by Vincente Minnelli, was an artist who lived with her young son at Big Sur, and had an affair with a married reverend, the headmaster of her son's school. JENNY arrived onscreen in 1970, and gave the unwed mother theme its own spin.

The earlier examples of an unwed woman falling pregnant often precipitate the moral downfall of the said character, such as in MAGDA, TORCH SINGER, and ANN VICKERS. The woman either starts drifting into unsuitable employment, or from man to man, as in ANN VICKERS. They are not depicted as being promiscuous, more misguided, just that fate has dealt them an unlucky hand. In many instances, the woman raises her child alone, as in MAGDA, FORBIDDEN, ANN VICKERS, ONLY YESTERDAY, SIN OF ESTHER WATERS, THE WORLD OF SUZIE WONG, and THE SANDPIPER. In some of the movies, the woman gives up the baby for adoption, as in TORCH SINGER, TO EACH HIS OWN, and UNWED MOTHER. A FAREWELL TO ARMS stands out as the only entry where the baby dies. DOCTOR MONICA also diverts as the central character has not given birth to an illegitimate baby, but is delivering one for another woman, being her husband's mistress. JENNY belongs to the group of pictures where a man impregnates the woman, and their affair is a mistake, with him leaving her in the lurch. MAGDA, FORBIDDEN, ANN VICKERS, SIN OF ESTHER WATERS, and UNWED MOTHER are prime examples here. 

JENNY is the only picture where a man, not the father of the child, marries the pregnant woman to give her child a parent. Delano in JENNY, though, if of the disloyal male character mold as evidenced by the prior samples such as MAGDA, and SIN OF ESTHER WATERS. Where JENNY again moves away is that the difficulties of compatibility between Jenny, and Delano, make way for real love over time, and this is cemented by the birth of their child. This is unlike the many movies of women who stay single as a mother, or watch their child from afar, as in TO EACH HIS OWN. It adds a positive touch to the trials and travails of the unwed mother, advancing from the sadder portrayals of women whose lives are forever marked by what happened in their lives, to something more life-affirming. In addition, JENNY's leaning towards romance provides it with an ethereal feel that the other narratives, with moral considerations, could not offer. A more modern version of the hardships of an unwed mother, JENNY asks viewers to consider another perspective on this theme. 

Overview: George Bloomfield was a Canadian director who presided over ten motion pictures in a twenty-nine year period. He made dramas, thrillers, family fare, and also ventured into comedy in his output. Mr Bloomfield's second movie, TO KILL A CLOWN (1972), was an unconventional thriller about a couple holidaying on the beach, and how their encounter with a Vietnam veteran changes them forever. CHILD UNDER A LEAF (1974), had a similar, if divergent premise. A woman trapped in an abusive marriage has an extramarital affair, giving birth to her lover's child, but tries to move away from her egotistical husband. NOTHING PERSONAL (1980), was a comedy of an activist professor concerned about the plight of baby seals, and how he is assisted in his mission by a lawyer. Critically roasted in its time, it has sunken into oblivion. Thriller DOUBLE NEGATIVE (1980), showcased a man whose wife was murdered, and how he tries to find her killer, and exactly what happened that fateful night. THE ARGON QUEST (1992), was a family movie with two brothers transported to a magical island, the only way to save it is by finding the giant Argon. JACOB TWO TWO MEETS THE HOODED FANG (1999), was another family picture. A young boy who likes to mention things in twos, goes shopping one day, but is misunderstood by the grocer, subsequently landing in a children's prison. Some friends in the prison assist him, and plan to escape from there in this fantasy movie. JENNY was George Bloomfield's film debut, and a good, if uneven, first movie.

With JENNY, George Bloomfield has crafted a subtle story of a pregnant, unwed young woman who meets a filmmaker whom she eventually marries. The movie ably charts their blossoming relationship through all the obstacles which come their way in light of their decision to wed, and for the photographer to take on the role of husband, and father, to a child which is not his own. It is a film which has an assured pace, and delicately examines its lead characters' feelings about their situation. There is no doubt as to the sincerity of the director in focusing upon the plight of an unwed mother in his picture, and this is one of its best qualities. This is a topic which has been featured in cinema over all time, and here the director adds his own interpretation to this issue. 

Where the movie lacks punch is that sometimes the pace is too slow and languorous, the conflict being too distant in regularity to have an impact. There is a concentration of romantic scenes which suits the material, but the aura of dreaminess does have the tendency to outweigh the more dramatic stretches. If JENNY had extra segments of antagonism between its characters, it would seem even more real as a product. As it is, the film is a little topsy turvy in balancing drama with romance. Nevertheless, in the final analysis, certain things can be said about JENNY as a motion picture. It is a pleasant movie from George Bloomfield that needed some tinkering, but whose overall honesty in what it says about people, and life, is commendable.

Acting: There are two performances which give life to JENNY. In the lead role of Jenny, Marlo Thomas is thoroughly believable as a young woman who has made mistakes in life, and tries in her own way to rectify these. With her warmth, openness, and ability to share her feelings with the audience, Miss Thomas is excellent. As Delano, the photographer who Jenny marries, their relationship not all smooth sailing, Alan Alda is well matched with Marlo Thomas. Although he is usually the good-humored leading man, here Mr Alda takes a dive into darker, more multi-faceted territory, which shows how versatile an actor he is. 

Soundtrack: Michael Small's attractive musical score suits the solemn, leisurely-paced material, always subtle, but never overbearing. It adds a certain flair and grace to scenes, one of the best examples being the scene where Jenny and Delano race merrily around the park.

Mise-en-scene: JENNY has a very good handle on its visuals, thanks to the work of several key personnel. The Deluxe cinematography by David Quaid is lush, and exceedingly easy on the eyes without being garish. It makes everything appear as if it was from a carefully-composed painting which has been turned into a film. Trevor Williams' art direction, and set decoration by Alan Hicks, create an agreeable world of beautiful parks, inviting rooms, and pretty streetscapes. Two key examples stand out in this respect. The home of Jenny's parents is elegant without being overdone, and the apartment which Jenny and Delano share is slightly bohemian, but feels as if real people would indeed inhabit this abode.

Notable Acting Performances: Marlo Thomas, Alan Alda.

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

Overall Grade: C

Link: IMDB Page

DAYS OF HEAVEN (1978)

Title: DAYS OF HEAVEN

Year of Release: 1978

Director: Terrence Malick

Genre: Drama, Romance

Synopsis: A man and woman posing as brother and sister work the wheat fields where she marries a wealthy farmer, this causing friction in their relationship.

Within a film history context: Movies about characters working on wheat fields have not been a common occurrence in American cinema. The first notable example is F.W. Murnau's silent CITY GIRL (1930). The difficulties of a Chicago woman in adapting to farm life after marrying a Minnesota farmer, and the many obstacles she faces there, including an insidious father-in-law, constituted the content of this movie. The sound KONGA, THE WILD STALLION (1939), directed by Sam Nelson, charted the heated rivalry between two men, one a rancher, the other a wheat farmer. When a rancher's wild horse makes its way into the wheat fields of the farmer, an old feud rears its ugly head in this western. With Joseph Kane's DAKOTA (1945), a gambler joins forces with wheat farmers against two corrupt businessmen, who seek to drive out both parties for ultimate control of land. Wheat farmers were also featured in ABILENE TOWN (1946), directed by Edwin Marin. The uneasy alliance between farmers, and homesteaders in Kansas after the Civil War, is exacerbated by cowboys in this western. Tay Garnett's WILD HARVEST (1947), followed the intrigues of a wheat harvesting supervisor, his friend, and rival, and the woman who comes between them both for love, and money. DAYS OF HEAVEN came much later than the previous examples from the 1930s and 1940s, arriving onscreen in 1978, with a marked difference in its treatment of characters working on a wheat field.

The majority of the movies here were aligned to an action storytelling style, such as KONGA, THE WILD STALLION, DAKOTA, ABILENE TOWN, and WILD HARVEST. There were rivalries, and clashes between opposing groups over land, particularly male characters fighting it out for supremacy. WILD HARVEST was the only film where a female character caused romantic tension between two men. CITY GIRL was different to all of these, as its scenario was not melodramatic in tone. It was the character study of a woman transplanted from Chicago to Minnesota, and how she handles this transition. The female character in CITY GIRL inadvertently creates animosity between a father and son, but this is not of a romantic orientation. The father-in-law distrusts his new daughter-in-law, and tries to break up his son's marriage. DAYS OF HEAVEN is more closely linked to CITY GIRL in its elegant presentation, and also, in that it charts the hardships of those who work on the wheat fields. This is something that the other films deviated from in order to concentrate on the power plays of certain characters.

Where DAYS OF HEAVEN moves away from CITY GIRL, though, is in its depiction of the female character. Abby is a woman together with her boyfriend, passing as brother and sister, to avoid gossip about their relationship. She turns the head of, and marries, a wealthy farmer who believes that her boyfriend is her brother. The rivalry between her boyfriend, and husband, begins once he discovers the truth. This is a more intricate, measured chain of events in DAYS OF HEAVEN which is far away from the overt squabbles of the men in WILD HARVEST over a woman. The role of the woman in DAYS OF HEAVEN is complex, as she is attracted to both men, and carries on with them simultaneously. It is not about money or power, but an emotional attachment on her part. This differs from the young woman in WILD HARVEST who plays two men against each other for her own satisfaction, and material gain. DAYS OF HEAVEN also had a psychological 1970s sensibility in its rendering, looking deeper at its situation, rather than the more simplistic scenarios from the 1930s and 1940s, by investing real emotion in its story. A thoughtful entry on life on the wheat fields, DAYS OF HEAVEN is a winner in this respect.

Overview: Terrence Malick is an American director of thought-provoking cinema who has made nine films over the space of forty-six years, with a project currently in post-production. His movies are generally period pieces, with several diversions into more contemporary themes. They are noted for their nuanced performances and stories, elegant pace, and lush photography. Mr Malick's first picture, BADLANDS (1973), was based upon the real-life killing spree of a young man and his girlfriend in Nebraska and Wyoming, with events in the movie occurring in a cross-country journey from South Dakota to Canada. Terrence Malick's third movie came twenty-five years after his first effort, being war epic THE THIN RED LINE (1998). The Battle of Guadalcanal in the Pacific Ocean between Allied Forces, and the Japanese during World War II was the focus here, with a cast including George Clooney, Adrien Brody, John Cusack, and Woody Harrelson. Next came THE NEW WORLD (2005). In this movie, the settling of Virginia in the early 1600s was explored, with the life of American Indian woman Pocahontas disseminated. 

This was followed by drama THE TREE OF LIFE (2011). Once again going back in time, in this instance, 1950s Texas, with the story of a young man's relationship with his father, and examining his feelings about life after reaching adulthood. KNIGHT OF CUPS (2015), was an entirely different project from others Mr Malick had thus made. A writer's apathy towards life is somewhat abated by his relationships with various women, assisting him with his issues. SONG TO SONG (2017), was another contemporary project for the director. The lives of several people in the recording business in Texas are forever marked by sex and tragedy in this drama. Terrence Malick's last release to date, A HIDDEN LIFE (2019), was a return to period movies. The biopic of Austrian man Franz Jagerstatter, who defied the Nazis by rejecting to fight in World War II, subsequently paying the ultimate price for his beliefs, was the crux of this well-received film. DAYS OF HEAVEN was Terrence Malick's second movie, and his best picture for a number of reasons.

With DAYS OF HEAVEN, Terrence Malick has crafted a beautiful motion picture which remains in the memory long after viewing it. Following the lives of three characters who move from Chicago to Texas to work on the wheat fields, encountering some happiness, and many obstacles along the way, it is an original, fluent, poetic cinematic triumph. Mr Malick has successfully balanced all the elements in his film, nourishing viewers not only on a visual level but also, making them invest time, and fostering an emotional connection, in his protagonists. DAYS OF HEAVEN has been assembled in such a careful, methodical manner, without gimmicks or superficial effects, which takes it into another category of cinema. The director knew exactly what he wanted, and this is to the advantage, and viewing pleasure, of the spectator. It is not a film for those who expect mayhem every second minute, and exploitation, but for those who can appreciate cinema as an art form, something it should be more often. DAYS OF HEAVEN should be viewed at least once by those seriously interested in cinema as the remarkable, meaningful experience which it is, and a work of which its director should be duly proud.

Acting: DAYS OF HEAVEN has five performances which bolster the movie with their individuality. As hot-headed manual worker Bill, Richard Gere is showcased in one of his best early roles. The presentable Mr Gere does not have to say much to convey his feelings to the audience, as his face does most of the talking. As Bill's ladylove Abby, Brooke Adams is also perfect. Miss Adams has a certain poetic way about her, and it is easy to understand how she attracts two very different men from opposite ends of the spectrum. The second man in Abby's life, a wealthy farmer, is fertile territory for actor Sam Shepard. Being the third party in a love triangle is never an easy thing, but Mr Shepard makes it work with his quiet nature, and intriguing personality. Bill's younger sister, Linda, is played with considerable rakish charm by Linda Manz. Exhibiting knowledge and intelligence beyond her years, but never appearing amateurish, Miss Manz lends a different brand of spice to the movie. Robert Wilke provides the final acting of note as the farm foreman with a strong penchant for the truth. Mr Wilke offers a steely authority that differs from the other two male roles in DAYS OF HEAVEN, and ably rounds out the excellent acting interpretations in the picture.

Soundtrack: Ennio Morricone's score for DAYS OF HEAVEN is a wonderful aural treat to savour. The opening credits prepare the viewer for the one-of-a-kind experience that they are about to witness with its score. The closing credits are similar, but with a more introspective, tragic feel, in keeping with what has occurred in the narrative. Incidental music by Leo Kottke, such as his piece 'Enderlin', adds a freshness that is evocative of the 1910s when the picture was set.

Mise-en-scene: In terms of mise-en-scene, DAYS OF HEAVEN offers spectators an intoxicating, convincing viewing experience. Nestor Almendros' Metrocolor cinematography beautifully captures everything on screen with a breathtaking elegance that is amazing to witness. The movie is predominately shot outdoors, and there are countless examples of imagery which stay with the viewer for their sheer originality, and visual style. Notable cases in point include a parasol being tossed around by the wind, a train steaming forward on a high track, and, the locust burning sequence. Costume design by Patricia Norris is excellent, and makes the actors look as if they really are from the 1910s United States. The outfits worn by Brooke Adams as the farmer's wife are elegant and flattering, as are the suits which Sam Shepard and Richard Gere wear, and appear of the period. The opening credits sequence is also significant, with the images placing DAYS OF HEAVEN, and its events, in an historical perspective for the viewer, thereby adding another layer of authenticity to the film.

Notable Acting Performances: Richard Gere, Brooke Adams, Sam Shepard, Linda Manz, Robert Wilke.

Suitability for young viewers: Parental guidance advised. Adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer

CACTUS IN THE SNOW (1971)

Title: CACTUS IN THE SNOW

Year of Release: 1971

Director: A. Martin Zweiback

Genre: Drama, Romance

Synopsis: A soldier on leave from Vietnam falls in love with an offbeat young woman, but his return to duty may just change their lives forever.

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

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

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

In complete contrast, one of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action-focused in scope. Two veterans join another on a farm, where tensions spill over. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in assimilating back into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, sported a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. CACTUS IN THE SNOW was quite unlike any of the afore-mentioned movies about Vietnam veterans, for a number of reasons.

The vast majority of films in this category dealt in detail with the emotional scars that Vietnam veterans faced in moving back to their lives after their tour of duty. THE BORN LOSERS, CAPTAIN MILKSHAKE, WELCOME HOME SOLDIER BOYS, and JUD, were some of the best examples of this. They tended to shy away from very explicit violence, and spectacular set pieces of carnage. WELCOME HOME SOLDIER BOYS was the most overt in this arena, but even this did not linger too long on grisly physical details. MOTORPSYCHO!, THE RAVAGER, and ANGELS FROM HELL were opposite in orientation, with THE RAVAGER the most strident in its violence quotient. In comparison to these, CACTUS IN THE SNOW stood out for its slower pace, peek into the psyche of its protagonist, and his blooming relationship with a young woman. Romance in the above examples tended not to be a feature of the narrative, with women flitting in an out of the story in WELCOME HOME SOLDIER BOYS and JUD. 

There was a definite mood of misogyny which infused THE RAVAGER, and emasculation of male characters, for the lead to have unfettered access to vulnerable females. None of this was in evidence in CACTUS IN THE SNOW, but a hopeful, inspirational tone to the picture. Harley in the movie does not appear to have deep psychological scars, but a need for companionship during his leave. The charting of Harley's love for Cissy is touching to witness, as is her mutual affection for him. It is one of the softest of the films about Vietnam veterans, but that is not to say it does not leave an impression on viewers. The final sequence leaves spectators with a sense of pathos at how events have transpired for the two main characters, without being maudlin. A beautiful look at love, and the role of war in this, CACTUS IN THE SNOW is an edifying motion picture, and a change of pace for Vietnam veteran-themed movies.

Overview: A. Martin Zweiback was an American director with only one movie in his filmography, being CACTUS IN THE SNOW. He was more active as a writer on several pictures such as THE MAD ROOM, GORP, GRACE QUIGLEY, and ME, NATALIE, including CACTUS IN THE SNOW, and on television. As CACTUS IN THE SNOW was his sole foray into feature films, the review will concentrate on Mr Sweiback's contribution to the movie.

With CACTUS IN THE SNOW, A. Martin Zweiback has made a touching, memorable movie that depicts a different view of Vietnam from what was generally shown in cinema at the time. Many movies in this era were of Vietnam veterans grappling with their return to society, culminating in violent climaxes. CACTUS IN THE SNOW, however, is at the opposite end of the spectrum in this sphere. It is the story of a soldier, Harley, on leave from Vietnam, and his blossoming relationship with Cissy, a spirited young woman. The director has succeeded in bringing this bittersweet, screwy love story to life, but this is not to say that it is a saccharine enterprise with little depth. 

In the early parts of the picture, it appears that this is just a story concerned with discussions of sex, initially stamping CACTUS IN THE SNOW as being an exploitation movie. Thankfully, this threadbare discussion gives way to the affecting two-character structure which compels for the remainder of the film. The unraveling of the love story between these two likable protagonists is the strength of CACTUS IN THE SNOW, and witnessing the to and fro in their fractured, but appealing tale, makes this a winner. While the movie is not for those who crave fast and furious in their storytelling, the subtlety of CACTUS IN THE SNOW is in its intricate, quiet foundation, and character-driven nature. A movie which deserves much more acclaim than it has received over the years, CACTUS IN THE SNOW is a revealing slice of life, and a testament to its director.

Acting: Three thespians dominate CACTUS IN THE SNOW with their incisive portrayals. As soldier Harley MacIntosh, on leave from Vietnam, Richard Thomas is in one of his best early acting performances. A likeable actor with a soothing charm, he is convincing as a young man caught up in a predicament for which he is unprepared, but warms to this as time passes. The object of his longing, Cissy, is a great role for Mary Layne. Her ease with both comedy, and drama more than evident, Miss Layne brings forth a pathos, and zaniness, which perfectly complements Richard Thomas, and makes their pairing work. The final acting contribution to be discussed is that by Dennis Fimple as Mr Murray, proprietor of the carousel which Harley and Cissy visit. Only onscreen in a handful of scenes, nevertheless, Mr Fimple makes an impact with his appearance, making one wish that his role was lengthened further in the movie.

Soundtrack: Joe Parnello's music nicely functions in the background in CACTUS IN THE SNOW without being overpowering. It adds to the pensive, thoughtful, lightly humorous atmosphere for which the film strives, and succeeds in its objective.

Mise-en-scene: The dreamy nature of CACTUS IN THE SNOW is deftly personified by its visual sense. David Walsh's photography is soft and lovely to witness, giving the movie a unique look and aura. Location filming is another plus, with the streetscapes, beach scenes, and roads all attractive to the eyes. Interiors such as Cissy's family home are also pleasing, the style of decor surprisingly holding up well, and not dated in appearance for a movie made in the 1970s. The inclusion of the carousel ride which Harley and Cissy frequent is a pivotal set piece of the story, and is indicative of the romantic, delicate orientation of CACTUS IN THE SNOW.

Notable Acting Performances: Richard Thomas, Mary Layne, Dennis Fimple.

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

Overall Grade: B

Link: IMDB Page

ELECTRA GLIDE IN BLUE (1973)

Title: ELECTRA GLIDE IN BLUE

Year of Release: 1973

Director: James William Guercio

Genre: Drama, Road Movie, Action

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

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

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

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

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

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

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

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

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

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

Overall Grade: C

Link: IMDB Page

TO KILL A CLOWN (1972)

Title: TO KILL A CLOWN

Year of Release: 1972

Director: George Bloomfield

Genre: Drama, Horror

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

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

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

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

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action-focused in scope. Two veterans join another on a farm, where tensions spill over. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in once again assimilating into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. TO KILL A CLOWN differed from other entries in that it was not an exploitation movie, but, rather, centered in suspense, and psychological in tone.

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

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

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

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

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

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

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

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

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

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

Overall Grade: C

Link: IMDB Page

CAPTAIN MILKSHAKE (1970)

Title: CAPTAIN MILKSHAKE

Year of Release: 1970

Director: Richard Crawford

Genre: Drama, War

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: B

Link: IMDB Page

Trailer

THE REVOLUTIONARY (1970)

Title: THE REVOLUTIONARY

Year of Release: 1970

Director: Paul Williams

Genre: Drama

Synopsis: A young male student rebels against his university association, believing that strong action has to be taken for reform of their activities.

Within a film history context: Movies about revolutionary figures were quite common in European and world cinema, with various examples found in American film history. The silent screen had several American and Russian pictures with a revolutionist central character, many of which are considered lost. One of the first movies to deal with a revolutionary was Josef von Sternberg's silent THE LAST COMMAND (1928). A Hollywood film director, previously a radical in Imperial Russia, seeks the services of a former Russian general to star in a picture about the Russian Revolution, an event which affected them both heartily. Into the sound era, comedy CRACKED NUTS (1931), directed by Edward Cline, was completely contrary. The machinations of a man who wishes to win a woman's favour, and move closer to her niece, by arranging for the overthrow of a country's king, was an early pre-Code movie. With Reinhold Schunzel's BALALAIKA (1939), an officer in the Russian army falls for a singer, who is in fact a covert revolutionary, but their union is complicated by the backdrop of turmoil during World War I in this romance. TORRID ZONE (1940), directed by William Keighley, spotlighted a plantation owner in South America whose livelihood was threatened by a revolutionary, whose influence on the workers there causes nothing but problems. In Robert Z. Leonard's musical NEW MOON (1940), a nobleman masquerading as an indentured servant leads his cohorts to rebel against their ship's captain. 

WE WERE STRANGERS (1949), directed by John Huston, had as its focus a man, and a woman, who worked together with associates to overthrow the despotic president of Cuba in the early 1930s. Elia Kazan's VIVA ZAPATA! (1952), was the stirring biopic of Mexican revolutionary Emiliano Zapata, and his efforts to topple corrupt government regimes. With Marlon Brando in the lead, Anthony Quinn and Jean Peters in support, it was a memorable picture. THE ROOTS OF HEAVEN (1958), directed by John Huston, had an ecologist at its fore, whose aim was to protect endangered African elephants from extinction. He attained the assistance of several people, but with detractors from his point of view in this drama. The life and adventures of Scottish sea captain John Paul Jones were dissected in John Farrow's aptly titled JOHN PAUL JONES (1959). From his early life on ships, journey to America, and exploits in Russia defending Empress Catherine the Great, it starred Robert Stack in the eponymous role. In contrast, THE DAY THEY ROBBED THE BANK OF ENGLAND (1960), directed by John Guillermin, also had characters as revolutionaries in the narrative. At the turn of the twentieth century, several IRA members plan to rob the Bank of England, but the execution of this is not as simple as first envisioned. Basil Dearden's KHARTOUM (1966), followed the efforts of a British general to protect the city from a religious zealot who will do anything to wrest control of it. 

In western VILLA RIDES (1968), directed by Buzz Kulik, Mexican revolutionary Pancho Villa teams up with an American aviator to bring about change in the country. The life and times of influential American dancer and choreographer Isadora Duncan was the premise for Karel Reisz's ISADORA (1968). With her lack of inhibitions, and commitment to her artistry, she blazed a trail in her time, this deftly conveyed by Vanessa Redgrave in the lead role. On the other hand, Lindsay Anderson's IF... (1968), observed an uprising by students at a boy's boarding school, headed by a number of pupils whose vehemence against the establishment reaches its zenith. 100 RIFLES (1969), directed by Tom Gries, revolved around a Mexican revolutionary seeking to free his people of a dictatorial regime. He joins forces with a Mexican woman, and an American lawman, to fulfil his quest. Richard Fleischer's CHE! (1969), was an account of the life of Argentine revolutionary Ernesto Guevera, more commonly known as Che, his involvement with Fidel Castro in Cuba, political problems there, and in Bolivia. THE REVOLUTIONARY was a movie which was dramatic in its orientation, as were the majority of films in this category, but distinguished itself from these in its own way.

Many of the films of this kind were based around characters caught up in political unrest in a respective country, such as THE LAST COMMAND, CRACKED NUTS, WE WERE STRANGERS, VIVA ZAPATA!, KHARTOUM, VILLA RIDES, CHE!, and 100 RIFLES. Generally, it was a strong male character going against corrupt regimes, and in quite a few instances, paying the price for their loyalty with their lives. There was support from other male protagonists, and, in rare instances such as WE WERE STRANGERS and 100 RIFLES, female characters. On this count, a female revolutionist could be found in BALALAIKA and ISADORA, but this was the exception rather than the rule. In comparison to those pictures which spotlighted turmoil in a particular country, the other examples had a less worldly view of events, with character being both revolutionaries, and activists for a cause. In NEW MOON, the lead had a concern for the rights of his fellow ship mates, and in ROOTS OF HEAVEN, the conservation of elephants was the burning issue. Other features of these films in comparison to THE REVOLUTIONARY are worthy of dissection.

Decidedly villainous depictions of revolutionaries were found in TORRID ZONE, IF...and THE DAY THEY ROBBED THE BANK OF ENGLAND. The people in these caused more mayhem than any real good by their actions. In IF...the bloodshed does not further anything positive, just a rebellion for the sake of one in the school. THE REVOLUTIONARY was along the lines of those radicals, as in the other films, who wanted to see a change for the better. In this case, the revolutionist strived for improvements both in university, and employment arenas, but was not able to achieve this aim. Where THE REVOLUTIONARY diverts from other entries is in its much quieter presentation of events. There is no melodrama in this movie, which marked WE WERE STRANGERS, VIVA ZAPAPA!, and KHARTOUM. Instead of this, the mood is slow and thoughtful, in keeping with the flavour of early 1970s New Hollywood cinema. The use of the main female romantic lead is also interesting, as she does not become caught up in her boyfriend's activities, but is mostly there in support. There is some minor suspense when she is meeting him in secret, but that is the extent of her role in the movie. An uncommon view of a revolutionist, THE REVOLUTIONARY is notable for its take on this type of character.

Overview: Paul Williams is an American director who has made eight motion pictures over a period of thirty-three years. His films consisted of dramas, comedies, and thrillers. Mr Williams' first movie, OUT OF IT (1969), juxtaposed two very different men, and their interactions with women, with one a bookworm, the other, a ladies' man in this comedy. DEALING: OR THE BERKELEY-TO-BOSTON FORTY-BRICK LOST-BAG BLUES (1972) was another comedy. The transportation of drugs from one city to another takes a wrong turn for a university law student, in that his girlfriend is arrested for the second cache, and seeks to get both the stash, and his love, back. With NUNZIO (1978), matters were of an entirely different nature. A grown man with mental issues believes he is Superman, but his life takes unexpected twists and turns in this touching drama. In MISS RIGHT (1985), a central male protagonist is at its center, with a Lothario journalist busily hopping from one woman to the other, but finding difficulty in extricating himself from these liaisons. A move into thrillers for Paul Williams resulted in MIRAGE (1995). Trouble starts when a man enlists a detective to tail his wife, who has emotional troubles, namely a personality disorder, causing the private eye's world to turn upside down. THE REVOLUTIONARY was Paul Williams' second movie, but not a sterling achievement.

Paul Williams has attempted to create a thoughtful motion picture with THE REVOLUTIONARY, but has come up short in its execution. The tribulations of a university student whose dissatisfaction with his college leads him on a quest to change the system, albeit unsuccessfully, it is a dispiriting movie experience. While there are some fleeting scenes which give momentary hope to the spectator that a sense of excitement will prevail, these are in vain. It is a film which does have a certain mood and feel, but it is too slow-paced, and listless, to maintain one's attention span. This happens, that happens, but there is never a sense of urgency, or emotional attachment, which emerges out of this. It is as if THE REVOLUTIONARY is a stylistic exercise which does not unravel as it should. On paper, it might have seemed better, but the reality is opposite to this. The conclusion is also problematic, and the fallout from this makes the viewer feel cheated, as it just ends with a freeze frame. A sincere but misguided attempt at building a portrait of a revolutionary, THE REVOLUTIONARY makes one consider how much better it would have been with surer handling, and a more gripping presentation.

Acting: There is a trio of acting performances which are of note in THE REVOLUTIONARY. As A, the student revolutionary, Jon Voight offers yet another incisive acting interpretation. An actor with a wide portfolio of roles over many years, he had a knack for portraying people on the fringes of society in his younger years, and this part suits him. He is well-paired with the radiant Helen, played with earnestness by Jennifer Salt. With her gracious and lively demeanor, Miss Salt provides an ethereal glow to the movie that alleviates its duller stretches. The final acting of merit in THE REVOLUTIONARY is by Seymour Cassel as Leonard, one of A's friends and accomplices. Mr Cassel always knows how to light up the proceedings, and this is no exception. Leonard's relaxed defiance is a nice contrast to A's more stony-faced reactions to events, making Leonard another memorable character in THE REVOLUTIONARY.

Soundtrack: In terms of its soundtrack, Michael Small has been careful to not overload the movie, despite a heady concentration on its subject matter. Music is most discernible during the opening credits sequence, with its background of photographs depicting revolutionaries, and in the closing segment. The soundtrack appears sporadically throughout THE REVOLUTIONARY, only at the most urgent of moments, which works well for it overall.

Mise-en-scene: In a visual sense, work has gone into THE REVOLUTIONARY to make it a convincing experience for the spectator. Brian Probyn's colour photography is perfect without being overly bright, making sense for an intense movie about revolutionaries, and their harried lives. Both interiors, and exteriors, have been carefully selected, representing the locales of a small town well. The introductory credits are also impressive, utilizing photographs of past revolutionary events, and figures, to place the incidents in the movie into perspective for viewers, by charting their development over time.

Notable Acting Performances: Jon Voight, Jennifer Salt, Seymour Cassel.

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

Overall Grade: D

Link: IMDB Page