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

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

DIRTY LITTLE BILLY (1972)

Title: DIRTY LITTLE BILLY

Year of Release: 1972

Director: Stan Dragoti

Genre: Western

Synopsis: The life of Billy the Kid in all its stark rawness.

Within a film history context: There have been quite a few films over the years dealing with Billy the Kid. One of the first was a possibly lost movie, J.P. McGowan's BILLY THE KID (1925), with western star Franklyn Farnum in the titular role. More well-known was BILLY THE KID (1930), directed by King Vidor. It charted the relationship between Billy the Kid and lawman Pat Garrett, specifically whether Pat Garrett should bring Billy to account for a crime he committed. Sam Newfield's BILLY THE KID OUTLAWED (1940), cast Billy the Kid in a more righteous light, seeking to avenge the killing of two ranchers. BILLY THE KID (1941), directed by David Miller, was a remake of the 1930 movie, this time with Robert Taylor in the lead role. The movie concentrated upon the relationship between Billy the Kid and Jim Sherwood, and how events tested their friendship. Sam Newfield's BILLY THE KID TRAPPED (1942), had Billy the Kid and others escaping from jail, trying to track down those who dressed as them, and committed crimes. THE OUTLAW (1943), directed by Howard Hughes, concentrated on the interactions between Billy the Kid, Doc Holliday, and Pat Garrett, with an added romantic angle for Billy the Kid with Rio McDonald. More fantastical was Ray Taylor's SON OF BILLY THE KID (1949). A play on real events, the film presents Billy the Kid as being alive, and now a banker whose bank is under siege by outlaws. THE KID FROM TEXAS (1950), directed by Kurt Neumann, was a darker movie about Billy the Kid, with him involved in land disputes and other related mayhem. William Berke's short film I SHOT BILLY THE KID (1950), was another exploration of the relationship between Billy the Kid and Pat Garrett, lasting less than one hour in duration. 

THE LAW VS. BILLY THE KID (1954), directed by William Castle, was a movie that again attempted to paint a view of Billy the Kid as righteous. In this instance, Billy the Kid is pursued by someone as he has taken money owed to him, and finds not only trouble, but also time for some romance. Oliver Drake's THE PARSON AND THE OUTLAW (1957), was yet another in a line of films which gave a more benign view of Billy the Kid. Here, a preacher enlists the assistance of Billy the Kid, who is living in anonymity in a new town, to take on a corrupt man and his henchman. BILLY THE KID VERSUS DRACULA (1966), directed by William Beaudine, was entirely different from previous takes on the character. Casting Billy the Kid in a heroic light, it was about how he saves his ladylove from the clutches of Dracula, who wants her as his new mate. Julio Buchs' Spanish-Italian production I'LL KILL HIM AND RETURN ALONE (1967), again gave a sympathetic account of Billy the Kid, this time having him protect his mother, becoming an outlaw in the process, but also, falling in love. CHISUM (1970), directed by Andrew V. McLaglen, offered a distinctive portrait of Billy the Kid. He becomes embroiled in the Lincoln County War, and a partner in the many violent events of this incident. DIRTY LITTLE BILLY was another interpretation on the legend of Billy the Kid, and one of the best.

There were a number of features which distinguished DIRTY LITTLE BILLY from the other film versions of Billy the Kid. While many of the previous movies detailed the interactions between Billy the Kid and Pat Garrett, such as BILLY THE KID, THE OUTLAW, and I SHOT BILLY THE KID, to name but a few examples, DIRTY LITTLE BILLY did not present Garrett at all within the narrative world, likewise with Doc Holliday. Instead, Billy and Goldie's relationship was the main focus in the movie, which was in keeping with the two-character approach of many Billy the Kid movies. In addition, other characters who generally were not in the other pictures also made their presence felt in DIRTY LITTLE BILLY, such as Billy's mother. This gave the movie a different set of circumstances which to explore, moving it away from Billy the Kid being pursued by Pat Garrett, or other standard scenarios. Billy's mother and stepfather added depth and complexity to the proceedings, making evident Billy's feelings about life, and providing rationale somewhat for his behavior. 

Unlike the films with a romantic angle for Billy the Kid, such as THE OUTLAW, and THE LAW VS. BILLY THE KID, in DIRTY LITTLE BILLY Billy's relationship with Berle was strained at first, and the first woman for whom he had an attachment, but it could hardly be classified as being romantic in nature. This is in keeping with the film's overriding emphasis on realism, far detached from the escapism of other Billy the Kid entries. It has connections with the darker movies about Billy the Kid such as THE KID FROM TEXAS, being that Billy the Kid was not as two-dimensional as in other movies. In DIRTY LITTLE BILLY, there is great care to present Billy not as a total villain, or overly sympathetic, which past films delivered. Here he is neither fully evil nor kind, rather an impressionable character falling into crime as a victim of his intellectual level, and circumstances. This gives Billy the Kid a more realistic, rounded set of traits taking him away from the simplistic depictions of the other examples over the years. An excellent account of the Wild West, providing a different insight into Billy the Kid, DIRTY LITTLE BILLY is a well-made portrait of a person, time and place which have been romanticized far too often in film history.

Overview: Stan Dragoti made six films over the space of nineteen years, generally comedies, but with the odd drama. His second movie, LOVE AT FIRST BITE (1979), was a financially successful comedy horror film about Count Dracula, and the pursuit of his love in New York. Next was MR. MOM (1981), which, as with LOVE AT FIRST BITE, was another box office success for Mr Dragoti. The story of a man who loses his job, and stays home to raise a family and keep house, resonated with the public, and was one of the year's most commercially profitable movies. This was followed by THE MAN WITH ONE RED SHOE (1985), another comedy. An innocent violinist prone to a number of calamities is pursued by the CIA, with romantic difficulties and intrigue explored. The combination of comic and thriller elements was not as warmly received in this instance, and despite the presence of Tom Hanks in the lead, made a financial loss. 

Stan Dragoti's fourth film was SHE'S OUT OF CONTROL (1989), yet another comedy. A young woman makes a massive change to her physical appearance, and becomes popular with young men, despite already having a boyfriend. Her widowed father, though, has grave concerns, this leading him to obsession with this predicament, enlisting a psychiatrist for advice. Stan Dragoti's final film, NECESSARY ROUGHNESS (1991), had him again in comedy territory. The antics of a Texas University football team was the subject of this movie, but unlike Mr Dargoti's two previous movies, was a box office success with the public. DIRTY LITTLE BILLY was Stan Dragoti's directorial debut, and his best movie.

With DIRTY LITTLE BILLY, Stan Dragoti has created a striking version of the life of outlaw Billy the Kid. From the opening scenes to the very end, the movie is a compelling account of the life of the notorious criminal. It seeks to not glamorize his life but also, makes it understandable as to why he acted as he did. Much of this seems to stem from his fractured upbringing, his widowed mother marrying another man, and Billy not being able to connect with his stepfather. There is also the related implication in the movie that a distinct lack of opportunity, and education, was another draw into crime for someone not sure what to do with their life. 

Billy not being able to see beyond the confines of the repressive, bleak environment is something which Mr Dragoti expresses so vividly in DIRTY LITTLE BILLY. The movie is just so well mounted, and thoroughly convincing, it is difficult to take the visions of depressing Kansas landscapes out of one's mind. As an example of Stan Dragoti's work, it is totally contrary to his following films, which were more commercially-geared, and mainly comedic in tone. With DIRTY LITTLE BILLY matters are of a contrary nature. DIRTY LITTLE BILLY is an artistic, thoughtful movie that makes the viewer yearn to ponder what Stan Dragoti could have made in a similar vein, but unfortunately did not deliver in his filmmaking after the movie.

Acting: The main performances in DIRTY LITTLE BILLY are all first-rate. As Billy Bonney, notorious outlaw of the wild west, Michael J. Pollard contributes another fine example of screen acting. An actor with an understated, lightly humorous, yet compelling manner, Mr Pollard provided a great representation of the infamous 1800s criminal. Billy's friend Goldie is also made memorable by Richard Evans. With his penetrating stare and no holds barred way of doing things, Mr Evans is well paired with Michael J. Pollard as the footloose criminal combo. The third party in this trio, Berle, is played with astonishing strength by Lee Purcell. Berle is a thoroughly three-dimensional character, by turns tough, tender, and uncompromising. Miss Purcell gives it her all as Berle, and the character's outcome is one of the most memorable sequences in the film. The final acting contribution of note is by Dran Hamilton as Cath McCarty, Billy's mother. A woman in a difficult position, trying to hold onto her son despite her husband's, and Billy's stepfather's, protestations, Miss Hamilton makes Cath's plight understandable, her actions invoking sympathy from the viewer. 

Soundtrack: Musical accompaniment to the visuals is one of the most low-key elements of DIRTY LITTLE BILLY. Sascha Burland's banjo score is present in several scenes, enriching these with a sense of 1800s rural American, and the Wild West, but it is a movie that does not depend upon music. DIRTY LITTLE BILLY prefers to concentrate upon what is taking place onscreen, and building tension for the viewer largely without the use of music.

Mise-en-scene: One of the most striking aspects of DIRTY LITTLE BILLY is what appears onscreen for viewers. Despite the uncompromising nature of its content, and harsh landscapes often featured in the movie, Ralph Woolsey's cinematography is beautiful, giving the film an easy on the eyes watchability that works to balance the film's toughness. Lighting is another prominent attribute of DIRTY LITTLE BILLY. The indoor sequences especially are lit in a natural way, emphasizing the harsh life of the protagonists in the 1800s. The movie does have periodic bursts of violence, but these have been carefully shot in order to avoid exploitative gory connotations, the indoor scenes of mayhem excellently executed. Set decoration by George James Hopkins is another standout, creating a story world that is utterly real, and transfixing to witness. The home of Billy's family, and Berle and Goldie's shack, to name two examples, are both evocative of the time and place which the film demonstrates in its exceptional way. 

Notable Acting Performances: Michael J. Pollard, Richard Evans, Lee Purcell, Dran Hamilton.

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

Overall Grade: A

Link: IMDB Page

THE TRUE STORY OF ESKIMO NELL (1975)

Title: THE TRUE STORY OF ESKIMO NELL

Year of Release: 1975

Director: Richard Franklin

Genre: Comedy, Sex Comedy, Western, Drama

Synopsis: An unconventional friendship is forged between two men, Dead Eye Dick and Mexico Pete, after Dick saves Pete from a precarious situation one evening.

Within a film history context: Australian sex comedies began to appear on cinema screens from 1970. Due to the breakdown of Australian film censorship, and a relaxation of what content could appear on screen, sex comedies began to be made from 1970, beginning to largely peter out by 1975. The first of the genre, John B. Murray's THE NAKED BUNYIP (1970) was a semi-documentary about the sexual habits of Australians, with a young man interviewing various people about the topic. It is seen as being not only a milestone in Australian film censorship but also, inaugurated the sex comedy genre in the country. Next came STORK (1971), directed by Tim Burstall. The story of a young man, and his libidinous adventures resonated with the viewing public, as with THE NAKED BUNYIP, and was one of the most successful Australian films until that time. 1973 brought one of the most notable sex comedies produced in the genre, being Tim Burstall's ALVIN PURPLE (1973). As with STORK, it centred around a young man and his raunchy activities, but ALVIN PURPLE went much further in this department, with a preponderance of nudity, specifically female, and sexual situations. The film was an immense financial success of its time and led to a sequel in 1974, ALVIN RIDES AGAIN, and another in 1984, being MELVIN, SON OF ALVIN, although both were not as profitable as the original. 

1975 was notable as a year in which several Australian sex comedies were released, but the impact of earlier productions was not obvious in their box office takings, which were disappointing. THE BOX (1975), directed by Paul Eddey, was a comedy about the goings-on at a fictional television station, and contained a subplot about the entanglements of an ambitious, promiscuous starlet. David Baker's THE GREAT MACARTHY (1975) had an attractive football player whose romantic rendezvous with three different women were charted in this brassy production. THE LOVE EPIDEMIC (1975), directed by Brian Trenchard-Smith, as with THE NAKED BUNYIP, had a documentary leaning, but this time concerned with venereal disease, with some comic asides, and plenty of sex and nudity. Terry Bourke's PLUGG (1975) was an abysmal sex comedy of a private detective on the trail of an elusive female escort, with others also hot on her trail. It was, unfortunately, the lesser of all the Australian sex comedies. In comparison, THE TRUE STORY OF ESKIMO NELL was also released in 1975 at the end of the Australian sex comedy cycle, and is the best of all the movies in the genre.

The movie does have that nonsensical approach to its narrative, and emphasis on sexual matters which marked entries such as ALVIN PURPLE, THE LOVE EPIDEMIC, PLUGG, THE NAKED BUNYIP and, to a lesser extent, THE GREAT MACARTHY. There are depictions of sex and nudity which also definitely earned the first three examples, as well as THE TRUE STORY OF ESKIMO NELL, their 'R' rating restricted certificates, making these films only accessible to adults in the cinema. THE TRUE STORY OF ESKIMO NELL, though, moved away from these in one main manner. While there was a small degree of pathos present in STORK and ALVIN PURPLE, in THE TRUE STORY OF ESKIMO NELL it beautifully infused the picture with its unique tone. Instead of sexuality being a means to an end in the movie, as it was, for example, in ALVIN PURPLE, with a male character sowing his oats, Dead Eye Dick in THE TRUE STORY OF ESKIMO NELL was searching for something of a more spiritual, otherworldly plane. It was not just about the sex here, but about the journey. He does save himself for someone, and something which was utterly contrary in reality to what it was in mythology, and this gave the film its sweet, sad, and emotional feel. In addition to this, there is another feature of THE TRUE STORY OF ESKIMO NELL which separates it from the others in the genre.

The other movies generally concentrated upon a single male character, following his life and, especially, various adventures and dalliances with women. This was a key tenet of STORK, ALVIN PURPLE, THE GREAT MACARTHY, and PLUGG. With THE TRUE STORY OF ESKIMO NELL, it moves away from this single character structure. There are contrasts drawn between the two male characters, being Dead Eye Dick, and Mexico Pete in THE TRUE STORY OF ESKIMO NELL. The former is the unconfident male protagonist, uncomfortable around women, the latter his polar opposite, who had a definite way with the ladies. The path to which Dick and Pete become best friends is one of the most charming aspects of the film. Women notwithstanding, their friendship deepens, and here this male-male friendship blossoms, and finds its zenith at the conclusion of the picture. In effect, THE TRUE STORY OF ESKIMO NELL is a bromance film, moving away from just being about men and their sexual desires, to something more substantial. A great movie with a definite raison d'etre, THE TRUE STORY OF ESKIMO NELL is not only entertaining but also, offers food for thought about male-male friendships, and humanity itself.

Overview: Richard Franklin was an Australian director who made eleven films between 1975 and 2003. Over this twenty-eight-year period he tackled genres such as comedy, sex comedy, horror, and action. His second movie, the softcore FANTASM (1976) was an anthology picture dealing with female sexual desire, presenting these in a no holds barred fashion, with many American pornographic models acting in these segments. It was strung together with a faux psychiatrist introducing these, but the film itself was a success at the Australian box office. Next came horror film PATRICK (1978), a definite change of pace for the director. A murderous comatose patient causes no end of grief in a hospital in a bid to keep his private nurse with him. More horror was on view in ROADGAMES (1981). A truck driver begins to believe that a man is murdering young hitchhikers, enlisting the assistance of a young woman to find the killer. In 1983 one of his best-known films was released, being PSYCHO II (1983). The continuation of the story of creepy Norman Bates, proprietor of the Bates Motel, it was one of Mr Franklin's most commercially successful movies, grossing a healthy profit. Another horror film, LINK (1986), had a zoology student becoming involved in experiments with chimpanzees, the animals turning against her in a dramatic manner. 

More American films followed for Richard Franklin. Action was the main attraction in F/X2 (1991). A special effects man becomes involved in intrigue and murder, specifically to find a killer in this action movie. Richard Franklin returned to more character-driven material with HOTEL SORRENTO (1995). In this picture, a woman returns to her hometown, and after enjoying the success of her novel, this causes problems as the fiction in this case may be based more in fact than first meets the eye. Mr Franklin's penultimate film was BRILLIANT LIES (1996). Sexual harassment was the focus here, with a woman taking her former employer to court for goading her to have sex with him. Richard Franklin's final cinematic outing, VISITORS (2003), was another foray into horror for the director. This film looked at a young woman who sailed on her own around the world, and charted her crumbling mental state. THE TRUE STORY OF ESKIMO NELL marked Richard Franklin's film debut, and was one of his most original works.

With THE TRUE STORY OF ESKIMO NELL, Richard Franklin has made a striking motion picture which rings true in every way. Taking the story of an unlikely friendship between two very contrasting men, Dead Eye Dick and Mexico Pete, the film depicts their bond, from Mexico Pete's initial misgivings about Dick, their developing camaraderie, to events which cement their union. It is a movie which slowly unravels in an entertaining, but also, heartfelt style, making one care about the characters, and what happens to them. The film, admittedly, does have a preoccupation with sexual matters, but these come from the characters, and are not forced. The sexuality, nudity, and language are surface aspects which give way to deeper ponderings, and explorations of male-female, and male-male relationships. It may seem to be a film that is light on first impression, but this is dispelled when it is looked at in more detail.

The movie does posit overwhelming support for male-male friendships within its context, and how women sometimes can be expendable in this respect. To maintain balance the film, though, does contain a scene where Dick and prostitute Ellie do relate on a more profound emotional level as a man and a woman. The variety of elements in the film, though, makes one definite statement about THE TRUE STORY OF ESKIMO NELL. Although the movie is at heart a western with comedy asides, it does have a little of everything, but never becomes overloaded. Comedy, drama, male wish fulfilment, fantasy, tragedy, for example, all receive an airing in THE TRUE STORY OF ESKIMO NELL. Richard Franklin succeeds in keeping everything on an even keel, and when one thinks the movie will go overboard, he pulls back, surprising the audience in the process. One of the most imaginative Australian movies ever, THE TRUE STORY OF ESKIMO NELL deserves a higher critical reception than what it has previously received, and for its director.

Acting: THE TRUE STORY OF ESKIMO NELL benefits from its two main performances, and two supporting contributions. In the lead role of Dead Eye Dick, Max Gillies is excellent. An actor renowned for his impersonations of various real-life figures, here he makes his character not only humorous but also sympathetic, warm, and thoroughly relatable. As his best friend, and cohort Mexico Pete, Serge Lazareff also does a fantastic job. With his likable swagger and way with slang, he and Max Gillies have a chemistry that makes the movie a convincing experience, despite its many raunchy passages. Graham Bond as Bogger, Pete's friend, lends his considerable liveliness to a small part which, nevertheless, adds spice to the movie. The final acting of note was by Elli Maclure as Ellie, a prostitute with whom Dick has a revealing heart to heart talk. An actress who has played in several movies, more on television, here provides an insightful, candid performance which gives another view of femininity which is in contrast to the film's concentration on female nudity.

Soundtrack: Brian May's music for THE TRUE STORY OF ESKIMO NELL ticks all the boxes in terms of the feelings the movie encompasses. Happiness, sadness, pathos, slapstick, hilarity, and many other states, are all expertly evinced by Mr May in his work, immeasurably assisting the movie.

Mise-en-scene: Several personnel have made notable contributions in making THE TRUE STORY OF ESKIMO NELL persuasive onscreen for viewers. Colour cinematography by Vincent Monton is beautiful, capturing hues in a lavish, yet agreeable manner. One of the best uses of colour is the scene where Dick rescues Nell, reminiscent of the ice floe sequence of WAY DOWN EAST. Art direction by Josephine Ford and Ray Wilkinson creates a wild west which convinces not only visually in its detail but also, has an endearing nature of familiarity in its tone. Costuming by Aphrodite Kondos captures the personalities of all characters to a tee, from Dead Eye Dick to Mexico Pete, Bogger to Eskimo Nell herself. 

Notable Acting Performances: Max Gillies, Serge Lazareff, Graham Bond, Elli Maclure.

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

Overall Grade: A

Link: IMDB Page

Trailer

RIVERRUN (1968)

Title: RIVERRUN

Year of Release: 1968

Director: John Korty

Genre: Drama

Synopsis: A young couple who live on a farm in San Marino County, California, receive a visit from her seafaring father, which causes issues in their relationship. 

Within a film history context: Several movies over the years have explored the relationship between a son-in-law, and his father-in-law in close detail. One of the earliest was Alfred Hitchcock's silent THE MANXMAN (1929). In this film, a pub owner objects to the man who wants to marry his daughter on account of being a poor fisherman, which sets in chain a series of events. With THE IDLE RICH (1929), directed by William C. de Mille, a son-in-law tries to help not only his father-in-law but also, other members of the family in a monetary sense, but his good intentions run them up the wrong way, until something changes everything. In Lewis Milestone's MY LIFE WITH CAROLINE (1941), a father-in-law maintains a good relationship with his son-in-law, but nevertheless, supports his daughter in her amorous pursuits, who as a habit of falling in, and out of love. MARRY THE BOSS'S DAUGHTER (1941), directed by Thornton Freeland, has a son-in-law in love with the boss's daughter, who supports him no matter how her father treats him, which includes retrenching him at one point.

Into the 1950s, Lloyd Bacon's KILL THE UMPIRE (1951) was different in tone. A man who dislikes umpires, being a former baseball player, is coerced by his father in law in taking a course in umpiring to support his wife and family. GOING STEADY (1958), directed by Fred Sears, had a father-in-law initially refusing to accept his son-in-law, but the fact of his daughter's pregnancy, among other things, eventually alters his feelings on the subject. Blake Edwards' pungent DAYS OF WINE AND ROSES (1962), had a tenuous father-in-law/son-in-law connection. A father views the man who wants to marry his daughter with disdain, and is proven correct when he leads her into a life of alcoholism, but they later find common ground. RIVERRUN is a movie where the father-in-law/son-in-law relationship was clearly delineated throughout the movie.

Unlike the other films where the father-in-law/son-in-law connection was a small part of the narrative, in RIVERRUN it is one of the major arcs within the picture. It works in conjunction with the daughter/father, young man/young woman dynamics, and draws comparisons between these unions. These relationships in RIVERRUN are of a more complex nature than previous entries, which were in many instances geared toward comedy, and more traditional views of these three relationships. In films such as THE MANXMAN, there is a concern on the part of the father for his daughter marrying a fisherman, with paternal economic considerations obvious. The father here is in a position of power over the son-in-law, likewise with THE IDLE RICH, MARRY THE BOSS'S DAUGHTER, and KILL THE UMPIRE. This, though, is where RIVERRUN diverts from these movies.

RIVERRUN has more in common with films such as GOING STEADY, and DAYS OF WINE AND ROSES, where the father is trying to protect his daughter from a man he considers inappropriate for his offspring. It is not about money in these cases, but a concern with the psychological traits of the respective son-in-law, and the prospective harm he might cause the daughter. RIVERRUN highlights  Dan's pacifist ideals, and reluctance to enlist for Vietnam, which cause friction between him, and his father-in-law. Aside from this, RIVERRUN has a plot point which places it in complete contrast with all the other films. While all the movies had a married couple, in RIVERRUN, Dan and Sarah are not married, but, by all appearances, are akin to a legally recognized union. Once Jeffries discovers this, matters take another turn for him in the movie, railing against this knowledge, and Dan. 

The movie does not paint Jeffries as an all-out villain, but someone who cares for his daughter, and believes in the institution of marriage. RIVERRUN, though, also depicts Jeffries as a man who wants his daughter to be married, but did not carry through on his own marriage to Sarah's mother. This provides the film a note of reality, and complexity in its characters' thoughts and actions. What this presents is Jeffries as an example of a person in the mould of 'do as I say not as I do', which does occur in real life. These examples point to something about RIVERRUN. A picture with a more intricate view of interpersonal relationships, particularly the father-in-law/son-in-law connection, RIVERRUN offers an impressive account in this arena. 

Overview: John Korty was an American director with seven motion pictures to his credit, being more active on television, with twenty-eight telemovies bearing his name. His works followed the intimate lives of characters, displaying sympathy for them, and their milieu. Mr Korty's first movie, THE CRAZY-QUILT (1966), was about a couple, charting their marriage, foibles, and charming idiosyncrasies. Next came FUNNYMAN (1967), with the life of a comedian coming under the microscope in this comedy-drama. SILENCE (1974) was a change of pace, a family drama about a deaf-mute young boy adopted by a couple. The boy becomes lost in the woods, and befriends a man from whom he learns about survival in the elements. 

ALEX & THE GYPSY (1976) focused on a bond bailsman, and his burgeoning relationship with a young woman in trouble with the law, accused of murder. In 1979 John Korty directed OLIVER'S STORY, the sequel to 1970's blockbuster romance LOVE STORY. Unlike the original movie, OLIVER'S STORY was unsuccessful at the box office, even though it continued the life of its protagonist, with Ryan O'Neal reprising his role in the sequel. John Korty's last picture, TWICE UPON A TIME (1983), was an animated feature about an arch-villain trying to make everyone's life miserable, making them see nightmares instead of pleasant dreams, but some good souls soothe everything in the end. RIVERRUN was John Korty's third feature film, and one of his best.

With RIVERRUN, John Korty has crafted an entrancing, compelling motion picture. As with many of his films, it documents the lives of characters who are not far removed from reality, and could exist in all actuality. Mr Korty's output was geared toward down-to-earth characters, and stories, and this is something that makes RIVERRUN so irresistible. It is a movie for people who are seeking emotionally enriching fare without exaggeration, or overtly larger than life material. In RIVERRUN, John Korty does not play around with the film, and the events that shape its characters. He has a tight concentration upon the three main characters in the film, and this is to its advantage. There are no extraneous scenes, or characters, to weigh it down, which would have taken away from the central trio. The finely-drawn characters are representative of the director's attention to detail in RIVERRUN.

The movie is about a young couple, Dan and Sarah, who are living and working on a farm in San Marino County, California. They previously lived and studied in Berkeley, California, and unhappy with what was going on there in the late 1960s. They seek a simpler, quieter existence on their farm. Their lives are changed when her seafaring father makes a visit to the farm. While this scenario may sound conventional to the casual eye, Mr Korty takes a leisurely approach to his story, and characters, which works in a naturalistic manner. One witnesses events build slowly but surely, and sides to characters are revealed without heavy melodrama. RIVERRUN also ensures that viewers are aware of the back story affecting characters, this informing events taking place in the present. This is undertaken by the director peppering the story with flashbacks, these functioning in an informative way. The movie, in effect, is a refreshing slice of life which rewards spectators for their patience. A beautiful movie that has unfortunately been little-seen over the years, RIVERRUN deserves re-release, and critical reappraisal as one of John Korty's best movies.

Acting: RIVERRUN has a trio of performances which assist it to be the great film it is. There is a tangible chemistry between the performers which makes the movie a convincing viewing experience. In the role of Dan, Sarah's partner, Mark Jenkins delivers a carefully-executed performance as the quiet, thoughtful young man with a firm set of ideals. His facial expressions and body language say so much without the need for dialogue in many instances. As Sarah, Dan's partner, Louise Ober radiates charm as a young woman, like Dan, who is seeking something else in life. An actress for whom this was her sole film role, Miss Ober passed away far too young, robbing cinema of further subtle acting interpretations. The thorn in the side of both Dan and Sarah is Sarah's father Jeffries, played with vigor by John McLiam. With his mixture of jauntiness, anger, disillusionment, and jolliness, Mr McLiam brings a quality of tragedy to his part which gives the movie punch. 

Soundtrack: RIVERRUN takes a spare approach to its selection of music which does wonders for the movie. Brahms' 'Clarinet Quintet in B Minor' by David Oppenheim and the Budapest String Quartet, is utilized in an excellent manner during the birth scene, heightening the drama of this major event in the film, but without overshadowing what is taking place onscreen. Other music by Richard Greene and Peter Berg, such as the short harmonica piece at the beginning, and the fiddle tunes played throughout the picture, exude a rustic charm and atmosphere which only adds veracity to the visuals.

Mise-en-scene: RIVERRUN has a sheer authenticity with everything that appears in front of the camera. It could be said that location shooting is another star of the movie, with riverways, the farm exteriors, and other locations evoking immediacy and realism. There is the feeling that the viewer is there with the actors, in on the action.  This extends to other locales in the movie. The interior of Dan and Sarah's home is warm and inviting, reflecting the people living there, with an assortment of furniture pieces, and accessories, nicely appointed. The impression is that Dan and Sarah are looking to create their slice of paradise here in their unpretentious manner, and it is a set that works very well in the movie to express this.

Notable Acting Performances: Mark Jenkins, Louise Ober, John McLiam.

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

Overall Grade: A

Link: IMDB Page

A JURY OF HER PEERS (1980)

Title: A JURY OF HER PEERS

Year of Release: 1980

Director: Sally Heckel

Genre: Drama, Crime

Synopsis: In early 1900s rural America, a woman is accused of killing her husband, but there is more to this than is first evident.

Within a film history context: Films about wives who kill their husbands have been featured throughout cinema history. Billy Wilder's DOUBLE INDEMNITY (1944) was about a sultry woman who invokes a shady insurance salesman to kill her husband, to pocket the insurance payout, but things do not go exactly to plan for either party in this compelling film noir. REPEAT PERFORMANCE (1947), directed by Alfred Werker, is an intricate movie with a young woman believing that she killed her husband, but she may, or may not have been the person who pulled the trigger. Dudley Nichols' MOURNING BECOMES ELECTRA (1947) presented a complicated set of interpersonal relationships within its framework. A man returns home from the Civil War to his wife and daughter, but the wife does not want her husband anymore, and plots to kill him with her lover, being her daughter's former paramour. With BLOWING WILD (1953), directed by Hugo Fregonese, a woman kills her husband to reignite her passion for a former lover, but she pays the ultimate price for her criminality in this action-adventure set in South America. Ken Hughes' HEAT WAVE (1954) was yet another film with a scheming wife causing waves. Set in Britain, a woman wants out of her marriage, and tries to convince a man to kill her husband, but when this fails, does the deed herself. 

ILLEGAL (1955), directed by Lewis Allen, featured a woman who kills her husband in self-defense. While the district attorney makes it appear that she murdered her spouse, the truth eventually comes to light. Franklin Adreon's TERROR AT MIDNIGHT (1956), again had a wife with murder on her mind. When a woman suspects her husband is having an affair she runs him over, and an innocent woman is suspected of the crime. This chain of events results in the wife's own death, the innocent woman once more implicated, but later found clear of all charges. Into the 1970s, anthology film TALES FROM THE CRYPT (1972), directed by Freddie Francis, featured the story of a woman who kills her husband on Christmas Eve, trying to accuse a madman of the crime, but receives her just desserts from this psychopath. Robert Altman's IMAGES (1972) was about a woman who may or may not be committing murders, unable to distinguish between truth and fiction, but actually kills her husband for real. THE VAULT OF HORROR (1973), directed by Roy Ward Baker, was another anthology film which had a wife kill the husband. In this instance, a woman whose obsessive-compulsive husband drives her mad with his constant insults about her homemaking skills murders her spouse, and keeps a grisly reminder of him. Brian G. Hutton's NIGHT WATCH (1973) had Elizabeth Taylor as a woman with mental issues who may have killed her first husband, her second spouse possibly heading in the same direction. A JURY OF HER PEERS was one of the best movies about a woman killing her spouse, albeit the shortest in length.

While many of the above movies featured a wife who sought to dispatch her husband, and were thrillers in essence, such as DOUBLE INDEMNITY, REPEAT PERFORMANCE, HEAT WAVE, and TERROR AT MIDNIGHT, to name just a few, A JURY OF HER PEERS was of a lower-key, more intimate, more psychologically-realistic vein. It was not just a matter of a woman wanting to kill her husband for money, or to pair up with another man in A JURY OF HER PEERS. The movie, in its spare, riveting manner, makes the case for a woman who was abused not only mentally but also, physically, and makes the decision to kill her husband to provide herself peace from torment. This is mainly achieved via dialogue and inferences peppered throughout the film, which convey meaning without being heavy-handed. Other features of A JURY OF HER PEERS are also notable when looking at the film compared to others in the genre. 

The male characters in A JURY OF HER PEERS are largely sexist, and unsympathetic in the view of the long-suffering wife. There is the statement made that she is not a good housekeeper by one of them, which casts an aspersion that if a woman is not good at household duties, she is not worthy of being a woman. This is something that the other movies never touched upon in a significant manner, although the segment in THE VAULT OF HORROR is an exception. In addition to this, the male characters in one sequence of A JURY OF HER PEERS slight the intelligence of the female characters in front of them which is also eye-opening. This is then blown apart by the movie in how the two female characters conceal evidence, effectively rendering the male characters as naïve and insensitive. Women were seen as existing only for housekeeping or raising the family in the 1900s setting, but the movie makes the assertion that there is much more to womanhood, motherhood, feeling, and being, than first meets the eye. The best of the movies dealing with a wife killing her spouse, A JURY OF HER PEERS is an excellent picture.

Overview: Sally Heckel is an American director who has made two short films, THE BENT TREE, A JURY OF HER PEERS, and one full-length documentary, UNSPEAKABLE, over the space of twenty-eight years. In light of this, the overview will concentrate wholly upon Miss Heckel's contribution to A JURY OF HER PEERS. With A JURY OF HER PEERS, Sally Heckel has crafted a movie which makes an indelible, haunting mark upon the viewer. The story of a woman who has killed her husband, and viewed with disdain by the police officers in charge of the case, but seen with sympathy by two women, is one of the most tightly-directed, thoughtful films ever made, either short or feature length. Sally Heckel does this by creating an engrossing narrative world from which the viewer cannot look away.

Sally Heckel dives the spectator into the story, introducing the viewer to Minnie Burke, a woman suspected of killing her husband. One can discern that Minnie is not a conventional unrepentant murderess from her actions; head bowed, low voice, in her own world when the police arrive. Once Mrs Burke has been taken into custody, two women, the wife of the man who discovered the murder, Mrs Hale, and Mrs Peters, wife of the sheriff, are assigned to bring Mrs Burke some personal effects, and here the best part of the story occurs. They examine matters from a woman's perspective, something the men in the story fail to communicate. The male characters do not elicit any understanding for Mrs Burke's plight, instead talking about her lack of housekeeping skills. 

Mrs Hale and Mrs Peters serve as representatives for Mrs Burke, enunciating the tragedy of her life from a female outlook, something the men fail to undertake. Sally Heckel takes all sides of the story, being male versus female, law versus justice, and makes every position clear to the audience. She allows the viewer to take from this situation and, in effect, be the jury for what has taken place. The beauty of A JURY OF HER PEERS is in how it says so much in so little time, but the reflection it incurs in the viewer is what gives it an unbeatable edge. One of the best short films ever made, and a credit to its director, A JURY OF HER PEERS is an unforgettable, absorbing movie experience.

Acting: A JURY OF HER PEERS has a small cast, regardless, Sally Heckel is able to extract the maximum from her performers. In the tiny role of Minnie Burke, the woman accused of killing her husband, Sheila Hinchliffe makes a strong impression with her low voice, careful body language and movements. Miss Hinchliffe shows that Mrs Burke was anything but a stereotypical murderess, and that there is more to her story than on first appearances. As Mrs Hale and Mrs Peters, the two women assigned to assist police in gathering items for the jailed Mrs Burke, Diane de Lorian and Dorothy Lancaster create fully-fleshed, three-dimensional people for the audience. In the space of less than half an hour they both paint a vivid picture of womanhood that comes alive, and is utterly entrancing to witness.

Soundtrack: The movie has a very lean soundtrack mainly consisting of a Hymn sung by the Old First choir. This is played during the opening title sequence, and the closing credits. It lends an impeccable aura of the early 1900s to the movie, and an eerie commentary of the sad life of its main character Minnie Burke.

Mise-en-scene: The visual experience of A JURY OF HER PEERS is one of its greatest achievements as a film. Cinematography by Janet Meyers has a careful color palette, particularly capturing darker colours such as green, brown and black, thereby expressing the life of its protagonist in a metaphoric manner. Production design by Jeanne McDonnell is most evident in the Burke home, especially the kitchen area, which is stunning in its realism and attention to detail. Costuming by Louise Martinez effectively posits socio-economic differences between the two lead characters, Mrs Hale and Mrs Peters in terms of dress. While Mrs Peters wears elaborate attire, with elegant hat and coat, Mrs Hale's is more subdued in nature, befitting her more practical disposition.

Notable Acting Performances: Sheila Hinchliffe, Dorothy Lancaster, Diane de Lorian.

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

Overall Grade: A

Link: IMDB Page

THE LORDS OF DISCIPLINE (1983)

Title: THE LORDS OF DISCIPLINE

Year of Release: 1983

Director: Franc Roddam

Genre: Drama, Suspense

Synopsis: A senior cadet at a Carolina military school encounters hazing by fellow students designed to weed out undesirable candidates; disgusted by this, he tries to stop these incidents from happening.

Within a film history context: While hazing has been the subject of quite a few movies over the years, particularly with reference to its occurrence in universities, hazing taking place in military academies has been less frequent onscreen. The first notable example was John Ford's SALUTE (1929), in this story of two brothers in a military academy. Featuring a single incident of hazing which is more comical than serious in intent, it did not delve as such into this in a deep manner, more concerned overall with the romantic aspects of the story. NAVY BLUE AND GOLD (1937), directed by Sam Wood, featured a scene where a student at a naval academy is subjected to off-screen hazing by a smarmy upperclassman. Alfred Green's THE DUKE OF WEST POINT (1938) was about a haughty young man from England who enrols in the West Point military academy, and is ignored by the other cadets when he violates the academy's honor code. NAVAL ACADEMY (1941), directed by Erle C. Kenton, was set in a military reform school. There is a scene where one of the students is subjected to hazing by several upperclassmen, falling into a swimming pool with his hands tied, and eyes covered, but is saved by a fellow student. One of the most incisive depictions of hazing could be found in Jack Garfein's THE STRANGE ONE (1957). In a Southern military college, a charismatic but sadistic young Cadet dominates his fellow students with deceptive and bullying tactics, but is undone by his deplorable behavior. A dark movie which boasted excellent acting, particularly by Ben Gazzara in the lead, and George Peppard, Pat Hingle, and Peter Mark Richman in support, it was a challenging, but rewarding movie experience. THE LORDS OF DISCIPLINE was akin to the films mentioned above, but added its own distinctive flourishes to the topic of hazing in military academies.

THE LORDS OF DISCIPLINE is closest to THE STRANGE ONE in terms of its uncompromising treatment of hazing within the narrative. Both examine the emotionally devastating effects of hazing on its victims, highlighting those who disagree with it, finding it morally objectionable. Both of these movies are more explicit in depicting the hazing incidents, particularly THE LORDS OF DISCIPLINE, which is something the earlier movies such as NAVY BLUE AND GOLD could only refer to verbally, but not show onscreen due to the censorship of their day. THE LORDS OF DISCIPLINE differed from THE STRANGE ONE in that the hazing did not have overt homosexual overtones, but was more along the lines of power and racism. Where both movies did coincide is that the perpetrators of the hazing are brought to account, which gives the audiences of THE LORDS OF DISCIPLINE and THE STRANGE ONE a comforting notion of justice being rightly served. There are some other variations between THE LORDS OF DISCIPLINE and the earlier movies which deserve mention.

Where THE STRANGE ONE has a number of characters who rail against the hazing, and put a stop to it eventually, in THE LORDS OF DISCIPLINE this weight is carried by one character. THE STRANGE ONE has Jocko dominating the other students physically and psychologically, while in THE LORDS OF DISCIPLINE it is a group of students, named The Ten, who carry out the hazing. The Ten are more of a faceless entity in the movie, their uncovering a suspenseful part of the film, but Jocko is anything but hidden. In addition, THE LORDS OF DISCIPLINE, as such, did not have the romantic subplots or feel that permeated earlier examples such as SALUTE and NAVY BLUE AND GOLD. While there was the presence of girlfriends of the military academy students in the film, by and large this thread took a backseat to the dominant hazing storyline in THE LORDS OF DISCIPLINE. This was something that THE STRANGE ONE also shared with Jocko and his fleeting romantic pursuit. One of the most trenchant films about hazing in military academies, or in any setting ever produced, THE LORDS OF DISCIPLINE is a compelling movie.

Overview: Franc Roddam is a British director who has made six films over his career, with one movie segment in an anthology motion picture. His first film, QUADROPHENIA (1979) was a portrait of a young man in 1960s London, clashing with his parents, becoming involved with drugs, and generally indulging in anti-social behavior. THE BRIDE (1985) was a horror movie about a group of scientists who create what they believe is the ideal woman, but with a number of unexpected repercussions. Franc Roddam directed a segment in ARIA (1987) entitled "Liebestod", which followed the escapades of two ill-fated lovers, starring Bridget Fonda and James Mathers. WAR PARTY (1988) was a drama concerning the recreation of a century-old battle between the US Cavalry and Native Americans, which causes contemporary problems for its participants. Mr Roddam's last film to date, K2 (1991), detailed the adventures of two men, based upon a true story, who aimed to climb the K2 mountain in Pakistan. THE LORDS OF DISCIPLINE was Franc Roddam's second motion picture, and one of his best.

With THE LORDS OF DISCIPLINE, Franc Roddam has made a carefully-constructed, crisp film which is a winner. Based upon the novel by Pat Conroy about life in a 1960s Carolina military academy, specifically following hazing incidents taking place among its students, it is an engrossing, thoughtful movie that keeps the attention from beginning to end. The atmosphere is well-managed, maintaining a balance between light but also, more serious moments. The movie also lacks a melodramatic nature, preferring for a more naturalistic, easy-going approach. While THE LORDS OF DISCIPLINE is at heart a somber work, it never becomes depressing or maudlin, despite its subject matter. It makes its points succinctly, without ever becoming morose, or violent in showing hazing. It does not exploit its subject matter for cheap visual thrills, something which is to be commended. THE LORDS OF DISCIPLINE thus does not wallow in depravity, something a lesser filmmaker would readily consider. Further features of the movie are also worthy of discussion.

While it could be argued that the lack of a distaff side does not allow for other points of view in the movie, this does not matter overall. THE LORDS OF DISCIPLINE is tightly-made, and stays consistent to its storyline, never making needless deviations. Aside from its examination of hazing, THE LORDS OF DISCIPLINE is also a character study, with Will at its center. Although The Ten are brought to justice, one does not experience the fallout from this, but how this entire episode marked Will's life. The movie could have spotlighted the frenzied reactions of those in The Ten to being caught, but it shies away from this. It does not as such present the story as one with revenge elements, as Will was the movie's epitome of truth and honor, which would not have been suitable given this. THE LORDS OF DISCIPLINE handles matters in a more subtle manner, keeping the ambience on an even, more nuanced keel. A movie that has unfortunately been vastly underrated over the years, THE LORDS OF DISCIPLINE is one of the best films of the 1980s, and a great example of Franc Roddam's cinematic artistry.

Acting: THE LORDS OF DISCIPLINE offers many great performances which bolster the movie. In the lead role of Will McLean, David Keith is excellent. As the upright Will, who encounters many obstacles along the way in his search for the truth, Mr Keith is entirely convincing. An actor with an air of both integrity and a generous nature, the personable Mr Keith is the cornerstone of the movie. Rick Rossovich, as Dante, Will's friend and roommate at the academy, brings a sense of both the comic, and dramatic to his part. Watching Mr Rossovich verbally and physically thrashing his roommates is great fun, then his reaction to being accused of a crime, deftly expresses both comedy, and pathos, exceptionally well. In his movie debut as Tradd, Will's roommate and best friend, Mitchell Lichtenstein brings another complicated character to the screen. An actor with a veneer of quiet calm and comforting voice that distinguishes protagonists more intricate than first meet the eye, he does exceedingly well as the smooth, charming Tradd. Malcolm Danare, as Poteete, is striking as the tragic academy student who makes an irreversible decision. With his unique voice and acting style, Mr Danare makes Poteete a riveting figure it would have been great to have seen more of in the movie. There are four other contributions in the acting department that make THE LORDS OF DISCIPLINE a fine film.

As the oily and scheming John, Will's nemesis, and the movie's central villain, Michael Biehn is an effective figure of malice and devil-doing in THE LORDS OF DISCIPLINE. With his subtle body language, careful movements, and magnetic stare, Mr Biehn is excellent as the methodical, evil John. In a small role as Abigail St. Croix, mother of Tradd, Barbara Babcock makes the most of her cameo as the relaxed Abigail. It is entertaining watching the married Abigail trade quips with Will, and make friendly advances toward him. G.D. Spradlin, as General Bentley Durrell, kingpin of the military academy, is fine as the officious General with more than one skeleton in his closet. Seeing him swallow his pride in the final scenes is one of the film's highlights. The final acting of note was by Robert Prosky as Bear. With his cigar-chomping and grizzled demeanour, Mr Prosky adds both humor, and authority to THE LORDS OF DISCIPLINE with the seen-it-all Bear.

Soundtrack: THE LORDS OF DISCIPLINE has a rousing theme which is utilized both during the opening credits sequence, and closing credits. The latter version is a sprightlier version of the one during the opening credits, reflecting the change in tone from the start, and end of the movie. The film also contains musical accompaniment throughout its run, ranging from the intimate scenes of character revelations, to the sequences of hazing with startling graphics.

Mise-en-scene: THE LORDS OF DISCIPLINE has meticulous attention to mise-en-scene. The scenes at the military academy, both indoors and exteriors, the family home of Tradd St. Croix, the diner, the Ten's meeting place, to name several examples, are all well selected, and impart valuable information which support the story and its characters. Costuming is also of a high standard, with uniforms, and attire worn when the students are in civilian mode, all reflecting the movie's 1960s setting. Cinematography by Brian Tufano is also beautiful, the colour just right without being too bright, and in keeping with the film's thoughtful nature. Both daytime, and nighttime filming is also impressive, the viewer being able to see the action clearly during both parts of the day.

Notable Acting Performances: David Keith, Rick Rossovich, Mitchell Lichtenstein, Malcolm Danare, Michael Biehn, Barbara Babcock, G.D. Spradlin, Robert Prosky.

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

Overall Grade: A

Link: IMDB Page

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