HOOSIERS (1986)

Title: HOOSIERS

Year of Release: 1986

Director: David Anspaugh

Genre: Drama, Sport

Synopsis: A man comes to Indiana to coach the town's basketball team, and finds resistance at first, but support arrives from some highly unlikely quarters.

Within a film history context: Several films with a basketball coach as their main character have been present in cinema since the 1920s. Sam Wood's silent THE FAIR CO-ED (1927), had the male coach of an all-female college basketball team being pursued by two of its players in this early comedy. Into the sound era, BIG TOWN SCANDAL (1948), directed by William Thomas, featured the editor of a publishing company assisting juvenile delinquents in setting up a basketball center for them, with him as coach in this crime movie. The basketball coach in Jack Nicholson's DRIVE, HE SAID (1971), was a testy man fully committed to winning the game, but had to contend with a number of wayward players in this drama. THE LAST PICTURE SHOW (1971), directed by Peter Bogdanovich, had a coarse coach who it was intimated played both sides of the field with one of the members of his basketball team, whilst being emotionally distant from his wife. 

Melville Shavelson's MIXED COMPANY (1974), followed the life of a basketball coach whose wife wants more children, but his inability in this arena puts a stop to this. She suggests adoption, a notion with which he is not comfortable, especially as she wants to adopt a black boy, a Vietnamese girl, and a Native American boy. ONE ON ONE (1977), directed by Lamont Johnson, was about a young basketball player who wins a college scholarship in Los Angeles, but must contend with a disagreeable coach, and associated academic difficulties in this sports film. Jack Smight's FAST BREAK (1979), focused upon a basketball aficionado who is offered a coaching position at a college, and brings together a motley crew of players to make a winning team. THAT CHAMPIONSHIP SEASON (1982), directed by Jason Miller, featured an aging basketball coach reuniting with his players, but the initial happy spirit of the event goes in another direction as their respective personalities clash. HOOSIERS was the best film about a basketball coach in its time.

In HOOSIERS, the male basketball coach was the central character, motivating all the action in the film. This was also present in MIXED COMPANY, FAST BREAK, and, to a lesser degree, THAT CHAMPIONSHIP SEASON. It was from the coach that passions, arguments, debates, and other events emanated. Their belief in the game, though, was more pronounced in the coaches from FAST BREAK and HOOSIERS than the other examples. These films were given over to extensive basketball game footage, and background information about both the coach, and his team members, which gave depth to the movies. HOOSIERS differed from FAST BREAK in that it was set in the 1950s, and was not contemporary of its era, as the latter was from the late 1970s. HOOSIERS was more of an inspirational narrative than FAST BREAK, where the coach assisted his team to reach the heights, and which he himself achieved. In contrast, FAST BREAK had a leaning towards comedy, with some dramatic moments interspersed. 

There are some other notable differences between FAST BREAK and HOOSIERS. The coach in HOOSIERS was instrumental in changing perceptions of the sport in the small town where he was coaching the players. There was a subtle inference to small town belief systems which take a tumble through the coach's methods for success. All-out antagonism was not displayed toward the coach, but a coming to grips for the townspeople of something new to them. While other examples such as THE FAIR CO-ED, DRIVE, HE SAID, and THE LAST PICTURE SHOW, had well-drawn interpretations of coaches, the characters in these movies took a back seat to HOOSIERS in the coverage the coach receives. One gets to know coach Norman Dale in detail in HOOSIERS, and what makes him tick. His interest in the opposite sex is treated in a naturalistic manner, with the union of two people who have a passion for basketball not forced in its execution. The best portrait of a basketball coach, HOOSIERS deserves credit for creating a three-dimensional character in this respect.

Overview: David Anspaugh is an American director with seven motion pictures to his credit. These are mostly dramas, with several sporting-themed movies amongst this group. Mr Anspaugh's second film, FRESH HORSES (1988), was about a university student who falls for a young Kentucky woman he meets one day, despite being already engaged. This young woman has a few surprises of her own in store for the man in this drama romance. RUDY (1993), was a biopic of real-life American football player Daniel Ruttinger, better known as Rudy, and his aspirations to play college football despite many setbacks in his professional life. MOONLIGHT AND VALENTINO (1995), was a romance of a recently widowed woman, and how several close female confidants support her at this critical moment in her life. The woman finds a new lease on life in the form of a housepainter whose attentions prove positive to her. 

Crime was the central element which pervaded WISEGIRLS (2002). When a former medical student starts waitressing at a New York Italian restaurant, she is plunged into a world of narcotics and dirty dealings in this suspense drama. THE GAME OF THEIR LIVES (2005), was another sports film outing for David Anspaugh. A tale of an American soccer team competing against England, and winning in the 1950 FIFA World Cup, it was, unfortunately, a heavy loss maker for its production company. Mr Anspaugh's last film to date, LITTLE RED WAGON (2012), was the inspirational story of a young boy whose work for homeless children resulted in the creation of a charity for support in this area. HOOSIERS marked David Anspaugh's film debut, and is his best movie.

With HOOSIERS, David Anspaugh has crafted an excellent motion picture. Taking as its focus a basketball coach assigned to train an Indiana team for the state championship, and the challenges he faces in his mission to make them winners, it is a beautifully made movie that compels from start to finish. David Anspaugh has achieved this in the following manner. The flow of events is seamless, teamed with a story which only offers emotional nourishment and satisfaction without being either saccharine, or gimmicky. Mr Anspaugh has succeeded in bringing his movie to life by providing it both an air of reality but also, making the viewer invest time and feeling in what is taking place onscreen. It lacks that obvious commercially driven aura which stigmatized many 1980s films, and is all the better for it. It does not have its eyes firmly planted only on the box office, but has the ability to tell an affecting story in a highly sensitive way. As David Anspaugh's greatest movie, and one of the best films of the 1980s, HOOSIERS is a winner. 

Acting: There are a number of performances in HOOSIERS which are exceptional. In the lead role of Norman Dale, coach of the basketball team, Gene Hackman is in one of his most sympathetic parts. While Mr Hackman usually plays protagonists who one would expect to explode emotionally, but keeps a veneer of uneasy calm, here he has that, but also, a slight vulnerability, and comic timing that is unforeseen. The thorn in Norman Dale's side, schoolteacher Myra Fleener, is a great showcase for Barbara Hershey. An actress highly adept at complex, multidimensional characters in her pictures, she carries this off beautifully in HOOSIERS, compelling the viewer with Myra's psychological twists and turns. Myra's mother, Opal, is a nice turn by Fern Persons. With her knowing ways and innate knowledge of her daughter's inner thoughts, Miss Persons' Opal is a subtle, lightly humorous portrayal which delights. The last acting of note was by Dennis Hopper as Shooter, a former basketball coach with psychological issues. As always, Mr Hopper makes his character's thoughts and actions thoroughly understandable to the audience, with his inimitable nerviness, and lack of inhibitions, which also lend his Shooter a fun edge.

Soundtrack: Jerry Goldsmith's score for HOOSIERS is perfect. Rousing during the many basketball sequences, and quieter in the character verbal exchanges, it works beautifully, considerably enhancing the visuals. It is also interesting to note that in the opening credits sequence the score is more romantic and solemn than in the closing credits, which is bolder in tone, matching the positive outcome of the story, and its inspirational focus.

Mise-en-scene: Visually, HOOSIERS has much going in its favour. The CFI colour photography by Fred Murphy has a muted but realistic flavour, which works for a movie that, although set in the 1950s, does not require screaming colour, as nostalgia is not the point of the enterprise, but raw human emotion and determination. Locations are all excellent, with the many outdoor scenes bringing the story of 1951 Indiana, Norman Dale and his basketball team, to vivid life. In turn, Carroll O'Meara's editing is smooth, with the exciting basketball segments assembled with style and nous. Additionally, his work on the character scenes are all satisfying and logical without ever being choppy. 

Notable Acting Performances: Gene Hackman, Barbara Hershey, Fern Persons, Dennis Hopper.

Suitability for young viewers: Yes.

Overall Grade: A

Link: IMDB Page

Trailer

MAKING LOVE (1982)

Title: MAKING LOVE

Year of Release: 1982

Director: Arthur Hiller

Genre: Drama

Synopsis: A Los Angeles doctor leaves his television producer wife for his patient, a man.

Within a film history context: Movies about a husband who is gay, but married to a woman, began to appear from the late 1960s in cinema with the gradual relaxation of film censorship. One of the first major examples was Gregory Ratoff's OSCAR WILDE (1960). When playwright Oscar Wilde launches a suit against his male lover's father, his homosexuality becomes public knowledge, despite being married to a woman in this drama. INSIDE DAISY CLOVER (1965), directed by Robert Mulligan, contained the small part of a gay husband who leaves his movie star wife. John Huston's REFLECTIONS IN A GOLDEN EYE (1967), was another look at a gay husband. A married Major residing at a military post with his adulterous wife has a clandestine passion for a Private, but his feelings may, or may not be reciprocated here. A gay husband, and father, has his private life exposed, his daughter finding this reality hard to accept, in ANGEL, ANGEL, DOWN WE GO (1969), directed by Robert Thom. 

In Ken Russell's THE MUSIC LOVERS (1971), the life of Russian composer Pyotr Ilyich Tchaikovsky was dissected, with his shaky marriage to a mentally unstable woman, and his desire for a Count, prominently featured. THE LAST PICTURE SHOW (1971), directed by Peter Bogdanovich, had a married high school basketball coach who in one scene was implied as being gay. One of the segments in Herbert Ross' CALIFORNIA SUITE (1978), was of a British married couple staying at a Grand Hotel, and how the husband's homosexuality caused issues for them. With Michael Caine, and Maggie Smith as the couple, it was a convincing portrait of marital discord. On the other hand, A DIFFERENT STORY (1978), directed by Paul Aaron, was about a gay man, and a lesbian, finding love, and marrying, but their problems are many. MAKING LOVE was the most intensive study of a gay husband until its time.

In the majority of the movies with a gay husband protagonist, he was the central character, aside from INSIDE DAISY CLOVER, THE LAST PICTURE SHOW, and ANGEL, ANGEL, DOWN WE GO. These were supporting characters where the focus was on the wife of the gay husband. Additionally, these were discreet depictions of homosexuality rather than overt. Coach Popper in THE LAST PICTURE SHOW, for example, is shown striking the backside of a basketball player, which speaks volumes without showing anything further. The focus was on wife Ruth Popper's loneliness, and mental issues, which have been caused by her husband's lack of attention to her. The husband in CALIFORNIA SUITE had a larger role here, but was part of a segment in the movie, rather than standalone. MAKING LOVE had the closest affinity to A DIFFERENT STORY in examining its gay husband, but the latter film differed from the former as Albert was established as being gay from the beginning of the film. He later goes through a transition from gay to heterosexual, marrying a lesbian, and having an affair with a woman, rather than a man, before returning to his wife. 

Matters are different in MAKING LOVE for its gay husband character. MAKING LOVE's Zack takes matters in the opposite direction to Albert from A DIFFERENT STORY. Being married to a woman, Zack is seemingly happy as a heterosexual man, but his desires for men make themselves felt. He has an affair with a gay man, and this spells the end of his marriage. Both of these films take the time to look at the psychology of their gay lead, but MAKING LOVE is of interest as it contrasts Zack with his out in the open lover Bart. Bart has a substantial place in the narrative of MAKING LOVE, unlike the lovers of Albert, Sills and Roger, in A DIFFERENT STORY, whose presence is ephemeral. Albert is the center of attention in A DIFFERENT STORY, and how he makes a go of his marriage to Stella, where Zack's affair with Bart, split with Claire, and later relationship with Brian, are what drive MAKING LOVE. 

In addition, of interest is how both A DIIFERENT STORY, and MAKING LOVE, feature career women as characters. Other films in the category had wives with mental issues, such as in THE LAST PICTURE SHOW, and THE MUSIC LOVERS. MAKING LOVE has the best view of a woman in this respect by presenting her as a person fully in charge of her emotions, but the fact that her husband is gay makes the audience empathize with her. She is not spineless, and finds a way to change her life to what she wanted with her first husband Zack, but with a new husband. In this way, the movie lacks the melodramatic views of a woman prone to weakness, instead offering a portrait of a woman who takes charge of her destiny. This is a progressive, heartening view of femininity that should be applauded. An honest, credible view of a gay husband, MAKING LOVE is a meaningful take on the subject.

Overview: Arthur Hiller was a Canadian director long in Hollywood who made thirty-four films over the space of forty-nine years. His output was varied, consisting of comedies, dramas, romance, action, and biographical movies. Mr Hiller's first picture, THE CARELESS YEARS (1957), was a romance about two young people from different economic backgrounds who want to marry, but encounter obstacles in their mission. Arthur Hiller's profile began to rise with THE WHEELER DEALERS (1963). An educated man whose finances are in dire straits proceeds to New York City to make money, with a young woman he romances, and teams up with to make his dreams a reality. Next came THE AMERICANIZATION OF EMILY (1964). During World War II, an American Naval Commander's life changes when he meets an English woman, and is sent on a dangerous assignment by the Navy. 

In comedy PROMISE HER ANYTHING (1966), a young widow with a child wants to remarry, and determines to do so to a psychologist, but he has an aversion to children. She hides her child with a neighbor, but decides that he might be a better fit for her than the other man after all. Another comedy for Arthur Hiller came in the form of PENELOPE (1966). The various outrageous activities of a lady kleptomaniac were the focus, with Natalie Wood in the lead role. THE TIGER MAKES OUT (1967), was a vehicle for real-life couple Eli Wallach, and Anne Jackson. A postman in search of a mate kidnaps what we believes is a young woman, but this person escapes, and he instead has kidnapped a housewife who gives him more than a run for his money in this comedy. Arthur Hiller rounded out the 1960s with POPI (1969). A Puerto Rican man living in Harlem with his two sons schemes to carve out a better existence for them in a highly original manner. The 1970s was a time of varied movies for Arthur Hiller, with one in particular noteworthy in his oeuvre.

LOVE STORY (1970), was a tale of two young people from opposing backgrounds finding love, the vehement disapproval of the man's father the main obstacle. A blockbuster weepie of its time, it made both Ryan O'Neal, and Ali MacGraw as the central pair, stars. In complete contrast, comedy THE OUT OF TOWNERS (1970), surveyed the life of an Ohio sales executive and his wife moving to New York City for his job promotion, but finding that the Big Apple has its fair share of unexpected challenges. Comedy again was the focus of PLAZA SUITE (1971). Based upon a Neil Simon play, it featured Walter Matthau playing a different character in each of the three acts, with Lee Grant, Maureen Stapleton, and Barbara Harris in support. THE HOSPITAL (1971), was Arthur Hiller's attempt at comedy satire, with black humor. The personal, and professional trials and travails of a chief doctor at a training hospital were seen in great detail here, with George C. Scott in the lead role, accompanied by Diana Rigg, Barnard Hughes, and Richard Dysart. In THE CRAZY WORLD OF JULIUS VROODER (1974), a Vietnam War veteran is admitted to a mental health facility, also living in a bunker, and causes problems at the hospital in this comedy, with Timothy Bottoms in good form as the eponymous Julius.

In the mid-1970s came THE MAN IN THE GLASS BOOTH (1975). It was the story of a Jewish-American man accused of being a Nazi War criminal, who is then kidnapped by Mossad, with the tragic fallout of this documented. The biopic of W.C. Fields was next on the agenda for Arthur Hiller in W.C. FIELDS AND ME (1976). The biopic of the famous comic actor was not critically well-received, despite having Rod Steiger in the lead part. There was a return to form for the director with SILVER STREAK (1976). When a man on a train believes he has witnessed the murder of a man, he is drawn into a twisted series of events which place his life in peril. One of the biggest financial successes of the year, it starred Gene Wilder, Richard Pryor, and Jill Clayburgh as the central trio of characters. NIGHTWING (1979), was as different as one could get from comedy. The horror tale of killer bats in a New Mexico Indian reservation, and their assorted murderous inclinations, was a departure from Arthur Hiller's usually thoughtful fare, and a box office loss maker. Into the 1980s, Arthur Hiller made equally diverse movies.

It was back to comedy with AUTHOR! AUTHOR! (1982). The hijinks of a playwright coping with his offspring, stepchildren, and simultaneously producing a Broadway play, made up the content of this breezy film. ROMANTIC COMEDY (1983), mined similar material as AUTHOR! AUTHOR! This time, two playwrights' success on the stage with their writing does not translate to their private life. THE LONELY GUY (1984), was yet another comedy for Arthur Hiller. When a man is cheated on by his girlfriend, this leads him on a personal discovery about women and relationships, and writing a book on the topic which is a bestseller. In the case of TEACHERS (1984), the hardships of a high school teacher attempting to assist his students, with adamant opposition to his methods from the school board, are outlined in this comedy-drama starring Nick Nolte, with backup from JoBeth Williams, Lee Grant, Judd Hirsch, and Ralph Macchio. Another box office hit came with OUTRAGEOUS FORTUNE (1987). The meeting of two actresses with more in common than first thought, being a man, and the adventure their search for him leads them on, complete with espionage, was a comic vehicle for Shelley Long, and Bette Midler as the two women in question. Next was another comedy, SEE NO EVIL, HEAR NO EVIL (1989). When the murder of a man is witnessed by two men, one blind, the other deaf, they find themselves in an untenable situation as the new target of the killer. Into the 1990s and beyond, Arthur Hiller's films mainly followed a comic line.

TAKING CARE OF BUSINESS (1990), had a businessman on vacation who loses his Filofax, which is found by a criminal, and subsequently has his world turned upside down when the impostor takes on his identity. In MARRIED TO IT (1991), the lives of three couples who meet through a private school fundraiser are contrasted, with their various ups, and downs, highlighted. In contrast, THE BABE (1992), was the biopic of famous American baseball star Babe Ruth, played by John Goodman. This film was not a financial success, and also suffered from critical derision at the time of its release. CARPOOL (1996), detailed the wacky antics of a man who does the carpool for the neighborhood, and becomes caught in some dire situations in this financially unsuccessful comedy. Arthur Hiller's second to last movie, AN ALAN SMITHEE FILM: BURN HOLLYWOOD BURN (1997), was about a film director's struggle to disown a picture he made. The reason why this is so hard for him to accomplish, being that to do this, he has to use Alan Smithee, which already is his name. A movie which sank rapidly into obscurity, it recorded very low results at the box office. NATIONAL LAMPOON'S PUCKED (2006), was Arthur Hiller's last cinematic sojourn. A lawyer's attempts to fund a women's hockey team lead him spiraling into debt, and into the courthouse, in this comedy with Jon Bon Jovi in the lead. MAKING LOVE was Arthur Hiller's twenty-first motion picture, and one of his most thoughtful works.

With MAKING LOVE, Arthur Hiller has crafted an affecting, realistic picture. It is the story of a married couple, with the husband a physician, the wife a television producer, and how his desire for a man comes to the surface, ending their marriage. MAKING LOVE is a movie with a contemplative mood, and a leisurely, nicely paced manner of exploring this issue, and its repercussions on the characters. The sensitive screenplay by Barry Sandler, and story by A. Scott Berg, is rooted on an emotional level, never pandering to prurience or exploitation, which would have been the case if it was in lesser hands. MAKING LOVE does not fall into the trap of showing naked bodies and the like, which very easily might have been the case otherwise, and would have been jarring to witness. There is a single scene of male-male contact, but even this is restrained in its delivery. This attention to detail takes the movie far away from sordidness, and into a realm of understanding for its protagonists. A balance of the points of view of not only the husband, but also his wife, and the husband's lover, exists in the film, which make perfect sense. The viewer feels for the people here, and this is particularly marked at the conclusion. The bittersweet, but satisfying ending recalls the tone of dramas from Classic Hollywood of the 1930s and 1940s, but updated to 1980s sensibilities. A telling work on homosexuality, heterosexuality, marriage, lifestyles, and personal happiness, MAKING LOVE stands tall as one of the best movies on these enduring human topics.

Acting: MAKING LOVE has stimulating performances which successfully propel the aims of the movie. In the lead role of Zack, a man of many emotions, Michael Ontkean does well. An actor with a friendly, guarded disposition, whose Zack could erupt at any moment, an emotional powder keg providing an element of volatility, is direct, and understandable in his actions. As the dynamic Claire, Zack's wife, Kate Jackson is excellent. Bringing all her feelings to the fore, with confusion, doubt, and self-blame just some of many exhibited by her, it is fair to say that her presence leaves the greatest imprint on the spectator. The central trio of characters is rounded out by Harry Hamlin as Bart, Zack's lover. With his low, husky voice, playful manner, and ability to both intrigue, and puzzle, the exotic Mr Hamlin supplies another distinctive portrayal. Four actors in supporting roles are also highly valuable in MAKING LOVE.

Claire and Zack's neighbor Winnie is memorable in the capable hands of Wendy Hiller. With her aristocratic but warm demeanor, and knowledge of people and the world, Miss Hiller adds spice and grandeur to the film. Zack's last partner, Brian, is given a sympathetic edge by John Calvin. An actor who generally plays athletes and jocks with huge chips on their shoulders here is more nuanced, and a contrast to the self-involved Bart. Asher Brauner has a small role as Ted, one of the men Zack encountered somewhere along the way. His jokey attitude conceals many emotions under a plain wrapper, and Mr Brauner conveys this with his customary ease. The last acting of note was by Terry Kiser as Alex, Claire's manager at the television network. A distinctive character actor able to express much without saying a word, his face doing much of the talking, Mr Kiser is another example of the finely-drawn acting tapestry of MAKING LOVE.

Soundtrack: MAKING LOVE has a lean soundtrack, and this works well in terms of allowing what is taking place on screen to stand out. The opening title sequence features a sweeping, beautiful instrumental piece composed by Leonard Rosenman, which aptly sets the pensive atmosphere for the movie. This is also employed sparingly in several other scenes, but most tellingly in the final scene. The closing credits showcase Roberta Flack's 'Making Love', which ends the picture on a thoughtful note.

Mise-en-scene: Great attention to detail has been expended on ensuring MAKING LOVE is a quality product. David M. Walsh's cinematography nicely captures both indoor, and outdoor scenes, the colour muted, but still easy on the eyes. Production design by James Vance, and Rick Simpson's set decoration, are notable. Interiors, such as Claire and Zack's former home, Winnie's apartment, and Bart's home are all excellent, reflecting not only a high socioeconomic level for the characters, but also, their respective personalities. Bart's abode, for example, has a bohemian vibe in keeping with his freewheeling lifestyle. There is a comfort, and warmth in these locations that is welcoming to viewers, and subtly luxurious. Location filming is also of a high standard, with the restaurant where Zack and Bart meet, lovely. Costuming, by Betsy Cox for the female characters, and Bruce Walkup for the male characters, is stylish, and has not dated. The wardrobe for Winnie in particular is glamorous but regal, befitting her status as the wise grande dame of MAKING LOVE.

Notable Acting Performances: Michael Ontkean, Kate Jackson, Harry Hamlin, Wendy Hiller, John Calvin, Asher Brauner, Terry Kiser.

Suitability for young viewers: No. Infrequent coarse language, adult themes, drug use.

Overall Grade: B

Link: IMDB Page

Trailer

THE HOLLYWOOD KNIGHTS (1980)

Title: THE HOLLYWOOD KNIGHTS

Year of Release: 1980

Director: Floyd Mutrux

Genre: Comedy, Sex Comedy, Teen Comedy

Synopsis: A night in the life of The Hollywood Knights car club members in 1965 Beverly Hills.

Within a film history context: Teenage sex comedies were highly visible on cinema screens in the 1980s. While sex comedies have been present since the beginning of cinema, the 1980s had a large number of teen-oriented films, of varying degrees of quality. The push to bring younger viewers into the cinema, coupled with a new generation of talented performers and personnel, seeking to 'speak' the language of this audience, was the impetus for this genre. There were many examples of these over the decade, but for the sake of brevity, some main examples which appeared onscreen until 1984 will be highlighted. PRIVATE LESSONS (1981), directed by Alan Myerson, was about a French housekeeper who looks after a businessman's son for the summer, emphasizing sexuality and coming of age themes. It was successful at the box office, which may have been partly attributable to Miss Kristel's reputation from her appearances in the EMMANUELLE erotic comedy franchise. 

Definitely one of the most famous, if bawdy teen comedies was the PORKY'S series, beginning with PORKY's in 1981. Directed by Bob Clark, this first instalment was a hugely profitable movie that spawned two less successful sequels. Its unabashed raunchiness pushed the boundaries of teen sex comedies at the time, and inspired many imitators. 1982 brought the less saucy, but still raucous FAST TIMES AT RIDGEMONT HIGH, directed by Amy Heckerling. With a number of actors in early roles such as Phoebe Cates, Jennifer Jason Leigh, Sean Penn, and Judge Reinhold, it was a blend of comedy and drama, more topical in nature than the other films, but still with teen themes and situations. Further films showcased the teen sex theme in different ways. Robert J. Rosenthal's ZAPPED! (1982), had a young teenager with telekinetic powers use his gift for comical revenge purposes. It was another successful movie which had a later sequel in 1990. 

One of the most fondly remembered sex comedies was RISKY BUSINESS (1983), directed by Paul Brickman. More subtle in manner than the all-out films such as PORKY'S, it made a big star of its lead actor, Tom Cruise, apart from grossing a very healthy profit. Nostalgia received another workout in Rafal Zielinski's SCREWBALLS (1983). Set in the 1960s, it was about high school students and their shenanigans. As with the majority of these films, it also was a financial success, if critically shunned. In the manner of PRIVATE LESSONS, MY TUTOR (1983), directed by George Bowers, was another spicy entry in the genre. The story of two young men vying to lose their virginity, with one becoming involved with his alluring French tutor, was a money-making film for Crown Productions. Equally ribald, but in a broader comic manner, was Chuck Vincent's HOLLYWOOD HOT TUBS (1984). Following a young man who works by repairing the hot tubs of the affluent and wealthy in Hollywood, it had a number of funny sequences alongside the more risqué stretches. THE HOLLYWOOD KNIGHTS was among the first teen sex comedies in 1980, but one of the most inadequate.

All the teen sex comedies had sexual content of varying degrees in their narratives, some more overt than others, with PRIVATE LESSONS and MY TUTOR prime examples. The vast majority of these films were generally centered on one male character, following the course of his life in the film. Those in this vein included PRIVATE LESSONS, RISKY BUSINESS, MY TUTOR, and HOLLYWOOD HOT TUBS. In these instances, young men are brought out of their shell by an experienced female character, who in many cases, was older than them. FAST TIMES AT RIDGEMONT HIGH was an oddity among teen sex comedies as it balanced both male, and female characters within its context. It is also notable as an example of a multi-character film, something shared by THE HOLLYWOOD KNIGHTS, but the similarities with that picture end there. 

FAST TIMES AT RIDGEMONT HIGH defined its characters clearly, and the viewer could easily identify with them. One became acquainted on a micro-level with them, and why they acted as they did. THE HOLLYWOOD KNIGHTS, on the other hand, had a greater quantity of characters, but lacking individuality in this way. They were young men seeking to raise hell, but just for the sake of it. The vast majority of male characters were, in effect, interchangeable as characters, and negligible in the final analysis. At first glance, the closest example to THE HOLLYWOOD KNIGHTS would appear to be PORKY's, with its many male characters, and attention to sexual matters. PORKY's, at the very least, had the grace of making its characters more distinct, and exhibited a more coherent storyline, something which THE HOLLYWOOD KNIGHTS could not accomplish. A low-grade entry in the 1980s teen sex comedy genre, THE HOLLYWOOD KNIGHTS is a lackluster movie.

Overview: Floyd Mutrux is the director of five feature films over twenty-three years, his first being released in 1971, and his final one in 1994. Mr Mutrux's films display a partiality for 1950s and 1960s Americana, and penchant for nostalgia. His inaugural movie, DUSTY AND SWEETS MCGEE (1971), was a drama about two young drug addicts in Los Angeles, roaming the streets, and documents their lives. Floyd Mutrux's second picture, ALOHA, BOBBY AND ROSE (1975), was an uneven, but perceptive account of love between a car mechanic, and a fast-food waitress, which rang the box office bell in its time. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. Mr Mutrux's final movie, THERE GOES MY BABY (1994), was another foray into 1960s America, this time charting the lives of several Los Angeles high school students, and their reactions to events in the society of the time. As his penultimate picture, THE HOLLYWOOD KNIGHTS was another of Floyd Mutrux's box office hits, but, in light of his other movies, not a sterling effort.

Floyd Mutrux has made a disappointing film with THE HOLLYWOOD KNIGHTS. A tale of rebellious car club members on Halloween Night, 1965, and their assorted escapades and pranks, particularly targeting the police force, it is a dispiriting viewing experience. It has nothing in common with Mr Mutrux's other films, which, despite their faults, did have a semblance of a solid storyline, and something to savor in terms of emotional force. ALOHA, BOBBY AND ROSE, and AMERICAN HOT WAX are prime examples of this, both having the courage of their convictions. With THE HOLLWOOD KNIGHTS, the emotional impact is largely not present, and blunted, with the picture's insistence on showcasing unfunny, cruel, and demeaning lowbrow humor. The concentration on sexuality also becomes boring very quickly, as it is antic based, rather than coming from the heart. Explorations of sex, and its humorous angles come part and parcel in teen sex comedies, but here have been delivered in such a frenetic manner, one resorts to headshaking at the pace of it all.

THE HOLLYWOOD KNIGHTS maintains things on a superficial level almost throughout its entire running time, and this saps the film of depth which would have added much-needed pathos to the proceedings. The film, for example, is at pains to present the friction between The Hollywood Knights and the police, but it just adds up to a collection of stunts, without ever delving into why this situation developed in the first place. The adulterous liaison of Jacqueline Freedman and Nevans has its amusing passages, but one never finds out why they are so attracted to each other. The parts of the movie which, on the one hand, seems out of place with the hive of activity, but have emotional strength, are the romantic issues of Duke and Suzie, and Duke's friendships with Jimmy, and mechanic Smitty. These moments are true to life, and stand out for their realism in a film given to being a den of iniquity. Jimmy's upcoming tour of duty in Vietnam is a great scene in the film, leaving one hoping to know what happened to him, but this is never resolved. Unfortunately, these meaty segments are too few and far in between, resulting in a lopsided picture. One of Floyd Mutrux's less accomplished movies, THE HOLLYWOOD KNIGHTS stands out for all the wrong reasons as a dismaying film. 

Acting: There are several performances which are worthy of mention in THE HOLLYWOOD KNIGHTS, these standing out despite the movie's overwhelming push towards vulgarity. As the oversexed Jacqueline Freedman, one of the opponents of The Hollywood Knights, Leigh French is extremely amusing. With her high-pitched voice, and expert comic delivery, Miss French makes whatever she does, or says funny. She recalls comedian Alice Pearce from cinema, and television series Bewitched as the first Mrs Kravitz. The highly put-upon Dudley is made memorable in the capable hands of Stuart Pankin. His penchant for the English language, and participation in various zany escapades, make Mr Pankin another of the film's comic assets. At the opposite end of the spectrum, the owner of Smitty's car repair shop, Smitty, is given depth and realism by James Jeter. A character actor whose presence adds an authenticity to this part of the picture. Mr Jeter is perfect. Three other actors contribute great performances in THE HOLLYWOOD KNIGHTS.

As the former Hollywood Knights member Duke, in love with Suzie Q, Tony Danza turns in a sincere rendition of a young man trying to make the best of his life, and sharing this with the woman he loves. With his enthusiasm and hopefulness, Mr Danza ensures the audience is on his side. The object of his affections, Suzie Q, is also given intensive treatment by Michelle Pfeiffer. Possessing an ethereal presence, Miss Pfeiffer, as with Tony Danza, makes the trials of Duke, and Suzie Q, a great story thread in the movie. The final acting of note was by Gary Graham as Jimmy, Duke's friend headed to Vietnam. Mr Graham makes Jimmy a very real and three-dimensional person with his incisive acting, and reactions, convincing the viewer of his predicament, being that he may not return after his tour of duty.

Soundtrack: The soundtrack of THE HOLLYWOOD KNIGHTS is dotted with many rock and pop hits of the 1960s in both a diegetic, and non-diegetic sense. These are often played in brief as background noise, but are evocative of the 1960s. Tunes include 'California Dreamin', by the Mamas and the Papas, 'Big Girls Don't Cry', by The Four Seasons, and 'In the Midnight Hour', by Wilson Pickett, to name a few. The closing credits are accompanied by 'Hollywood Knights', sung by Brooklyn Dreams, summing up the adventures of the characters as witnessed by spectators in THE HOLLYWOOD KNIGHTS.

Mise-en-scene: THE HOLLYWOOD KNIGHTS has certain virtues on a visual level which cannot be disputed. Cinematography by William A. Fraker is well-measured for a movie which is set in the 1960s, with a nostalgic feel for the era, and, thankfully, without being overly colorful or bright. Art direction by Lee Fischer deftly creates a world that the characters inhabit, with the drive-in, and Smitty's repair shop some of his best set pieces. Darryl Levine's costume design is sound, especially notable are the jackets worn by the Hollywood Knights, seeming of the 1960s.

Notable Acting Performances: Leigh French, Stuart Pankin, James Jeter, Tony Danza, Michelle Pfeiffer, Gary Graham.

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

Overall Grade: D

Link: IMDB Page

THE GIG (1985)

Title: THE GIG

Year of Release: 1985

Director: Frank Gilroy

Genre: Drama

Synopsis: Five amateur musicians land a gig in a Catskills resort, but find that matters are far from idyllic on this trip.

Within a film history context: Movies which revolve around jazz musicians have appeared many times in cinema. One of the first films to deal with these was John Murray Anderson's KING OF JAZZ (1930). A jazz revue with Paul Whiteman's band prominently featured, and songs by various performers such as Bing Crosby and John Boles, it was notable for also being an early example of a Technicolor film. ROBERTA (1935), directed by William A. Seiter, mined musical romance territory. A jazz musician, and his friend, squire a faux countess and a Russian princess. A Fred Astaire-Ginger Rogers vehicle, it also starred Irene Dunne, and Randolph Scott. In H.C. Potter's SECOND CHORUS (1940), a jazz band leader is a main character, with two rival trumpeters doing their best to join his band with the assistance of their manager, for whom both have eyes. THE CRIMSON CANARY (1945), directed by John Hoffman, was of an altogether different persuasion in terms of story. In this mystery, a singer is murdered, and members of a jazz band are suspected of the crime. Alfred E. Green's THE FABULOUS DORSEYS (1947), was a biopic of jazz musicians Tommy and Jimmy Dorsey, who played themselves, with many musical pieces showcased. 

Into the 1950s, YOUNG MAN WITH A HORN (1950), directed by Michael Curtiz, had as its central character a trumpeter, and detailed his romantic pursuits, specifically of two women. Based on the life of musician Bix Beiderbecke, it starred Kirk Douglas in the lead, with Lauren Bacall and Doris Day as the women in his life. Anthony Mann's THE GLENN MILLER STORY (1954), was a biopic of ill-fated jazz band leader Glenn Miller, who died during his World War II military service. An enormous money-maker for Universal, its popularity led to a spate of other movies about bandleaders. PETE KELLY'S BLUES (1955), directed by, and also starring Jack Webb, was the story of a jazz bandleader in 1927 Kansas, and how he was reluctantly dragged into criminal activity. Maxwell Shane's NIGHTMARE (1956), was more in a suspense mode than straight drama. A jazz musician believes he has killed a man, but this may, or may not be what happened in this tense film noir. Biopic territory was again mined in THE EDDY DUCHIN STORY (1956), directed by George Sidney. The life, and times of jazz band leader and pianist Eddy Dunchin were explored here, with Tyrone Power in the lead of this box office success. 

Real-life band leaders again took the spotlight in Valentine Davies' THE BENNY GOODMAN STORY (1956). This time around, bandleader Benny Goodman was the focus, with his romance with future wife Alice synthesized. ST. LOUIS BLUES (1958), directed by Allen Reisner, was another addition to biopics of real-life bandleaders. In this instance, the life of W.C. Handy, father of the blues, was the topic, with Nat King Cole in the lead. Entirely contrary in tone was John Cassavetes' SHADOWS (1958). Two black jazz musicians live with their sister, the movie following their professional, and personal difficulties, with issues of race an important part of the narrative. The life of jazz drummer Gene Krupa was dissected in THE GENE KRUPA STORY (1959), directed by Don Weis. Mr Krupa's battle with drink and drugs were documented here, as well as his future wife Ethel. Melville Shavelson's THE FIVE PENNIES (1959), looked at the life of bandleader Loring Nichols, and the support he received from his family at the lowest points in his life.

The 1960s brought WHERE THE BOYS ARE (1960), directed by Henry Levin. One of the characters in this frothy musical romance was a jazz musician, who falls for one of the four young women in the story. Robert Mulligan's THE RAT RACE (1960), was a comedy of a jazz saxophonist and his romance with a dancer. With Tony Curtis and Debbie Reynolds in the lead parts, it was an entertaining movie. TOO LATE BLUES (1961), directed by John Cassavetes, was another take on jazz musicians, exploring a band leader's interactions not only with his colleagues but also, his relationship with a young woman. Martin Ritt's PARIS BLUES (1961), also had a leaning toward romance, this time with two American jazz musicians becoming involved with two young American women in Paris. The movie was notable as one of many films made by husband-and-wife acting team Paul Newman and Joanne Woodward, and another collaboration with Martin Ritt. ALL NIGHT LONG (1962), directed by Basil Dearden, was something a little different. The wedding anniversary party of a jazz musician and his wife is the focus, with a number of other characters drawn into the fray, their feelings coming to the surface. 

Leo Penn's A MAN CALLED ADAM (1966), expounded upon the life of an African American jazz trumpeter, specifically his very active personal endeavors. In LADY SINGS THE BLUES (1972), directed by Sidney J. Furie, the tumultuous life of jazz singer Billie Holliday was placed under the microscope. With Diana Ross in the lead role, her performance was celebrated, with able support from Billy Dee Williams and Richard Pryor. Equally emotional in tone was Martin Scorsese's NEW YORK, NEW YORK (1977). The difficult relationship between a saxophonist and a singer was examined, with Robert De Niro and Liza Minnelli in the central parts. Although lauded critically, it was a box office failure. THE COTTON CLUB (1984), directed by Francis Ford Coppola, was set in a Harlem jazz club of the late 1920s, and early 1930s. It was concerned with a jazz musician and his dealings with gangsters and assorted others in this financial failure. THE GIG was one of the most enlightening movies about members of a jazz band in the genre.

From the onset, THE GIG differs from the majority of the films about jazz musicians as its characters, with one notable exception, are all amateur musicians. All of the musicians in the other pictures had professional experience, but in THE GIG they are a group of men who gather every week to play their music. The movie captures how they feel when they land their first gig playing in a resort, and what happens as reality intervenes when a singer is dissatisfied with their playing, and they are replaced. This is in utter contrast to the movies where jazz musicians go about their lives playing professionally, and their personal lives also receive airing. In the case of THE GIG, the film does give keen insight into the private lives of its characters, and how they reached the point of accepting their first gig. The journey after they momentarily leave their lives for their big break, though, is where the emphasis rests. The events which occur here make them reassess where they are in their lives, and what will happen when they return to everyday existences and families. Other aspects of THE GIG are also worth examining.

Being of a character-driven nature, THE GIG also diverts from those examples where the jazz music trumps the action. It is not a case of music just for its own sake, such as KING OF JAZZ and SECOND CHORUS, where the importance of the tunes outweighed the dramatic content. While THE GIG has quite a few musical interludes, these are in keeping with what is happening to the characters. Whether they are practicing their music, or playing for the crowd, use of music does not overload the picture, but works well within its parameters. In addition, THE GIG has an affinity with the many movies which examine the personal lives of musicians, with YOUNG MAN WITH A HORN, TOO LATE BLUES, ALL NIGH BLUES just some examples. These are more down-to-earth films which keep away from elements such as murder, and mystery which marked others such as THE CRIMSON CANARY and NIGHTMARE. With THE GIG, it deftly shows that unsavory people can appear without any notice in a situation, and this lack of obviousness in its storytelling is another reason why the movie succeeds. A telling film about amateur jazz musicians, THE GIG is a very watchable movie. 

Overview: Frank Gilroy was an American director who made five motion pictures from 1971 to 1989. He was also a screenwriter for ten films, and a prolific playwright. Mr Gilroy's first movie, DESPERATE CHARACTERS (1971), was about a married couple living in an increasingly toxic urban environment, which teamed with their personal issues provokes a personal firestorm. FROM NOON TILL THREE (1976), was the director's next project. A bank robber falls for a widow, but their union is paved with many obstacles in this western set in the west of the late 1800s. Next came ONCE IN PARIS (1978). In Paris, an American screenwriter befriends a French chauffeur, and falls for an American woman there, but his status as a married man causes issues with his new amour. THE GIG was Frank Gilroy's penultimate movie, and one of his best efforts.

With THE GIG, Frank Gilroy has constructed an entertaining picture which is both observant, but also, unsettling. It is the story of several amateur jazz musicians venturing out for an engagement at a Catskills resort, finding themselves there in an unexpected situation. The director has a firm grip on both his narrative and characters, the movie's events unreeling in an organic, satisfying manner. Frank Gilroy accomplishes this in the following way. Mr Gilroy introduces each of his protagonists to the viewer, ensuring that one knows exactly where they are coming from in terms of their mindsets. Their personal lives, and in some cases, marital unions are also presented, offering spectators a clear perspective on these people, and why they want to be musicians. 

It is a film which has a bit of everything, ranging from comedy, drama, pathos, to sadness. THE GIG handles all of these with panache, making things real for viewers to witness. Where it is at its height is during the sequences where the musicians are tested with the entrance of a singer, and how his reaction to them takes events in an entirely unforeseen direction. The fallout from this, and its effect on the band members is palpable, giving the movie a disturbing subtext where things go full circle. A revealing study into the lives of people seeking to go with their dreams, but finding reality a bitter pill to swallow, THE GIG is a very enjoyable movie.

Acting: THE GIG has a number of excellent performances which make it a fun experience. In the lead part of Marty, the band's leader, Wayne Rogers is formidable. An actor known for television show M*A*S*H, here he makes Marty a real figure, his smooth-talking persona great to watch. Businessman Jack is given a realistic edge by Andrew Duncan. The most grounded of all the men in the band, his passion for music something which balances his already solid married, and family life. Mild-mannered dentist Arthur is one of the most comic but also, the most sorrowful of the group. Daniel Nalbach nails his role as the medical practitioner who knows what he wants, being music but is hesitant to reach out and take it. Stan Lachow, as George, is another fine actor in THE GIG. While his role is small, nevertheless, he manages to cast a shadow over the proceedings with his presence. Four other performers also make their presence felt in THE GIG.

Ambitious, hard-bitten singer Rick Valentine is another striking portrayal, courtesy of Jay Thomas. His rage and passion are keenly felt, Mr Thomas ensuring that the audience knows his exact feelings on things. In a small part, Karen Ashley makes every second count as Janet, Jack's wife. Seeming comfortable in a blissful domestic setting as mother and wife, Miss Ashley provides one of the two portraits of wives in THE GIG. The second view of domesticity is given credence by Susan Egbert as Laura, Gil's wife. Her anger at trumpeter husband Gil's reluctance to take his hobby more seriously is in contrast to Karen, giving another view on matters. Gravelly-voiced resort owner Abe is splendidly brought to life by Joe Silver. An actor adept at expressing of myriad of emotions, always authentic, and never false, Mr Silver's wonderful acting rounds out the fine contributions in THE GIG.

Soundtrack: As THE GIG is a movie about jazz musicians, it naturally features many scenes of the band members either playing, or practicing their tunes. These are all diegetic uses of music, the only incident which stands out is the final scene before the closing credits. The band plays roadside, and this continues in a non-diegetic manner into the credits sequence.

Mise-en-scene: THE GIG is pleasing in terms of its onscreen viewer experience. It clearly delineates the locations of its characters by depicting several of them in their domestic settings. Gil's home with its spiral staircase, Jack's pleasant home in the suburbs, Arthur's home with his mother, to name some examples, give a sense of veracity, as if the characters do exist for real, and live lives outside their identities as musicians. The Catskills resort is also excellent, both interiors, and exteriors, vivid. Jeri Sopanen's cinematography may seem washed-out on first impression, but works as the movie would not have been as true to life shot with blazing color stock.

Notable Acting Performances: Wayne Rogers, Andrew Duncan, Daniel Nalbach, Stan Lachow, Jay Thomas, Karen Ashley, Susan Egbert, Joe Silver.

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

Overall Grade: B

Link: IMDB Page

Trailer

TENDER MERCIES (1983)

Title: TENDER MERCIES

Year of Release: 1983

Director: Bruce Beresford

Genre: Drama

Synopsis: The personal, and professional lives of a former country music singer, who is now remarried, with a stepson.

Within a film history context: Movies which showcase a male country music singer were many times featured before TENDER MERCIES, mainly with a musical theme, and in other instances a more dramatic background. One of the first was Otto Brower and B. Reeves Eason's Western serial THE PHANTOM EMPIRE (1935). Starring Gene Autry as a singing cowboy, it was in twelve instalments, and combined music, adventure and science fiction. THE PHANTOM EMPIRE was later made into a feature film released in 1940, again with Mr Autry. In a lighter vein was THE OLD HOMESTEAD (1942), directed by Frank McDonald. A family of country music singers was the focus of this musical comedy movie, with the Vaudevillian Weaver troupe the leads. Many of the films in the period were mainly of this persuasion, being light entertainment vehicles with country music stars and tunes featured, such as NATIONAL BARN DANCE (1944), JAMBOREE (1944), and HOLLYWOOD BARN DANCE (1947). Into the 1950s and beyond, more varied depictions of country music singers began to appear on screens.

Hal Kanter's LOVING YOU (1957) starred Elvis Presley as Deke, a delivery man who becomes a country music singer. More intricate than the films of the 1940s with its complicated, well-drawn characters, such as the scheming Glenda, Deke's manager, it was a change from the home-spun films of the 1940s and before with their simpler plots. COUNTRY MUSIC HOLIDAY (1958), directed by Alvin Ganzer, was closer to the 1940s films in its execution, detailing the life of a country music singer with many tunes and some romance thrown in. The biography of country music star Hank Williams was the focus of Gene Nelson's YOUR CHEATIN' HEART (1964). Paying attention to both Mr Williams' career and personal life, it was a great role for George Hamilton in the lead part. Of a different tone was BABY THE RAIN MUST FALL (1965), directed by Robert Mulligan. In a small Texas town, a man returns home after being in jail, and tries to adjust to life, with strained results. It was notable as the main character performed several country music songs through the course of the movie, but the film itself was of a decidedly dramatic, rather than musical, orientation. 

Jay Sheridan's NASHVILLE REBEL (1966), presented country music singer Waylon Jennings in the main role of a young man just ending his stint in the army, and becoming involved in singing. COUNTRY BOY (1966), directed by Joseph Kane, was about a young man who becomes a country singer, but who is taken advantage of by his unscrupulous talent agent. Another take on country music singers was on view in Jean Yarbrough's HILLBILLYS IN A HAUNTED HOUSE (1967). Two country singers are en route to Nashville with their band, but become involved with spies when their car breakdown occurs at a spooky house. PAYDAY (1973), directed by Daryl Duke, was about a footloose and highly immoral country music singer, tracking all his activities in an utterly compelling manner. Similar in execution was Paul Lynch's THE HARD PART BEGINS (1973). It also dealt with a morally dubious country music singer, and his mangled life. 

Lighter in tone was HONEYSUCKLE ROSE (1980), directed by Jerry Schatzberg. Following the life of a married country singer with a family, he falls for a younger woman in this drama with Willie Nelson in the lead role. With Ronald Maxwell's THE NIGHT THE LIGHTS WENT OUT IN GEORGIA (1981), a country music singer enters Nashville hoping to hit it big, his sister as his manager, but their lives are affected by their involvements with others. HONKYTONK MAN (1983), directed by Clint Eastwood, centered around a terminally ill country singer wanting to visit Nashville's Grand Ole Spry music festival to become famous, with his nephew in tow, but life treats him to a bittersweet procession of events. TENDER MERCIES was one of the more serious, thoughtful examinations of a male country music singer in the genre.

The movie was far removed from the portrayals of country singers from the 1930s and 1940s, which had an emphasis on comedy, action, and musical set pieces. There was also an innocence to these films, and they did not as such probe deeper into their country singers' lives, keeping matters on a more one-dimensional manner. TENDER MERCIES had more in common with the films which appeared onscreen after the 1950s such as LOVING YOU, COUNTRY MUSIC HOLIDAY, YOUR CHEATIN' HEART, BABY THE RAIN MUST FALL, PAYDAY, THE HARD PART BEGINS, HONEYSUCKLE ROSE, and HONKYTONK MAN. In these movies, there is a dramatic background which supports the story of the particular country singer, which is something that TENDER MERCIES also exemplifies. TENDER MERCIES has affinities to both BABY THE RAIN MUST FALL, and THE HARD PART BEGINS in its similar country singer with a hard life, but with PAYDAY, the comparisons grow. 

TENDER MERCIES is akin to a family-oriented version of PAYDAY, also with a rough around the edges male country singer. Where TENDER MERCIES diverts is in its more upbeat presentation. Mac Sledge has a wife, and stepson, who help him with both his personal demons, and family issues. On the other hand, Maury Dann from PAYDAY is on an unending slippery slide of events, many of which he himself instigated. Mac in TENDER MERCIES is on the road to personal recovery, staying grounded with his family, while Maury in PAYDAY is on an irrevocable road to ruin. PAYDAY also presents certain situations, such as Maury's drug addiction, propensity for changing women, and coarse language, from which TENDER MERCIES shies away. TENDER MERCIES alludes to certain events within the course of its running time, but does not delve as sharply as PAYDAY into its protagonist's devils onscreen. This makes it a more subtle film which treats its protagonist as a more moral figure who wants a second chance at life. One of the best of the movies about a country music singer, TENDER MERCIES wins with its compelling presentation.

Overview: Bruce Beresford is an Australian director who has made films in his native country, Britain, and the United States. Presiding over thirty-three motion pictures in a forty-six year time span, he has tackled comedy, drama, period themes, coming of age, thrillers, and crime, to name a few genres. His first film, THE ADVENTURES OF BARRY MCKENZIE (1972), was a comedy about an Australian man who travels to the United Kingdom, and the humor which emerges from his reactions to being in unforeseen situations there. It was very successful at the Australian box office, and Mr Beresford also directed the sequel, BARRY MACKENZIE HOLDS HIS OWN, released in 1974. His next notable movie was DON'S PARTY (1976). Based upon a play by David Williamson, following the lives of characters during election night in 1969 Australia, its language and nudity distinguished it at the time for its uninhibitedness. THE GETTING OF WISDOM (1977), was another step forward for Bruce Beresford. The tale of a young woman in 1890s Australia, and her coming of age, was both a financial, and critical success. BREAKER MORANT (1980), was another prestigious production for the director. The tale of a court martial of three lieutenants in 1902, and the fallout of this event, was a triumph not only for its director but also its cast, including Jack Thompson, Edward Woodward, John Waters, and Bryan Brown. 

THE CLUB (1980), examined the machinations of an Australian football club, highlighting the personalities behind the hoopla. Bruce Beresford traversed into more youthful territory with PUBERTY BLUES (1981). Following the adventures of two surfer girls in Sydney, Australia, it was another success for the director in his realistic oeuvre. THE FRINGE DWELLERS (1986), was about an Aboriginal family, charting their difficulties in assimilating into white society. Although critically acclaimed, the movie was not a success at the Australian box office. Next came comedy-drama CRIMES OF THE HEART (1986). A showcase for actresses Sissy Spacek, Diane Keaton, and Jessica Lange, it was the story of three sisters, and how they handle the passing of their mother. HER ALIBI (1989), was a definite change of pace for Mr Beresford. An author of mystery novels falls for a Romanian woman suspected of murder in this enjoyable, underrated romantic comedy. DRIVING MISS DAISY (1989), was a different story altogether. The relationship between an elderly widow and her black chauffeur in the American South was a charming, unexpected box office success which won four Oscars, and had positive critical notices. Bruce Beresford then tackled another movie based on race issues, being MISTER JOHNSON (1990). In this film, a Nigerian man who works for the British strives to be seen as an equal by his colonial employers in 1920s Nigeria. 

BLACK ROBE (1991), was yet another sojourn into a past time for the director. This time around, it followed the journey of a missionary in Canada, with the many trials and travails he suffers considered. It was back to contemporary society with RICH IN LOVE (1992) for Mr Beresford, set in South Carolina. A wife and mother leaves her family, and how they cope with this predicament is the crux for the film, especially the daughter's reaction to this event. There was a move into more intense, psychological territory with SILENT FALL (1994). A young autistic boy witnesses the brutal murders of his parents, and a psychiatrist is assigned to uncover the truth from his recollections, but matters are more complicated than first meet the eye. War themes again came to the fore in PARADISE ROAD (1997). Set in World War II, a group of women from various countries are imprisoned by the Japanese, and set up a band to prop themselves up in light of their conditions. At the end of the decade DOUBLE JEOPARDY (1999), arrived on screen. A tale of murder and suspense, replete with a terrorized heroine, it rang the box office bell to a hearty tune. 

The new millennium brought BRIDE OF THE WIND (2001) from Bruce Beresford. A loose biographical account of the life of Alma Mahler, wife of composer Gustav Mahler, it was unsuccessful financially for its studio. EVELYN (2002), was another period piece from the director. Set in 1953 Ireland, it was based upon the true story of a troubled man who loses custody of his children when his wife abandons him, and their offspring. THE CONTRACT (2006), also explored family relationships, this time between a father and his son. A father and son team up to capture an assassin, but face opposition from the criminal's cohorts, who seek to stop them in their tracks. MAO'S LAST DANCER (2009), was another instance where the director looked at a real-life figure. The delineation of ballet dancer Li Cunxin's life in China, to his ballet triumphs in the United States, are all depicted in this biopic. MR. CHURCH (2016), was the inspirational story of an African American man who is employed by a white woman as a domestic cook, and the relationship which develops between the man, woman, and her daughter. Bruce Beresford's last film to date is LADIES IN BLACK (2018). It is the study of a number of employees in a Sydney department store in the late 1950s, concentrating upon their personal lives. TENDER MERCIES was Bruce Beresford's eleventh movie, first American picture, and one of his most notable works.

Bruce Beresford has made a beautiful, meditative work in TENDER MERCIES, in line with his other ruminative films. The story of a down on his luck country singer, his subsequent marriage to a widowed gas station owner with a young son, and his previous family, and professional entanglements, have been vividly portrayed by the director. It is a movie with a unique aura, tone, and mood, making everything clear to the audience about what makes the characters tick, and why do what they do. Narrative events are never rushed, and characters are all three-dimensional, their actions making sense. It is not a case of wild story decisions which disrupt the flow in TENDER MERCIES. The movie is one of the most character-driven ever captured on film, and this is one of its greatest strengths. The picture is winningly subtle, never banging viewers over the head with irrelevant information. While this sense of subtlety is something to be admired, it admittedly does impact upon some areas of the movie.

TENDER MERCIES is so understated in its presentation that it loses the opportunity at times to involve the audience even more in what is taking place. It has the characters, and the story which are both winners, but the inclusion of several key scenes would have added immeasurably to its power. A number of examples come to mind. Mac and Rosa Lee marry early in the movie, but one does not see the wedding. While the viewer witnesses their various marital issues throughout the film, it is a letdown that such an important event is never shown. Dixie is the mother of Sue Ann, but they do not share a single scene as mother and daughter. The reaction to her daughter's death is palpable, but not seeing them together is jarring. In addition, TENDER MERCIES lost out on a golden opportunity to bring both Rosa Lee and Dixie into the same room. Having the present, and former wives of Mac, being two strong, but very different women, share a scene would have been stunning, but this never occurs. It leaves one with the feeling that the movie is underdone in some areas when it should have been even more stellar. Nevertheless, despite these omissions, TENDER MERCIES is a great picture to which the director has given his keen eye in presenting a striking story.

Acting: TENDER MERCIES has a number of meaningful performances. As Mac Sledge, the hardened country music singer, Robert Duvall is in one of his best roles. An actor with a quiet edge who, in other parts, seems to disappear into the background, this movie is a proper showcase for his talents. Mac's wife Rosa Lee is given honesty and charm by Tess Harper. With her penetrating glare which shows that she means business, Miss Harper excels as Mac's wife, and mother of Sonny. Mac's vampy ex-wife, country singer Dixie, Rosa Lee's polar opposite, is made memorable by Betty Buckley. With her sudden and unexpected changes in mood and general volatility, Dixie is another distinctive character in TENDER MERCIES. Three other actors leave an indelible impact on TENDER MERCIES.

In his only screen role, Allan Hubbard makes his role as Rosa Lee's son Sonny memorable. As a young boy doing his best to adjust to having a stepfather, and teasing at school, Mr Hubbard's Sonny is a realistic portrait of a young boy in trying circumstances. Mac and Dixie's daughter Sue Anne is played with precision by Ellen Barkin. Speaking in a low tone for her appearances, and using her eyes to convey meaning, Miss Barkin wins in her part. The final acting of note in TENDER MERCIES was by Lenny von Dohlen as Robert, a young man in a country band who sees Mac as his idol. A handsome performer with an amiable pathos who many times took on unconventional roles in his career, here plays the aspiring musician with magnetism, and conviction.

Soundtrack: For a movie about a musician, TENDER MERCIES takes a pleasingly spare, natural approach to its soundtrack. The film does not feature non-stop tunes which can become grating in other instances; instead employing a cleaner presentation in this respect. There are many scenes scattered throughout the film where Man practices his music on the guitar, which gives a nice insight into the workings of its musician character. Aside from this, TENDER MERCIES has other diegetic music in the form of Mac's public performances with the band, and Dixie's at the concert hall. In terms of non-diegetic music, it is also utilized occasionally, but never punctuates scenes, only enhancing their muted emotional effect for viewers.

Mise-en-scene: The onscreen experience is one of the best features of TENDER MERCIES. The rugged, beautiful landscapes which the movie spotlights so well are indeed one of the stars of the movie. Rosa Lee's gas station and home, in particular, cast a non-verbal comment upon the difficult lives of the characters, which are at the same time satisfying, and well-lived. Interiors such as Rosa Lee's home, the elaborate excesses of Dixie's mansion, her dressing room at the venue, to name just a few, are all true to life, courtesy of set decorator Daniel Loren May. Russell Boyd's cinematography has an orangey tone, providing not only a feel of comfort and earthiness but also, in keeping with the film's solemn tone.

Notable Acting Performances: Robert Duvall, Tess Harper, Betty Buckley, Allan Hubbard, Ellen Barkin, Lenny von Dohlen. 

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

Overall Grade: B

Link: IMDB Page

Trailer

RETURN OF THE SECAUCUS SEVEN (1980)

Title: RETURN OF THE SECAUCUS SEVEN (AKA: THE RETURN OF THE SECAUCUS 7)

Year of Release: 1980

Director: John Sayles

Genre: Drama

Synopsis: Seven college friends, and some newcomers to the fray, reunite for the weekend at a New Hampshire summer house.

Within a film history context: There have not been many films made about the reunion of college friends before the release of RETURN OF THE SECAUCUS SEVEN. The first was Busby Berkeley's FORTY LITTLE MOTHERS (1940). An unemployed professor finds work in an all-girls school thanks to an old college friend, and finds an abandoned child which he takes under his wing despite the school's rule for teaching staff to be without a family. One of the stories in TALES OF MANHATTAN (1942), directed by Julien Duvivier, focused upon a man who attends his college reunion. He tries his best to disguise his past to the other attendees, the truth emerging about him which may, or may not, hamper his future job prospects. In Joshua Logan's PICNIC (1955), drifter Hal looks up Alan, his old college friend in Kansas, and they reignite their friendship. When Hal falls for Alan's fiancée, this sets the stage for much drama in this memorable movie set during a Labour Day picnic. With THE SPORTING CLUB (1971), directed by Larry Peerce, two college friends meet after many years at the titular club, the one causing mayhem in the life of the other. RETURN OF THE SECAUCUS SEVEN was one of the best of the movies about a reunion of college friends.

It was the most in-depth of all the movies about a college reunion, with the entire movie consumed with the subject. Unlike FORTY LITTLE MOTHERS, where a meeting of college friends takes up only a fraction of screen time, RETURN OF THE SECAUCUS SEVEN contained a number of reunions within the story. These occur gradually, in an organic manner, and provide valuable information on the characters, especially with the contracting natures of the people in the movie. The drama, and comic episodes are borne out of the differences in opinion which the characters bring to the plate. The film was akin to an extended version of the segment from TALES OF MANHATTAN, allowing for a fuller representation of the people in the reunion in feature length, instead of just a half hour duration. People laugh, cry, fight, and compete with each other in RETURN OF THE SECAUCUS SEVEN, to name just a few emotions and actions depicted in the movie. Other aspects of RETURN OF THE SECAUCUS SEVEN also merit discussion.

The relationship between Hal and Alan in PICNIC is deepened considerably in the presentation of the interactions of the male protagonists in RETURN OF THE SECAUCUS SEVEN. In PICNIC, the men discuss their past adventures and memories of these, but the present intrudes upon the sanctity of the past, with regard to the two men battling over the one woman. Romance, male-female, and male-male relationships are something which RETURN OF THE SECAUCUS SEVEN treats intensively. Having several male characters instead of only two makes for interesting drama, especially with their connections to the female characters. This is another area where RETURN OF THE SECAUCUS SEVEN differs from others. The presence of female characters brings out other sides to the men which is also apparent in PICNIC, but with more complexity in RETURN OF THE SECAUCUS SEVEN. It is not just a matter of men fighting for women, but more about the little things which constitute male-male, and male-female dealings. A compelling movie about a college reunion, RETURN OF THE SECAUCUS SEVEN is a thorough picture on an emotional level.

Overview: John Sayles is a prolific American director who has made eighteen motion pictures over a thirty-three year time frame. His works are generally character-driven pieces which explore relationships in both contemporary, and past societal eras. Mr Sayles' second movie, LIANNA (1983), was about a sexually-confused married woman who has an affair with another woman, this causing her to reassess her life, and gender identity. BABY IT'S YOU (1983) charted the high school romance between two young people, a Jewish girl and an Italian-American boy, following their fraught union in the New Jersey of the late 1960s. More humorous in tone was THE BROTHER FROM ANOTHER PLANET (1984). A mute alien who in appearance resembles a human being, lands by his ship on Ellis Island, taking on a job as a technician, but two men in black are hot on his trail to force him to return to his planet. MATEWAN (1987) shone a light on the coal miner's strike of 1920 in the West Virginian town of Matewan, and the efforts of a union organizer to bring balance in the face of vocal opposition from the mining company, and other participants. Another movie set in a past time, EIGHT MEN OUT (1987) spotlighted the 1919 Black Sox baseball scandal in which members of the team attempted to lose the game for money in light of their low pay. Into the 1990s, John Sayles continued with further thoughtful movies.

CITY OF HOPE (1991) focused on a dilapidated apartment block slated for demolition, presenting the viewpoints of all those involved with this predicament. Female relationships, in contrast, were at the core of PASSION FISH (1992). A soap opera actress falls victim to an accident which leaves her paralyzed, and relies on nurses, finding compatibility with them difficult. She finally finds a nurse where a meeting of the minds takes place, both their lives enriched in the process. THE SECRET OF ROAN INISH (1994), was a fantasy movie with a family orientation. A young woman in 1940s Ireland fascinated by life in a small fishing village seeks to find her brother, who was believed to have become a selkie. Mystery of a more adult nature pervaded LONE STAR (1996). When the human skeleton of a former sheriff is discovered, this opens the door to unlocking many secrets in a Texas town. MEN WITH GUNS (1997), was a change of pace for John Sayles. A widowed doctor who trained a group of students who work in poverty-stricken Mexican villages seeks to find out what happened to these people, as he discovers one of them was killed by military forces. Mr Sayles rounded out the 1990s with LIMBO (1999). A former fisherman in an Alaskan town begins to date a woman whose daughter dislikes her mother's lifestyle, and they become embroiled in his brother's murder. John Sayles made six more movies in the 2000s and beyond.

SUNSHINE STATE (2002), contrasted the personal lives of two very different women who both reside in Delrona Beach, Florida. One story thread is concerned with a black woman, and her relationship with her daughter, and her offspring's mixed-up life. The second is about a woman running a family-owned motel and cafe, her romance with her boyfriend, and tenuous union with her former husband. CASA DE LOS BABYS (2003), revolved around six American women who seek to adopt babies in South America, highlighting the immense difficulties they endure during this experience. SILVER CITY (2004), was a political satire of a man seeking to become Governor of Colorado, and how his discovery of a corpse one day while fishing both triggers, and subsequently unearths a great number of problems. HONEYDRIPPER (2007), was another John Sayles film set in the past. In the Alabama of 1950, a young guitarist is recruited by a blues club owner to save it in the face of competition from a rival club. Yet another period film, AMIGO (2010), was set in 1900s Philippines during the Philippine-American war raging at the time, concentrating upon the lead character, the chairman of an administrative area. Mr Sayles' final film to date is GO FOR SISTERS (2013). An incident throws together two former high school friends, one a parole officer, the other her parolee, with the officer seeking the other's help to save her son from drug kingpins. RETURN OF THE SECAUCUS SEVEN marked John Sayles' directorial debut, and is one of his most fluent motion pictures.

John Sayles has crafted an illuminating movie in RETURN OF THE SECAUCUS SEVEN. It takes as its starting point a reunion of college friends at the home of couple Mike and Katie. At the reunion, both old and new faces become reacquainted, and acquainted, with friendships rekindled, and some enmities reactivated along the way. The beauty of the movie is how it intimately tracks the minutiae of human interactions which is fascinating indeed to watch. Events progress at a steady pace, are never rushed, and the spectator is able to identify with a number of different viewpoints. The film takes its time with everything, and one feels as if they are watching real events transpire on the screen. In terms of emotional delicacy and accuracy, RETURN OF THE SECAUCUS SEVEN is a winner. It is not a picture for those who need violence and car accidents in every second scene, which is admirable. In saying this, though, it does have a flaw which sidetracks the movie somewhat.

RETURN OF THE SECAUCUS SEVEN comes from a place of truth, and is thoughtful as a motion picture. Other films can only dream of its honesty in their execution. There is one segment of the movie, though, which does not work as well as the others. The group of college friends is apprehended for the death of a roadside deer, for which they are eventually released when the true culprit is uncovered. It seems to have been included as a comic aside to the mostly dramatic nature of the movie, but is forced. After much compelling drama for the majority of the film, it stands out for its incongruousness. It is a movie in which gimmicks would not, and do not, work. The movie, though, does make up for this in the final stretches with a return to Mike and Katie's home, and the memorable scene of Jeff chopping wood. These are the types of moments which sum up the picture, being the little things which express meaning in volumes. A satisfying look into a reunion of college friends, RETURN OF THE SECAUCUS SEVEN is a great movie, and an above-average cinematic achievement from John Sayles.

Acting: RETURN OF THE SECAUCUS SEVEN boasts a distinctive cast who make the movie a convincing experience. As Mike, one half of the couple staging the college reunion at his home, Bruce MacDonald is excellent. An actor who unfortunately only appeared in this movie, his friendly, inclusive manner works as the open-minded, gregarious Mike. Mike's girlfriend Katie is played with irony and humor by Maggie Renzi. As the suspicious Katie, Miss Renzi brings notes of real-world sensibilities, and some craftiness, to her role. Wandering musician J.T. is given gusto and style by Adam LeFevre. A performer of energy and enthusiasm, Mr LeFevre does a great interpretation of the aspiring guitarist. The well-grounded doctor in the house, Frances, is made sympathetic by Maggie Cousineau. As with several actors in the cast this was her sole film credit, which is unfortunate, given Miss Cousineau's spirited, philosophical obstetrician. Chip, the only participant who was not a member of the college, is made memorable by Gordon Clapp. While not treated as the odd man out in the movie, he makes his presence felt with his insistent voice, and challenge to the other characters in terms of their mindsets. Five other performers deliver individual performances in RETURN OF THE SECAUCUS SEVEN.

As Chip's girlfriend Irene, speechwriter for a politician, Jean Passanante has a soothing manner, and nice comic timing, which meshes well with Chip's slightly nervy demeanour. The deep-voiced, vulnerable Maura is given careful shading by Karen Trott. Wearing her heart on her sleeve, it is pleasing that she ends the movie in a better state that when she first appears, her scenes with Jeff some of the best moments in the film. Maura's erstwhile boyfriend is in the highly compelling presence of Mark Arnott. With his spurts of anger, volatility, and non-verbal modes of expression, Mr Arnott makes Jeff a fully intoxicating, fascinating personality. The lively man at the gas station, Ron, is one of the movie's most colorful people. David Strathairn injects his Ron with a fast-talking, contagious way of doing things, with a physical presence that makes an impact. The final performance of note in RETURN OF THE SECAUCUS SEVEN was by John Sayles as Howie. Aside from helming the picture, he delivers a laid-back, realistic interpretation of a family man given to being just one of the boys, but more than holding his own in the basketball sequence.

Soundtrack: The soundtrack for RETURN OF THE SECAUCUS SEVEN is one of its most intriguing aspects. The score by Mason Daring works in a graceful, understated way which accentuates what appears onscreen. Two main examples stand out in this respect. The opening credits feature photographs of all the movie's characters which are accompanied by a guitar theme which musically relays the film's lively, thoughtful aura. The wood chopping sequence with Jeff is also highly effective, making light of his anger musically, and providing a non-verbal perspective to the scene. Aside from this, the closing credits are in contrast to the opening credits, utilizing the song 'Mean to Me' which partners a visual mash up of sequences from the movie. Diegetic music is also interesting, especially the barroom scene with J.T. singing his tunes functioning in a lifelike manner. 

Mise-en-scene: What appears in front of the camera is one of RETURN OF THE SECAUCUS SEVEN's many virtues. Cinematography by Austin de Besche is lovely, with the outdoor sequences particularly noteworthy. The lush leafy outdoor scenery is expertly shot, making the viewer wish that they could also be present to bask in its beauty. In terms of indoor settings, the home of Mike and Katie is also well utilized, with the use of the living room, kitchen, and their bedroom making sense to the story, and the people who inhabit these areas. Costuming is unobtrusive, and functions as a neutral palate to allow the personalities of the characters to be highlighted by their individuality.

Notable Acting Performances: Bruce MacDonald, Maggie Renzi, Adam LeFevre, Maggie Cousineau, Gordon Clapp, Jean Passanante, Karen Trott, Mark Arnott, David Strathairn, John Sayles.

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

Overall Grade: B

Link: IMDB Page