LOVERS AND OTHER STRANGERS (1970)

Title: LOVERS AND OTHER STRANGERS

Year of Release: 1970

Director: Cy Howard

Genre: Comedy

Synopsis: Mike and Susan are preparing for their upcoming marriage, but their family and friends have their own marital, and other issues with which to deal.

Within a film history context: There have been a great variety of movies over the years with an Italian-American male central character. One of the first was Reginald Barker's silent THE ITALIAN (1915). An Italian man seeks to build a new life in America, awaiting the arrival of his love from Italy. Their life together in the United States, though, is filled with heartache and pain, in this affecting early movie. Into the sound era, THE GUILTY GENERATION (1931), directed by Rowland Lee, had two Italian-American gangsters battling it out for supremacy, but their feud takes a surprising turn when their son and daughter, respectively, fall in love. One of the most famous movies about an Italian-American was Howard Hawks' SCARFACE (1932). The life and times of a violent, and unrepentant gangster was the focus here, with Paul Muni in a top role as the complex Tony Camonte. 

Decidedly different in tone was HUDDLE (1932), directed by Sam Wood. A young Italian-American man working in a steel mill yearns for a better life, winning a scholarship to Yale, but his family background may work against him in this romance. Charles Reisner's THE WINNING TICKET (1935), was a comedy about an Italian-American barber who purchases a lottery ticket, which turns out to be the winning one, but the subsequent loss of the ticket causes nothing but mayhem in this light film. MAN OF THE PEOPLE (1937), directed by Edwin Marin, featured an Italian-American attorney in a difficult predicament - he tries to be of assistance to those who need it, but mobsters are the ones who can make it happen for him. Bernard Vorhaus' FISHERMAN'S WHARF (1939), followed an Italian-American fisherman, and his personal troubles, particularly those incited by others. 

With THEY KNEW WHAT THEY WANTED (1940), directed by Garson Kanin, an Italian-American vintner sets in motion a twisted chain of events in his pursuit of a young woman via a letter, which conceals his true identity. In contrast, Robert Siodmak's CRY OF THE CITY (1948), was of a power struggle between a policeman, and his opponent, an unsparing criminal, two Italian-Americans who were former friends, over the latter's unseemly activities. In a similar yet different vein was KNOCK ON ANY DOOR (1949), directed by Nicholas Ray. A lawyer defends a young Italian-American man of murder by painting a picture of a disadvantaged youth drawn into crime, but the effectiveness of this is at the core of this picture. Joseph Mankiewicz's HOUSE OF STRANGERS (1949), revolved around an Italian-American man whose three brothers allow him to go to prison, and his retaliation when he leaves jail.  

Crime again made its mark in BLACK HAND (1950), directed by Richard Thorpe. A man whose father was killed by the Mafia years ago comes to avenge his death in New York City. Fritz Lang's CLASH BY NIGHT (1952), had an Italian-American fisherman becoming involved with a mysterious woman, who may have designs on another man, being his friend. FROM HERE TO ETERNITY (1953), directed by Fred Zinnemann, was a World War II drama with an Italian-American supporting character, Maggio, played to perfection by Frank Sinatra in this pungent, highly popular movie. Another serious movie with an Italian-American character was Delbert Mann's MARTY (1955). The touching story of a butcher, and a teacher was a triumph for its lead, played by Ernest Borgnine, winning Oscars not only for Mr Borgnine but also for Best Picture, Director, and Screenplay. SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was the biopic of Italian-American boxer Rocky Graziano, charting his early life, to his prizefighting as an adult. Elia Kazan's racy BABY DOLL (1956), was the story of a young Mississippi woman who wraps men around her little finger with utter ease. The main one in this position was her husband, the other, an Italian-American cotton farmer, to whom she takes a shining in this controversial film. 

THE MIDNIGHT STORY (1957), directed by Joseph Pevney, featured an Italian-American policeman whose father figure, and friend, a priest, is killed, and sets out to discover who committed this crime. Phil Karlson's THE BROTHERS RICO (1957), followed an Italian-American man who thought that he was done with the Mafia, but whose brothers force him into involvement again with the mob. WILD IS THE WIND (1957), directed by George Cukor, was a move away from crime themes into character-driven territory. An Italian-American farmer brings a woman from Italy, the sister of his late spouse, to be his second wife, but his treatment leads her to fall for her new husband's ranch hand. Crime once again made its presence felt in Richard Wilson's AL CAPONE (1959). The life of the infamous criminal was dissected here, with Rod Steiger in the lead role. INSIDE THE MAFIA (1959), directed by Edward L. Cahn, was yet another crime saga with an Italian-American protagonist. This time, a crime kingpin back in America pulls strings to dispatch his opposition, subsequently ingratiating himself into other situations. 

Real-life crime incidents were depicted in Richard Wilson's PAY OR DIE! (1960). The life of Italian-American New York City policeman Joe Petrosino's life was the focus, particularly his efforts to quash organized crime at the turn of the 1900s. A softer approach was evident in LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. An Italian-American musician has a one-night stand with an Italian-American department store assistant, their difficulties heightened when she falls pregnant, and their dilemma as to what they will do with the baby. A crime angle again infused Gordon Douglas' TONY ROME (1967). In this instance, an Italian-American private detective is assigned by a man to locate jewels stolen from his young daughter, with many twists and turns along the way. WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese, revolved around a young Italian-American man, and his relationship with a young woman, which is affected by events from her past that haunt him. LOVERS AND OTHER STRANGERS took a dissimilar approach to its depiction of an Italian-American man.

Many of the movies in this category were of Italian-American men linked to organized crime, or other illicit activity. LOVERS AND OTHER STRANGERS diverted from this model, firstly, with its comic orientation, and secondly, a more family-centric story structure. HOUSE OF STRANGERS and THE BROTHERS RICO were the two films which explored a family dynamic more so than others, but these were of a dramatic nature. The conflict between brothers in these was presented strongly, but in LOVERS AND OTHER STRANGERS, the brothers are decidedly friendlier in their dealings. This is in keeping with the picture's breezy, upbeat tone. This is not to say, though, that Mike's family are any less defined than the previous two examples. LOVERS AND OTHER STRANGERS is at pains to show the Italian-American Vecchio family in detail, also including Mike's parents and brother. This provides different perspectives from each family member which greatly adds richness to the film. Other facets of the movie are worth considering. 

While Mike in LOVERS AND OTHER STRANGERS is a main character, and his marriage preparations are juxtaposed to the situations of his family, and other guests, he does take a backseat somewhat to the associated narrative activity. This is as LOVERS AND OTHER STRANGERS follows a multi-character arrangement, whereby the lives of almost a dozen people aside from Mike and fiancée Susan are compared, and contrasted with the couple. The Vecchio family is shown alongside Susan's family, the Hendersons, who have a world of their own, with some marital tensions thrown in. Mike and Susan could be posited as being the most 'normal' of their family and friends as all they wish to be is together, without any complications, which do hinder some of the other couples in the movie. Mike's status as an Italian-American man, also, is not made an issue in the film. It as such downplays the race angle, with him thereby accepted by an American family for their daughter. There is not the attribution of Mike being a criminal, a hood, or a boxer in the picture, and this allows for another vision of Italian-American manhood away from stereotypical perspectives from other examples. A refreshing view of an Italian-American male character, LOVERS AND OTHER STRANGERS offers a stimulating change of pace in this respect.

Overview: Cy Howard was an American director with only two directorial efforts to his credit, being much more active on television as a writer, and producer on prime-time series, and telemovies. His final film, EVERY LITTLE CROOK AND NANNY (1972), was a comedy of errors about an Italian- American New York gangster who forces a teacher to vacate from a building he has just acquired, despite her having a long lease there. What eventuates is a twisted chain of events whereby the teacher seeks revenge by acting as a nanny, which leads to many other comic consequences for both herself, the gangster, and others. LOVERS AND OTHER STRANGERS was Cy Howard's first movie, and his finest achievement as a director.

Cy Howard has crafted a highly entertaining, engaging motion picture with LOVERS AND OTHER STRANGERS. Taking as its focus a young, engaged couple slated to be married, and surrounding this story arc with the accompanying personal events of their family and friends, it is a smoothly-rendered, astute piece of filmmaking. Mr Howard has succeeded in making his characters real and relatable, without ever slipping into caricature. The screenplay examines the minutiae of human relationships, and clearly explains to the audience exactly where the characters are coming from. The viewer becomes intimately acquainted with what is occurring onscreen, and the movie is akin to watching the lives of real people unravel. Although LOVERS AND OTHER STRANGERS is an intensive work, and attempts to cover all the bases, there are some sections which are lacking when considering the picture as a whole. 

Giving airtime to all the many relationships in the film is a good quality of LOVERS AND OTHER STRANGERS, but this does leave one of these segments less coverage than it should have received. One would expect to witness more of Mike and Susan's appealing union, but this does not happen. They appear fitfully, and while their scenes are all of a high standard, it leaves one yearning to see more of them. Mike's standoffish behaviour, and Susan's quiet spitfire nature are not utilized sufficiently. Another deficiency is the treatment of Bernice, Hal's wife. Having the spirited Bernice only function as a comic prelude to scenes of husband Hal with Kathy is disappointing. There was something special in the character of Bernice, and not finding out more about her was one of the biggest drawbacks in the movie. Aside from these flaws, and putting these to one side, some things can be said about LOVERS AND OTHER STRANGERS. It is an agreeable picture which deserves its status as one of the premier comedies of the 1970s, and Cy Howard's best movie. 

Acting: It is undeniable that LOVERS AND OTHER STRANGERS contains many distinctive performances which ensure it remains delightful throughout its running time. As Mike, a young man slated for marriage, but uncertain if it is really for him, Michael Brandon is in one of his best early performances. A player who gets to the heart of his characters in a straightforward manner, never seeming actorish, he adds punch whenever he is onscreen. Mike's fiancée Susan is given equally formidable treatment by Bonnie Bedelia. With her intuitive edge, and charming manner of speaking, Miss Bedelia matches well with Michael Brandon as the more emotionally secure half of this couple. Bea, Mike's vocal mother, is made memorable by Bea Arthur. With her dominant voice and no-nonsense way of doing things, Miss Arthur provides some of the most touching, funny scenes in the movie. Bea Arthur is more than matched every step of the way by Richard Castellano as Frank, her impassive husband. Seeing beyond Frank's hangdog expressions and sullen behaviour, Mr Castellano makes Frank an identifiable husband, and father figure in the film, with a surprising vulnerability displayed at the end of the picture. Susan's mother Bernice is played with sweetness and light, but intelligence, by Cloris Leachman. While Miss Leachman has not been employed to full capacity here, nevertheless, her glowing presence is still welcome. Five other actors give excellent accounts of themselves in LOVERS AND OTHER STRANGERS.

The pained but sympathetic Kathy is played with utter assurance by Anne Jackson. With the ability to make her character, who appears comic on the surface, and to infuse her with a pathos which gives this other woman sheer substance, is a resounding testament to this talented actress. At the other end of the emotional spectrum, the sharp-tongued Wilma tosses her barbs with panache courtesy of Anne Meara. Miss Meara is fun either sparring with husband Johnny, grumbling about her mother-in-law, and generally adding spice wherever she is present. Wilma's macho husband Johnny is another unique acting contribution, with Harry Guardino in full force with Anne Meara, as Johnny and Wilma duke it out in this battle of the wills, and sexes. Susan's bookish cousin Brenda comes alive in the person of Marian Hailey. With her insistent tone of voice, and references to books, Brenda is another lively figure in this gallery of characters. The final acting of note is by Diane Keaton as Joan, daughter-in-law of Bea and Frank. Appearing in the final section of the movie, Miss Keaton bestows another perspective on marriage in LOVERS AND OTHER STRANGERS, which allows it to come full circle with her congenial, but astute, portrayal of a woman in a marital crisis.

Soundtrack: LOVERS AND OTHER STRANGERS has an effective soundtrack which covers all the bases in terms of the movie's intentions. The opening credits sequence has a rendition of 'Comin' Thru To Me' by Country Coalition between scenes which contain witty dialogue and action, punctuating this well. 'For All We Know', performed by Larry Meredith, is featured in the scenes leading to Mike and Susan's wedding, and also, in a different version during the closing credits. It is more reflective in tone than the previous tune, deftly emphasizing the delicacy of the relationships in the movie. This is presumably to highlight the poignancy of the main relationships in the film, but it is replaced by the livelier 'Comin' Thru To Me' once more at the conclusion of Mike and Susan's scene in their apartment.

Mise-en-scene: LOVERS AND OTHER STRANGERS creates a believable world which the characters inhabit in the picture. Cinematography by Andrew Laszlo is beautiful, the Metrocolor film stock making everything appear natural, both indoor, and outdoor sequences. Alan Hicks' set decoration is also excellent, drawing nice contrasts between Mike and Susan's apartment, the comfortable, homey Vecchio family home, and the more elaborate Henderson residence. There is the subtle reference to socioeconomic status with this, but this is not something aggressively pursued by the movie. Costuming is also another great asset to the movie, with Albert Wolsky's creations, particularly for the actresses during the wedding and reception segments, elegant, and appropriate to each character. The opening sequence is also striking, with a conversation between Mike and Susan intercut with cast and crew credits, and Wayne Fitzgerald's two colour film title nicely set against a black background.

Notable Acting Performances: Michael Brandon, Bonnie Bedelia, Bea Arthur, Richard Castellano, Cloris Leachman, Anne Jackson, Anne Meara, Harry Guardino, Marian Hailey, Diane Keaton.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

THE BELL JAR (1979)

Title: THE BELL JAR

Year of Release: 1979

Director: Larry Peerce

Genre: Drama

Synopsis: The emotional issues, and life of a talented young female writer from 1950s New England.

Within a film history context: Movies about mental illness plaguing female protagonists have been featured many times in cinema history. One of the first in a major motion picture can be found in Harold S. Bucquet's YOUNG DR. KILDARE (1938). In this first entry of the multi-part series, Dr Kildare assists a young woman who has attempted suicide, and almost ends up out of his position at the hospital for this, but all ends well for the young woman, and Dr Kildare. ALL THIS, AND HEAVEN TOO (1940), directed by Anatole Litvak, featured a paranoid, selfish woman jealous of her children's kindly governess, going to great lengths to defame her. Based upon a true story of French aristocracy, it starred Bette Davis as the governess, and Charles Boyer as the Duc in love with her. Another Bette Davis vehicle, Irving Rapper's NOW, VOYAGER (1942), featured Miss Davis as an emotionally distraught young woman dominated by her unyielding mother. After spending time in a mental health facility, and going on a cruise, romance comes knocking at her door. LEAVE HER TO HEAVEN (1945), directed by John Stahl, was about an unbalanced young woman who causes much heartache to her family, particularly her husband and sister. A lushly photographed technicolor film, something unusual at the time for melodramas, which were generally shot in black in white, it showcased an amazing performance by Gene Tierney as the beautiful, acidic Ellen Berent. 

John Brahm's THE LOCKET (1946) charted the life of a young woman in flashback, from her childhood until she was an adult, and how she developed anti-social tendencies which led to her mental collapse. With DISHONORED LADY (1947), directed by Robert Stevenson, a magazine editor has a nervous breakdown, and leaves her position, thus changing her life. Ghosts of the past continue to haunt her, though, and she becomes involved in murder. Mental illness was also at the core of Curtis Bernhardt's POSSESSED (1947). An incoherent woman found roaming the streets of Los Angeles is admitted to hospital. She begins to recount what occurred to bring her to this point, in this strong drama with Joan Crawford in one of her best roles. Equally challenging was THE SNAKE PIT (1948), directed by Anatole Litvak. In this film, a young woman's stay in a mental health facility is explored as she battles many demons, along with staff members and patients, in this potent movie. Into the 1950s many other films looked at mental illness, and how they bedeviled female protagonists.

Billy Wilder's SUNSET BOULEVARD (1951) featured a silent film star who wanted to make a comeback into the movies, drawing a screenwriter into her world, which was filled with fantasy, and delusional behavior. Another disturbing view of mental illness was in A STREETCAR NAMED DESIRE (1951), directed by Elia Kazan. A woman with mental issues moves in with her sister, and brother-in-law in a New Orleans apartment, clashing dynamically with both of them in this memorable movie. Roy Ward Baker's DON'T BOTHER TO KNOCK (1952) was notable in that Marilyn Monroe played against type as a psychotic babysitter, in complete contrast to her roles as an innocent, sensual young woman. One of the most famous films about mental illness afflicting a female character was in THE THREE FACES OF EVE (1957), directed by Nunnally Johnson. A young woman suffers mightily from having multiple personality disorder, assuming the identity of three very different women. An extremely well-acted movie, particularly by Joanne Woodward in the lead role, it was one of the toughest, but sympathetic views of mental illness captured on film. 

Another take on the topic was offered by John Cromwell's THE GODDESS (1958). A young woman becomes a movie sex symbol, but her inner demons spill out into her life, irrevocably affecting it. A definitively more exploitative take on mental illness was served up by SCREAMING MIMI (1958), directed by Gerd Oswald. A dancer witnesses a murder and is psychologically tormented by this event, subsequently admitted to hospital. She is suspected of a series of murders, but all the while pursued by a madman, who wants to kill her. Joseph Mankiewicz's SUDDENLY, LAST SUMMER (1959) was a compelling drama about a young woman shattered by seeing her cousin murdered, who afterwards falls ill. Her imperious aunt wants her to have a lobotomy to cover up what happened, but the young woman is assisted by her psychiatrist in getting to the truth. As with the 1950s, the 1960s had many varied depictions of female mental illness in cinema.

SPLENDOR IN THE GRASS (1961), directed by Elia Kazan, was a lush drama about a young woman in 1920s Kansas, and how her love for a handsome man drives her to emotional instability. One of the early 1960s films which dealt with sex and relationships in an adult manner, it was another motion picture which pushed the boundaries of the slowly eroding Hays Code. Frank Perry's DAVID AND LISA (1962) was also sensitive, this time following the blossoming relationship between two young people in a mental facility, with both male, and female mental illness spotlighted. On the other hand, bizarre was the word for WHATEVER HAPPENED TO BABY JANE? (1962), directed by Robert Aldrich. The story of two sisters, one a former child star with mental problems, the other physically challenged, also an actress, had many memorable moments. This horror-thriller was financially successful, and also lauded for the performances of its two lead actresses, Bette Davis, and Joan Crawford. Even more extreme was William Castle's STRAIT-JACKET (1964). A woman who killed her husband, and lover many years ago is released from a sanatorium, and suspected when a murder spree begins, but her emotionally distraught daughter may have more to do with this than first meets the eye. LILITH (1964) directed by Robert Rossen, was the tale of a young woman in a mental hospital, and her relationship with a war veteran with psychological issues, which is curtailed by the woman's unsavory sexual appetites.

Another way-out vehicle for Bette Davis was Robert Aldrich's HUSH...HUSH, SWEET CHARLOTTE (1964). This time around, Miss Davis was an aging Southern belle with a checkered past, specifically how a murder committed years ago has an enormous impact on her many years later. Also creepy was REPULSION (1965), directed by Roman Polanski. A young woman who has issues with sex is subjected to horrendous experiences, and commits unspeakable crimes of her own, in this spine-tingling movie. Into the later 1960s, Noel Black's PRETTY POISON (1968), in contrast, was of a more irreverent tone. A young woman with sociopathic tendencies hooks up with a young man just released from a mental hospital, lying that he is a secret agent. She believes him, and later enmeshes him in two acts of murder. A Gothic take on mental illness was obvious in SECRET CEREMONY (1968), directed by Joseph Losey. In this film, a woman, Leonora, mourning her daughter's death meets Cenci, an odd young woman at the cemetery. Resemblances to Leonora's late daughter can be found in Cenci, with the young woman's mother likewise with Leonora, with Leonora becoming involved in Cenci's turbulent life. Robert Altman's THAT COLD DAY IN THE PARK (1969) also had a woman suffering from mental issues. A lonely woman finds a young man in the park one day, and takes him in, little does he know she will take over his life in a most chilling manner. As with the 1960s, the 1970s also had many distinctive views of female mental illness on screen.

PUZZLE OF A DOWNFALL CHILD (1970), directed by Jerry Schatzberg, was the story of the rise, and fall of a high fashion model, particularly detailing how her relationships with men contributed to her fragile psychology. While a slightly tedious film, it was a great showcase for Faye Dunaway in one of her earlier roles. Murky could well describe Robert Altman's IMAGES (1972). A children's author who has lost sight of what is reality, and fantasy, may, or may not have committed crimes, which dog her sense of self in this engrossing movie. PLAY IT AS IT LAYS (1972), directed by Frank Perry, was about an actress whose life was spiraling out of control, and looked back at the events which led her to a mental hospital. Similarly, Bob Rafelson's THE KING OF MARVIN GARDENS (1972), featured a mentally-ill former beauty queen who causes much angst between two brothers before committing a shocking crime, changing lives forever in the process. SISTERS (1972), directed by Brian de Palma, was about the wrought relationship between two sisters, and how this was soured further by treachery, deceit, and murder. 

Harry Thomason's SO SAD ABOUT GLORIA (1973) revolved around a young woman freshly released from a mental institution, who believes she may be responsible for a spate of murders. A WOMAN UNDER THE INFLUENCE (1974), directed by John Cassavetes, concerned itself with a married woman whose marriage to her husband is on shaky ground, and how her unstable behavior led her to be institutionalized. Much more unrelenting was Brian de Palma's CARRIE (1976). The story of a young woman humiliated at every turn in high school, with a domineering mother, unleashing her fury at the senior prom, was filled with visual gymnastics and violence, but provided an excellent lead role for Sissy Spacek. In I NEVER PROMISED YOU A ROSE GARDEN (1977), directed by Anthony Page, a teenage girl veers between fantasy and reality, attempting suicide before being admitted to a mental hospital, eventually becoming better. THE BELL JAR was reminiscent of many of the films revolving around a female lead with mental illness, but carved its own niche in the genre.

THE BELL JAR was unlike WHAT EVER HAPPENED TO BABY JANE?, HUSH...HUSH, SWEET CHARLOTTE, CARRIE, and SISTERS, with their eye-popping, off the wall views of mental illness. There are no cartoonish, larger than life villains in THE BELL JAR who revel in their meanness against the main character as with the above films. THE BELL JAR has more in common with efforts such as POSSESSED, THE SNAKE PIT, DAVID AND LISA, and PLAY IT AS IT LAYS, where the lead character battled her demons, without the film needing visually arresting set pieces to punctuate the woman's difficulties. It is a lower-key, more perceptive portrait of mental illness in THE BELL JAR which does not typecast its character in an unflattering light. The obstacles Esther faces are all portrayed in a full-blooded, realistic manner that only elicit sympathy for her plight. There are further differences which set THE BELL JAR apart from other entries in the genre.

It is interesting how in the older films a man often assisted the woman in gaining a sense of herself, and becoming more grounded mentally. Examples such as YOUNG DR. KILDARE, POSSESSED and NOW, VOYAGER had a man taking a particular interest in the mental well-being of a woman, either in a romantic, or non-romantic vein, and assisted her to blossom. With DAVID AND LISA, a young mentally-ill man helps a young woman in a similar predicament to overcome their problems, which stands out in comparison to the other films. In LEAVE HER TO HEAVEN, on the other hand, an innocent man attempts to make his marriage to a venomous woman work, but is unsuccessful in his mission. THE BELL JAR takes a leaf out of films such as SUNSET BOULEVARD, A STREETCAR NAMED DESIRE, and THAT COLD DAY IN THE PARK, where embarking on a relationship with a man makes matters worse for the woman involved. Male desire for a woman only exacerbates female mental issues in both A STREETCAR NAMED DESIRE and THE BELL JAR. Esther in THE BELL JAR, though, has more of a sense of self than Blanche in A STREETCAR NAMED DESIRE with reference to her sexual identity, and what she does, and does not want.

As with male characters not making matters better, THE BELL JAR also does likewise with its other female protagonists, who clash with Esther. In THE BELL JAR, Esther has to contend not only with her confused mother, who does not know how to treat her but also, a pushy magazine editor, and a close friend who reveals herself as a lesbian. This is a throwback to entries such as NOW, VOYAGER with its domineering mother, SUDDENLY, LAST SUMMER's high-handed aunt, and CARRIE's religious zealot mother figure, who are of no valuable assistance to the lead. The presence of a lesbian friend in THE BELL JAR only throws a wrench in the works, further complicating Esther's view of herself, and her sexuality, which gives the movie unexpected emotional undercurrents the other films did not possess. An exacting but rewarding work about female mental illness, THE BELL JAR is a great motion picture.

Overview: Larry Peerce is an American director of fifteen motion pictures, an all-rounder who has tackled different types of movies with generally above-average results. Mr Peerce's first film, ONE POTATO, TWO POTATO (1964) was the study of a woman who divorces her husband, and marries an African-American man, her former husband suing for custody of their child, motivated by racism. The next of Mr Peerce's important films was THE INCIDENT (1967). A tightly-directed, tense account of two thugs terrorizing passengers on a New York subway train, it offered its diverse cast excellent acting opportunities. More prominent was GOODBYE, COLUMBUS (1969). The tale of a young man who falls for an upper-class young woman, with all their difficulties and obstacles presented to humorous, yet maximum effect, it was one of the most popular films of the year. Unfortunately, one of Mr Peerce's most uneven movies was THE SPORTING CLUB (1971). The tale of a shooting club, and its bizarre members and their activities, was a notable failure at the time of its release, but thankfully did not curtail the director for too long. 

A SEPARATE PEACE (1972) was the introspective story of two roommates at a private boarding school in 1940s New Hampshire, starring John Heyl, and Parker Stevenson in the lead roles. Entirely different in tone was ASH WEDNESDAY (1973). A woman embarks on plastic surgery to save her rocky marriage, but her choice leads to more than a few surprises along the way. Next came THE OTHER SIDE OF THE MOUNTAIN (1975), one of Mr Peerce's most commercially-successful movies. A young skiing champion ends up paralyzed after a tragic accident, and finds her way back to another kind of normalcy for herself, and her family. Based upon the real-life story of skier Jill Kinmont, it was popular enough to lead to a sequel, THE OTHER SIDE OF THE MOUNTAIN (1978), also directed by Larry Peerce. Thoroughly at odds, and violent in nature was TWO-MINUTE WARNING (1976). A crazed sniper causes mayhem at a football game, with much derring-do and heroics captured by the movie. 

Larry Peerce directed four movies in the 1980s, concentrating more on television after this era. WHY WOULD I LIE? (1980) was the character study of a self-deceiving, dishonest man who becomes a social worker. His involvement in the life of a young boy, though, leads to romance with the boy's mother. LOVE CHILD (1982) was based upon the real-life of Terry Jean Moore, a woman in trouble with the law who does time in jail. Falling pregnant to a prison guard, there is a struggle to keep the baby, in light of these extraordinary circumstances. Mr Peerce's penultimate movie was HARD TO HOLD (1984). A musical which was a vehicle for singer Rick Springfield, it was also a romance, with a pop star falling for a child psychologist, but finding opposition from his former flame. Larry Peerce's final film, WIRED (1989) delved again into real-life territory, this time the life of John Belushi, but with low box office returns, and mixed critical reaction. Larry Peerce's eleventh movie, THE BELL JAR, is one of his best movies, and striking in his oeuvre for notable reasons.

Mr Peerce has made an excellent motion picture which examines the subject of mental illness through its protagonist Esther, with sensitivity and precision. Based upon the novel of the same name by Sylvia Plath, THE BELL JAR unfolds in a graceful, lyrical manner, paying particular attention to its lead character, and exploring her view of the world. It follows her trials and travails in coming to grips with who she is, and what she wants from the world. A talented writer, Esther is haunted by the loss of her father, which appears to have affected her relationships with men, particularly derailing her union with her mother. There appears to be a sense in the movie that Esther is afraid of her own sexuality, and this manifests itself in her failed relationships with men, who only seem to want to possess her, and not love her for who she is. While it could be said that this is a skewed view of masculinity, it works in the way that Esther cannot find what she had with her father in another man. 

Larry Peerce takes the viewer through many incidents, some humorous, others dead serious, in the life of Esther, and those around her. There is a distinct lack of melodrama in THE BELL JAR, and this works to its advantage, as the events depicted deserved, and received a subtle, quiet treatment. It is one of Mr Peerce's most fearless movies, a sharper extension of his THE OTHER SIDE OF THE MOUNTAIN films, in that a female character is essentially put through the wringer of emotions and events, and emerges from this shattered, changed, but stronger. THE OTHER SIDE OF THE MOUNTAIN films did play on the melodrama angle for their emotional power, and to wring tears from the spectator, particularly in the first film. THE BELL JAR, in comparison, has a gradual build-up of narrative events that are plausible, with nothing that appears for shock value. THE BELL JAR does possess a slight romantic angle with Esther's entanglements with Buddy, Lenny and Marco, but resembles the director's THE INCIDENT in its full-blooded execution more than the relaxed ambience of GODDBYE, COLUMBUS. One of Larry Peerce's most prestigious movies, THE BELL JAR is an absorbing cinematic experience.

Acting: THE BELL JAR boasts an excellent cast who all give fine performances. As lead character Esther, Marilyn Hassett contributes another interesting interpretation of a complex female character to her film portraits. An actress with a strength and sparkle that the movie highlights, she does a great job here. Esther's befuddled mother, Mrs Greenwood, is brought to vivid life by Julie Harris. A performer who knows how to elicit sympathy and understanding in the viewer, Miss Harris is wonderful as the harried mother figure. In his movie debut as Buddy, Esther's main love interest, Jameson Parker cuts an entrancing figure in THE BELL JAR. The aspiring doctor with a depth of emotion, and lustful inclinations towards the attractive Esther, Mr Parker plays a role where Buddy could have been a one-note whiner, but he makes him someone whose feelings are made comprehensible to the audience. Esther's confidante at the mental healthy facility, Dr Nolan, is played with assurance by Anne Jackson. By holding back her emotions, and being a surrogate mother figure to Esther, Miss Jackson nicely underplays her role, which is particularly striking at the film's end. Five other actors contribute immeasurably to making THE BELL JAR a convincing movie.

As Esther's best friend Joan, Donna Mitchell provides yet another of the film's complicated female characters. An actress with subtle mannerisms and a sense of style, Miss Mitchell is perfect as the humorous, secretive Joan. Barbara Barrie is also excellent as Jay Cee, Esther's associate at the magazine. Utterly comfortable in her surroundings as the precise, no-nonsense magazine editor, Miss Barrie shines. In a smaller role as Lenny, a man Esther is involved with for a short time, Robert Klein makes the most of his part as the feverish, passionate Lenny. As Marco, the Italian millionaire who makes a keen impression on Esther for all the wrong reasons, Thaao Penghlis makes an impact in the movie. An actor with an international flavour who conjures visions of glamour and jetsetting with his manner, his suave Marco exhibits both geniality, and depravity in equal measure. The final acting of note in THE BELL JAR is by Mary Louise Weller as Doreen, Esther's friend, and associate at the magazine. With her Southern accent and easy manner, Miss Weller's Doreen is someone who appears naïve on the surface, but has many layers which unravel during her time in the film. 

Soundtrack: THE BELL JAR takes a lean approach to its soundtrack which works exceedingly well for the picture as a whole. The movie is also refreshing in the fact that it is a 1950s movie without pop tunes which would have been inappropriate, as this is not a film based in a nostalgic vein. The instrumental theme by Gerald Fried perfectly encompasses the tense mood of the film, expressing the shattered emotional state of its protagonist. The tune 'Here Comes The Night', performed by Janis Ian, is employed during the film's closing credits, a haunting piece that complements the opening theme excellently. Aside from these, THE BELL JAR contains both diegetic, and non-diegetic music of note. Several scenes which utilize diegetic music such as the fashion parade, Esther's tango with Marco, and, most memorably, Esther's frenzied dance with Lenny and Doreen, suit the material without weighing it down. Non-diegetic music is also used well in the sequence where clothing is strewn all over Esther's hotel suite, and Esther's visit to her father's graveyard among the more notable instances.

Mise-en-scene: THE BELL JAR possesses great attention to detail in expressing its 1950s setting, but in a subtle manner which is never overblown. Gerald Hirschfeld's cinematography nicely captures the many indoor, and outdoor scenes, particularly the pretty New England countryside. There is a subdued use of color which is in tandem with the movie's thoughtful, melancholic feel. Costuming by Donald Brooks is also excellent, switching from the everyday apparel of the characters, to the more formal attire, with ease and restraint. Editing by Marvin Wolowitz is smooth, transitioning from one scene to the next, maintaining the compelling mood which is a hallmark of THE BELL JAR as a whole.

Notable Acting Performances: Marilyn Hassett, Julie Harris, Jameson Parker, Anne Jackson, Donna Mitchell, Barbara Barrie, Robert Klein, Mary Louise Weller.

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

Overall Grade: A

Link: IMDB Page