STAY HUNGRY (1976)

Title: STAY HUNGRY 

Year of Release: 1976

Director: Bob Rafelson

Genre: Comedy, Drama, Sport

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: B

Link: IMDB Page

Trailer

ROLLER BOOGIE (1979)

Title: ROLLER BOOGIE

Year of Release: 1979

Director: Mark L. Lester

Genre: Drama, Comedy, Sport

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: C

Link: IMDB Page

Trailer

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