BUS RILEY'S BACK IN TOWN (1965)

Title: BUS RILEY'S BACK IN TOWN

Year of Release: 1965

Director: Harvey Hart

Genre: Drama, Romance

Synopsis: Bus Riley returns home from the Navy to his family, and finds things for him have changed on many fronts.

Within a film history context: While there are plenty of films dealing with U.S. Marines, or Navy sailors during the wars, there are less movies on the topic of them returning to civilian life after participating in the service. One of the first was John Ford's THE BLUE EAGLE (1926). In this movie, two friends in the Navy return to their home after completing their stint in the Navy. As civilians they compete for the love of a young woman, which is settled via a boxing match between the two men, and they become involved in other activities. Another film about life away from the Marines, but in a lighter vein, was HAPPY-GO-LUCKY (1936), directed by Aubrey Scotto. A woman sees a man in a nightclub who resembles her Marine husband, believed dead, this leading to much intrigue. Mystery and suspense dominate Anthony Mann's STRANGERS IN THE NIGHT (1944). An American Marine who has been discharged due to injuries suffered in World War II seeks to meet the woman who sent him a book, and wrote to him when in hospital, but finds danger and dirty deeds awaiting him upon his return home to the United States. A light touch was evident in the comical SNAFU (1945), directed by Jack Moss. An irreverent take on returning Marines, it is about a teenager who signs up for the Marine Corps, and sent to battle. Once it is realized by his parents where he has been, and what he has done, he is sent home, but finds difficulties in assimilating back to his old life. 

PRIDE OF THE MARINES (1945), directed by Delmer Daves, was the real-life story of Marine Al Schmid, who returned a hero from fighting overseas during World War II. The film covered his recovery from not only his physical wounds, but also, his psychological scars, and, his marriage to his wife. In a similar, but more romantic slant, was Charles Martin's NO LEAVE, NO LOVE (1946). As with PRIDE OF THE MARINES, a young Marine returns home a hero, but in this film, he becomes involved with a radio singer, and subsequently in both musical, and comic interludes. Suspense ruled STEP BY STEP (1946), directed by Phil Rosen. A returned Marine falls into a web of lies, mystery, and murder, with Lawrence Tierney in a sympathetic part playing against type from his usual role as the heavy. Another biography of a Marine was presented in Francis D. Lyon's CRAZYLEGS (1953). The story of sports star Elroy Hirsch, it mainly followed his sporting achievements rather than his military service. Another biographical account of a real-life figure was THE OUTSIDER (1961), directed by Delbert Mann. The story of Native American Marine Ira Hayes was dramatized with Tony Curtis in the lead role. The movie charted Mr Hayes' triumph upon returning home, to his eventual decline through alcohol abuse. BUS RILEY'S BACK IN TOWN contained elements of other films featuring returned Marine and Navy soldiers, but diverted greatly in other areas.

In BUS RILEY'S BACK IN TOWN there is a focus on a returned Marine protagonist, essentially a character study, something shared by entries such as STRANGERS IN THE NIGHT, SNAFU, PRIDE OF THE MARINES, CRAZYLEGS, and THE OUTSIDER. Where BUS RILEY'S BACK IN TOWN moves away from these is in the depiction of its lead character. Compared with the above films, which largely dealt with the psychological repercussions of being in the Navy, or in the Marine Corps, Bus in BUS RILEY'S BACK IN TOWN is remarkably well-adjusted. While he has his moments, he does not fall apart, but reacts to life's ups and downs in a more muted manner. He does not become involved in intrigue or danger, but has enough issues with finding himself as a person upon his return to life as a civilian. There is no trumped-up peril for him, only the challenge of everyday life knocking on his door. It is refreshing seeing Bus, for example, trying to avoid the advances of his ex-flame, who decides she wants him again, looking for employment, and, being a member of a family as the only male among three women. This gives BUS RILEY'S BACK IN TOWN a more relatable, naturalistic feel than the more suspense-oriented titles such as STRANGERS IN THE NIGHT and STEP BY STEP. For these reasons, BUS RILEY'S BACK IN TOWN distinguishes itself as one of the most true-to-life, agreeable views of a returned Marine in film.

Overview: Harvey Hart was a Canadian director who sometimes made films in Hollywood, but much of his output was produced in Canada. The director of eleven movies, they are notable for their bold presentation, and challenging subjects. Mr Hart's second film, DARK INTRUDER (1965) was the tale of a man with supernatural powers who is called upon the solve the murders of women in San Francisco.  Next came THE SWEET RIDE (1968) a drama about various bohemian characters surfing, and riding their way around life, with a young woman providing the spice. One of Mr Hart's most-remembered works was the controversial FORTUNE AND MEN'S EYES (1971). The screen adaptation of John Herbert's stage play about his personal experiences in jail, it was a challenging journey through homosexuality and brutality in jail, but with excellent performances from Wendell Burton, Danny Freedman, and David Zooey Hall seminal as the complex, compelling Rocky. The distinctive MAHONEY'S ESTATE (1972), in utter contrast, followed a young man who wanted his slice of happiness in a rundown home in the country, with Alexis Kanner fine in the lead. 

Harvey Hart's best film was the excellent, unsparing SHOOT (1976). With shades of DELIVERANCE and SOUTHERN COMFORT, it focused upon a confrontation between two sets of men across a lake, and how armed retribution, and retaliation in general, does not always bring a better set of circumstances for those involved. A change of pace was evident in the pleasant GOLDENROD (1976). The story of a rodeo champion, and his marital, and familial problems, was handled in an inspiring manner, with Tony Lo Bianco in the main role, and Gloria Carlin as his harried wife. Into the 1980s, 1983 brought UTILITIES, Harvey Hart's final film to the screen. In this comedy-romance, a social worker becomes fed up with the shenanigans of utility companies, taking these on, and along the way falls for a policewoman. While not up to the standard of Mr Hart's earlier works, it nevertheless had some insightful moments. BUS RILEY'S BACK IN TOWN was Harvey Hart's debut motion picture, and a notable film on various grounds.

With BUS RILEY'S BACK IN TOWN, Harvey Hart has successfully made a film which seamlessly combines drama, pathos, and comedy, in its overriding character study of eponymous lead character Bus Riley. Based upon a play by William Inge, it adroitly explores the life of a young returned Marine, specifically dealing with his family life, romantic pursuits, employment travails, and mission for acceptance back home. The movie portrays Bus' life with sincerity, without casting aspersions on either himself, or those with whom he comes into contact. BUS RILEY'S BACK IN TOWN thus sweeps the viewer along for the ride with its careful, non-judgmental approach, making sure that character actions are always understandable to the spectator. This character-driven leaning gives the movie a likability and drive which assists it all the more. In particular, the scenes of the loving Riley family have a realism about them which makes the characters, and what is taking place, believable. Unfortunately, there are some aspects of the film which let it down slightly.

While the relationship between Bus and his mother, his younger sister Gussie and himself, both stand out in the movie, the union of Bus and his other sister Paula is not as well-drawn. While there is some conflict between Paula and Bus that plays out during the movie, it pales in comparison to the full-blooded repartee between siblings Bus and Gussie. In addition, there is another segment of the movie that could have been fleshed out more than it was. The beautiful connection of Bus and Judy is given some time in the film, but not enough. There was a lot of soul-stirring to be found here which was a great contrast to the shenanigans of Laurel trying to sink her hooks into Bus. Laurel and Bus together was another great part of BUS RILEY'S BACK IN TOWN, but it would have been nice to have witnessed more of Bus and Judy's scenes, these having a magic feeling to them. All in all, though, some things can be said about the film, despite its deficiencies. BUS RILEY'S BACK IN TOWN is a well-constructed, and directed movie that is reflective of Harvey Hart's keen approach to his characters and storytelling, making it a thoughtful viewing experience.

Acting: BUS RILEY'S BACK IN TOWN has a cast who all deliver distinctive performances. As Bus Riley, Michael Parks is a dynamic performer. Utterly believable as a young man searching for his identity and moral place in the world, Mr Parks does a great job. Laurel, the young woman who loves to twist Bus around her little finger, is finely portrayed by Ann-Margret. An actress who is on fire when the material calls for her to exude passion, and vulnerability, she is wonderful as the vampy, but also, needy Laurel. The film's maternal figure is played by the beautiful Jocelyn Brando, as Bus' mother Mrs Riley, the movie's moral core, and its most centred character. Her wise and thoughtful personality is in sharp contrast to many of the film's female characters, who are variously self-absorbed, and self-deceiving. The movie's most delightful acting is by Kim Darby as Gussie, Bus' sister. An impish, self-confident performer who brings pleasure to the film, the appealing Miss Darby makes all her scenes count in both the dramatic, and comic moments. Unfortunately Mimsy Farmer, as Paula, Bus and Gussie's sister, is not shown as effectively as her onscreen siblings. While there is some friction present in Bus and Paula's interactions, the actress is not around long enough to fully play this out, which is a disappointment. There are, though, several other performances in BUS RILEY'S BACK IN TOWN which are worthy of mention.

As the sensitive Judy, Gussie's best friend, and Bus' true love, Janet Margolin is wonderful. An ethereal presence who graced several films and much television, Miss Margolin shines as the unlucky Judy. There are also a number of actors in BUS RILEY'S BACK IN TOWN with small roles which have impact. As Judy's mother Mrs Nichols, Nan Martin makes the most of her small but pithy role as the attractive, but inebriated woman who tries to come on to Bus. Unfortunately, Brett Somers, as schoolteacher Carlotta, is not given the opportunity to create a deeper character. While Carlotta is a nod to Rosalind Russell's schoolteacher in PICNIC, there is nowhere near the depth of that character in Carlotta, which is a shame. The refined Ethel Griffies, as Mrs. Spencer, mother of the undertaker from whom Bus seeks work, is commanding in a brief role that has credence. Brad Dexter's interpretation of the smooth-talking vacuum cleaner salesman Slocum is another unique performance in the movie. With his deep voice and confident persona, Mr Dexter is thoroughly convincing in his role. Larry Storch, as barman Howie, Bus' friend, is earthy and realistic, bringing out another side of Bus. Mr Storch nicely rounds out the great acting contributions in BUS RILEY'S BACK IN TOWN.

Soundtrack: Richard Markowitz' perceptive score adds immeasurably to the success of BUS RILEY'S BACK IN TOWN. Comical in the lighter moments and solemn in the more serious stretches, it is always measured without being overpowering. 

Mise-en-scene: BUS RILEY'S BACK IN TOWN has excellent production values which give the movie an air of sophistication. While the movie is predominately set-bound, the sets are appropriate to the action, adding authenticity. Some examples stand out in particular for their veracity. The Riley family house is homey and warm, especially the living room and kitchen where much of the movie takes place. In contrast, Laurel's home is splashy, with expensive accoutrements befitting the wife of a successful businessman. Costuming in BUS RILEY'S BACK IN TOWN is also of a high grade, with the outfits worn by players suitable to the characters, and their personalities. Special mention must be made of designer Jean Louis'  stylish creations for Ann-Margret, and Rosemary Odell's for the remaining actors. In a more technical vein, Russell Metty's colour cinematography is first-rate, bathing the movie in a beautiful glow, and making everything appear special.

Notable Acting Performances: Michael Parks, Ann-Margret, Jocelyn Brando, Kim Darby, Janet Margolin, Ethel Griffies, Brad Dexter, Larry Storch, Nan Martin.

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

Overall Grade: B

Link: IMDB Page

C.C. & COMPANY (1970)

Title: C.C & COMPANY

Year of Release: 1970

Director: Seymour Robbie

Genre: Action, Adventure, Comedy

Synopsis: C.C. Ryder is a motorcycle mechanic who becomes a member of a biker gang, but falls for a fashion journalist, this complicating his relationship with them, especially, the gang's leader.

Within a film history context: Films about motorcycle biker gangs were at their height during the 1960s, but there were several examples of these on screen in the 1950s. The first major film about bikers, THE WILD ONE (1953), directed by Laslo Benedek, starred Marlon Brando in one of his signature roles. In this movie, two motorcycle gangs go head to head, and when one of their leaders is placed in jail, taking out their anger on a small town. Interesting to note that this was made by a major Hollywood studio, and seminal at the time for its view of events. Later films were made by smaller studios, with lesser known actors and directors. In Edward L. Cahn's MOTORCYCLE GANG (1956) a biker rails against being part of a more legitimate motorcycle club, his actions causing trouble with the other members. In a similar exploitation vein, DRAGSTRIP RIOT (1958), directed by David Bradley, a young man and his girlfriend are thought to have killed a biker from a gang, the gang's other members seeking revenge, but the crime was committed by someone else. The mid to late 1960s brought forth a plethora of biker gang themed movies for film audiences.

Director Russ Meyer heralded a more violent brand of biker movie with MOTORPSYCHO! (1965). With this film, revenge was the order of the day, as a man whose wife was raped by bikers, and a woman whose husband was killed by the same bikers, unite to seek retaliation on this gang. In 1966, Roger Corman's THE WILD ANGELS was released. Starring Peter Fonda who would later appear as a biker in EASY RIDER (1969), it was about a San Pedro motorcycle gang causing trouble in California. Another notable entry was THE BORN LOSERS (1967). Both directed and starring Tom Laughlin, it followed a young man who takes on a motorcycle gang at their own game. It spawned four sequels over time, and was a major box-office success. Somewhat different in nature from previous films was Herschell Gordon Lewis' SHE-DEVILS ON WHEELS (1968). In this instance, a female motorcycle gang causes problems in a small town, par for the course for many films in the genre, and also, take on a male biker gang. 

With 1969 the most famous example of a biker movie exploded on screens, capturing huge audiences in its wake. EASY RIDER (1969), directed by Dennis Hopper, was about two bikers roaming the countryside on their motorcycles, but never finding real happiness along the way. While not part of a gang as such, it is of interest as the bikers were not out to cause problems, but found trouble from various individuals. This was in complete contrast to the previous entries where the bikers incited mayhem. The most poetic of all the biker movies, it is fondly remembered for its fashionable quirks and downbeat ending. C.C. & COMPANY both contained elements of the biker films, but also, had its own distinguishing characteristics.

While C.C. & COMPANY featured a motorcycle gang, in this film the gang consisted of both men and women, unlike the other films which had either all-male, or all-female members. A man was the leader, as was the case with many of the previous films, who lorded it over the other members. In comparison to the other movies, it had a much lighter tone, preferring to keep away from the heady violence which marked films such as THE WILD ANGELS. While there were some scuffles and antics, these were of a decidedly softer, more benign nature. C.C. & COMPANY was concerned with the competition between members through racing and the like rather than thoroughgoing violence. The spectacle of motorcycle riding was the main ambition of this movie, teamed with a rock soundtrack, as with EASY RIDER. The film, though, had nowhere near the same depth or tragic pull as EASY RIDER, preferring to treat narrative events on a superficial level. This has both negative, and positive consequences for C.C. & COMPANY.

One never finds out how, and why these people ended up in a motorcycle gang, as this is never revealed in the movie. Everyone has a story to tell, but, this has been neglected in the film. The assortment of wacky characters could have been teased out more, which would have added to viewing pleasure. Ann-Margret's character is the only one who seems to have a back story, but even this is not fleshed out. Other questions are also posed when watching the film. How does the gang make money? It may be through some illegal means, but this information is kept from the audience. It does not appear to be drug-based, as there are no references to, or scenes of substance abuse. What this points to is that C.C. & COMPANY has no aspirations to be deep in any way. It looks good as a movie, has great music and locations, and, has a ribald spirit that is contagious. It is a feel-good experience that seeks to take viewers on a rollicking journey of harmless entertainment that not does not require much thought, just an open mind.

Overview: Seymour Robbie was a director who made only two feature films in his career, but had a multitude of television credits to his name from the early 1950s, until 1990. His second film, MARCO (1973) was a family movie about Marco Polo, with action and musical trimmings, starring Dezi Arnaz Jr. in the lead role. Mr Robbie's debut movie, C.C. & COMPANY, was possibly the most entertaining, irreverent of his two movies. It follows the exploits of C.C. Ryder, the eponymous biker and mechanic who joins a biker group, but runs foul of them when he falls in love with a fashion journalist, taking his slice of the money with him. While this film is not high art, it obviously has not been intended to be such. It is pure escapism and entertainment, with plenty of motorcycle action scenes and comic interludes. These are the best parts of the movie, and what make it a watchable, fun experience. There are, though, certain features of the movie that are notable for dissection.

While the male characters are well-drawn and have a definite purpose in the narrative, the same cannot be said about the female characters. As the film is in the biker genre, and some clichés are to be expected, or come with the territory, the female characters in C.C. & COMPANY are not in the same league as the male protagonists. They largely exist as either 'eye candy' for the male characters (and spectators), as biker molls or floozies, to use the term, and are only present to be saved by the male characters. They have, apart from Ann-Margret's role, no real purpose, and are actually more vulgar in their actions and language from the men, which is a surprising choice on the part of the writers and director. Maybe this was to show that women were sexually freer in both their choices and language than beforehand, but it does not leave a sweet taste in the mouth. Hardly a positive view of emancipated femininity. Other lapses exist in the film which are not satisfying for the movie as a whole.

There is no clear tying up of loose ends at its conclusion which is a little frustrating. While it is obvious that the movie at the end is seen from C.C.'s perspective, riding off on his motorcycle, the fate of Moon is not explored in any way. This may have been intentional, but the lack of investment in this character, who dominates the screen whenever he is on, is a let down. Facile answers and solutions to problems are another feature of C.C. & COMPANY which could have been overturned, bringing more authenticity to the film. Something that was not investigated in any manner was exactly why was Moon the way he was, and how did he manage to round up the number of followers he did. William Smith is a charismatic performer and this is obvious in one way, but a little more depth in areas such as these would have been good. Apart from this, the movie did not capitalize on having William Smith and Ann-Margret onscreen together in more scenes. Having Moon, for instance, fall for Ann would have complicated matters, giving the C.C./Ann pairing more complexity. Alas, this was not to bear. This lack of attention to some details, though, points to the intention of the movie, which cannot be faulted. Whatever its deficiencies, C.C. & COMPANY is a movie that exists to entertain with its thrills and spills, in a mindless, carefree manner, and successfully achieves this aim.

Acting: The acting in C.C. & COMPANY largely takes a back seat to the stunts and motorcycle action presented on screen, but, nevertheless, is worthy of discussion. As the main character, C.C. Ryder, Joe Namath does an admirable job in the film. While not a trained actor but an athlete, he has an easy charm and affable nature which works well in the movie. He is physically correct for the role, and does not have an aura of self-love or egotism which would have damaged his performance. His pairing with Ann-Margret is quite good, and they are an agreeable chemistry. Ann-Margret's performance in this film, though, is not as great as her other appearances. She is an actress who has provided excellent acting in her other films, with CARNAL KNOWLEDGE being a wonderful victory for her, but in C.C. & COMPANY, unfortunately, the role is inadequate for her talents. It does not take advantage of her spunkiness and vulnerability, and renders her part as colourless. In comparison, William Smith does a brilliant job as Moon, self-appointed leader of the biker gang. Just seeing Mr Smith mouthing his dialogue, strutting his stuff with sleeveless shirts and tidy beard, is a delight. It is the most entertaining, humorous, and excellent portrayal in a biker film ever.

Soundtrack: C.C. & COMPANY has a varied and eclectic soundtrack. The vast majority of tunes are rock music in nature, especially during the plentiful motorcycle sequences. These do not detract from what is taking place onscreen, only enhancing the action. Exceptions to this include the more romantic music during C.C and Ann's love scene, and also, softer pop songs in the scenes where they are together by the pool. There is also a nightclub scene featuring the song 'I Can't Turn You Loose' performed by Wayne Cochran, which is the sole example of diegetic music in the film.

Mise-en-scene: The locations in C.C. & COMPANY give the film a thrust that provides excitement and veracity for the viewer. Rugged landscapes only emphasize the rough and tumble nature of motorcycle racing, the camera intimately tracing every step, as if the spectator was there. The opening credits with its jivy music and multi-screen images perfectly embodies the freedom and spirit that the film wanted to express to audiences.

Award-worthy performances in my opinion: Joe Namath, William Smith.

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

Overall Grade: C

Link: IMDB Page

Trailer

STATE FAIR (1962)

Title: STATE FAIR

Year of Release: 1962

Director: Jose Ferrer

Genre: Comedy, Drama, Musical

Synopsis: A Texas farm family make the trek to the Dallas State Fair, where the son and daughter seek romance, with differing results.

Within a film history context: Many musicals with scores composed by Rodgers and Hammerstein, the majority originating as theatrical productions, were showcased to cinema audiences from the 1940s to the 1960s. In 1955 the first of their productions was adapted into a film, being Fred Zinnemann's OKLAHOMA! In 1956 two more Rodgers and Hammerstein theatrical shows arrived on screen, with Henry King's CAROUSEL and Walter Lang's THE KING AND I successfully released. These were followed by Joshua Logan's SOUTH PACFIC in 1958, another box office hit for the team. Henry Koster's FLOWER DRUM SONG was their next film adaptation in 1961, followed by one of their most successful films, Robert Wise's THE SOUND OF MUSIC (1965). Not only a box office sensation at the time of its release, it has also ranked as one of the highest-grossing films ever.

STATE FAIR was different from these films as it did not originate as a Rodgers and Hammerstein production. In its first incarnation in 1933, it was a non-musical film about a farm family venturing out to the Iowa State Fair, slightly changed to Texas in the 1962 version. The 1945 edition of STATE FAIR was the first to include Rodgers and Hammerstein music, the characters again visiting the Iowa State Fair. The 1962 film also featured the Rogers and Hammerstein tunes from 1945, with some new songs composed for the film. The STATE FAIR of 1962 was not a box-office success, and is notable as the final film version of the Frake family story. The changing winds of audiences and the world itself may have contributed to its lack of box-office clout, but musicals themselves were not as popular as they once were in decades such as the 1930s, 1940s and 1950s, but only in exceptional circumstances such as THE SOUND OF MUSIC.

Overview: Jose Ferrer was an actor who branched out into directing, with seven features to his credit. Beginning with THE SHRIKE (1957) he also helmed such varied films as I ACCUSE! (1958), THE HIGH COST OF LIVING (1958), and, RETURN TO PEYTON PLACE (1961) the sequel to Mark Robson's successful small town drama PEYTON PLACE (1957). STATE FAIR was Mr Ferrer's cinematic directorial swan song, and his sole musical. A remake of the 1945 version of STATE FAIR directed by Walter Lang, Mr Ferrer's vision of the film is an energetic, entertaining musical, if lacking some of the gentle charm of the 1945 movie.

The updated mentalities and sensibilities of the 1962 version do make some of the characters a little more rough-hewn than the 1945 film, but possibly this was to be expected at this time of boundary-pushing in 1960s cinema. There are some parts of the movie that do not work well, such as the romance of Margy and Jerry, which pales in comparison to Emily and Wayne's story. This does slow down the movie, but a greater concentration on Ann-Margret and Pat Boone would have strengthened STATE FAIR considerably. While a watchable motion picture, the 1962 STATE FAIR is the lesser of the three films, the 1945 version standing out as the most even in all aspects.

Acting: The performances in this film are mostly above-average, with four actors standing out for their contributions. Alice Faye does well as the Frake family matriarch Melissa, wife of farmer Tom Ewell, and mother of Pat Boone and Pamela Tiffin in STATE FAIR. Her sense of comic timing, especially with Tom Ewell, and dead-pan, world-weary but warm dialogue delivery works, making her a realistic character. She is well-matched with Tom Ewell's Abel, and they actually seem like a married couple who could be in the predicament they are. Mr Ewell's quietly buoyant and practical nature contrasts with Alice Faye's more ironic character, giving them a dynamic which works onscreen.

Ann-Margret and Pat Boone are also a great combination in the film, looking good together physically but with a nice chemistry. Ann-Margret performs her dance routines with gusto, aided by attractive backgrounds and costumes that are suitable to what is being presented onscreen. Pat Boone portrays his character Wayne with a great mix of wholesomeness, devil-may-care, and, a subtle sensuality in his scenes with Ann-Margret. Their dramatic scenes together give their relationship a credence and a palpable, tragic undertone despite the film's overall glossiness and upbeat nature.

While Pamela Tiffin and Bobby Darin perform acceptably in their roles as Margy and Jerry, in comparison to Ann-Margret and Pat Boone, unfortunately come up as being slightly dull, their romance never catching fire. This may have had to do with the material not being compelling for the actors, but their performances are largely overshadowed by the other players. When held up to compare to the 1945 version with Jeanne Crain and Dana Andrews, the romance of Margy and Jerry lacks the poignancy of the earlier movie. 

Soundtrack: The songs are quite good in STATE FAIR, ably performed, and easy on the ears. The best of these is Ann-Margret and Pat Boone's version of "It's A Grand Night For Singing", with both actors in fine form.

Mise-en-scene: The film has not spared any expense in the outdoor location filming, with scenes at the Frake family farm, and at the State Fair itself, providing a visual feast for viewers. Images of the rides at the fair, and Ann-Margret's showstopping performance on stage are filled with colour and spectacle, assisted also by the film's CinemaScope widescreen format. The indoor locations such as the Frake family home, and the trailer they inhabit at the caravan park, are naturalistic, and fluent. The outside of the trailer home, on the other hand, is slightly artificial, obviously shot in a studio, but this is a minor negative as the majority of the movie has been filmed outdoors, providing it with a freshness and realism.

Award-worthy performances in my opinion: Alice Faye, Tom Ewell, Ann-Margret, Pat Boone.

Suitability for young viewers: Suitable for children with parental discretion advised. Mild adult themes, low-level violence.

Overall Grade: C

Link: IMDB Page

Trailer