STAY HUNGRY (1976)

Title: STAY HUNGRY 

Year of Release: 1976

Director: Bob Rafelson

Genre: Comedy, Drama, Sport

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: B

Link: IMDB Page

Trailer

CACTUS IN THE SNOW (1971)

Title: CACTUS IN THE SNOW

Year of Release: 1971

Director: A. Martin Zweiback

Genre: Drama, Romance

Synopsis: A soldier on leave from Vietnam falls in love with an offbeat young woman, but his return to duty may just change their lives forever.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s, which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme. He helped to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967), was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

One of the most infamous depictions of a Vietnam veteran was in THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the second film with Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971), featured bikers similar to others in the genre, but this time around, the plot concentrated upon a man promising his Vietnam friend to carry out a deed, and finding this demanding to deliver. 

In complete contrast, one of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action-focused in scope. Two veterans join another on a farm, where tensions spill over. Gunther Collins' JUD (1971), was the sensitive account of a young man who had just returned from Vietnam, and the difficulties he faced in assimilating back into society. Different in range and character, SKYJACKED (1972), directed by John Guillermin, sported a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. CACTUS IN THE SNOW was quite unlike any of the afore-mentioned movies about Vietnam veterans, for a number of reasons.

The vast majority of films in this category dealt in detail with the emotional scars that Vietnam veterans faced in moving back to their lives after their tour of duty. THE BORN LOSERS, CAPTAIN MILKSHAKE, WELCOME HOME SOLDIER BOYS, and JUD, were some of the best examples of this. They tended to shy away from very explicit violence, and spectacular set pieces of carnage. WELCOME HOME SOLDIER BOYS was the most overt in this arena, but even this did not linger too long on grisly physical details. MOTORPSYCHO!, THE RAVAGER, and ANGELS FROM HELL were opposite in orientation, with THE RAVAGER the most strident in its violence quotient. In comparison to these, CACTUS IN THE SNOW stood out for its slower pace, peek into the psyche of its protagonist, and his blooming relationship with a young woman. Romance in the above examples tended not to be a feature of the narrative, with women flitting in an out of the story in WELCOME HOME SOLDIER BOYS and JUD. 

There was a definite mood of misogyny which infused THE RAVAGER, and emasculation of male characters, for the lead to have unfettered access to vulnerable females. None of this was in evidence in CACTUS IN THE SNOW, but a hopeful, inspirational tone to the picture. Harley in the movie does not appear to have deep psychological scars, but a need for companionship during his leave. The charting of Harley's love for Cissy is touching to witness, as is her mutual affection for him. It is one of the softest of the films about Vietnam veterans, but that is not to say it does not leave an impression on viewers. The final sequence leaves spectators with a sense of pathos at how events have transpired for the two main characters, without being maudlin. A beautiful look at love, and the role of war in this, CACTUS IN THE SNOW is an edifying motion picture, and a change of pace for Vietnam veteran-themed movies.

Overview: A. Martin Zweiback was an American director with only one movie in his filmography, being CACTUS IN THE SNOW. He was more active as a writer on several pictures such as THE MAD ROOM, GORP, GRACE QUIGLEY, and ME, NATALIE, including CACTUS IN THE SNOW, and on television. As CACTUS IN THE SNOW was his sole foray into feature films, the review will concentrate on Mr Sweiback's contribution to the movie.

With CACTUS IN THE SNOW, A. Martin Zweiback has made a touching, memorable movie that depicts a different view of Vietnam from what was generally shown in cinema at the time. Many movies in this era were of Vietnam veterans grappling with their return to society, culminating in violent climaxes. CACTUS IN THE SNOW, however, is at the opposite end of the spectrum in this sphere. It is the story of a soldier, Harley, on leave from Vietnam, and his blossoming relationship with Cissy, a spirited young woman. The director has succeeded in bringing this bittersweet, screwy love story to life, but this is not to say that it is a saccharine enterprise with little depth. 

In the early parts of the picture, it appears that this is just a story concerned with discussions of sex, initially stamping CACTUS IN THE SNOW as being an exploitation movie. Thankfully, this threadbare discussion gives way to the affecting two-character structure which compels for the remainder of the film. The unraveling of the love story between these two likable protagonists is the strength of CACTUS IN THE SNOW, and witnessing the to and fro in their fractured, but appealing tale, makes this a winner. While the movie is not for those who crave fast and furious in their storytelling, the subtlety of CACTUS IN THE SNOW is in its intricate, quiet foundation, and character-driven nature. A movie which deserves much more acclaim than it has received over the years, CACTUS IN THE SNOW is a revealing slice of life, and a testament to its director.

Acting: Three thespians dominate CACTUS IN THE SNOW with their incisive portrayals. As soldier Harley MacIntosh, on leave from Vietnam, Richard Thomas is in one of his best early acting performances. A likeable actor with a soothing charm, he is convincing as a young man caught up in a predicament for which he is unprepared, but warms to this as time passes. The object of his longing, Cissy, is a great role for Mary Layne. Her ease with both comedy, and drama more than evident, Miss Layne brings forth a pathos, and zaniness, which perfectly complements Richard Thomas, and makes their pairing work. The final acting contribution to be discussed is that by Dennis Fimple as Mr Murray, proprietor of the carousel which Harley and Cissy visit. Only onscreen in a handful of scenes, nevertheless, Mr Fimple makes an impact with his appearance, making one wish that his role was lengthened further in the movie.

Soundtrack: Joe Parnello's music nicely functions in the background in CACTUS IN THE SNOW without being overpowering. It adds to the pensive, thoughtful, lightly humorous atmosphere for which the film strives, and succeeds in its objective.

Mise-en-scene: The dreamy nature of CACTUS IN THE SNOW is deftly personified by its visual sense. David Walsh's photography is soft and lovely to witness, giving the movie a unique look and aura. Location filming is another plus, with the streetscapes, beach scenes, and roads all attractive to the eyes. Interiors such as Cissy's family home are also pleasing, the style of decor surprisingly holding up well, and not dated in appearance for a movie made in the 1970s. The inclusion of the carousel ride which Harley and Cissy frequent is a pivotal set piece of the story, and is indicative of the romantic, delicate orientation of CACTUS IN THE SNOW.

Notable Acting Performances: Richard Thomas, Mary Layne, Dennis Fimple.

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

Overall Grade: B

Link: IMDB Page

MEDIUM COOL (1969)

Title: MEDIUM COOL

Year of Release: 1969

Director: Haskell Wexler

Genre: Drama

Synopsis: A television cameraman covering the 1968 Democratic Convention becomes caught up in the unrest and racial tensions of the era.

Within a film history context: Movies which centered around a cameraman protagonist were rarely featured in cinema before MEDIUM COOL. The first major example in this respect was Edward Sedgwick's silent THE CAMERAMAN (1928). A photographer tries to find work as an MGM cameraman to become closer to a secretary at the studio, with many ups and downs along the way for him. A Buster Keaton vehicle, it was a box office success for MGM, though not personally for the actor, and souring his association with the studio. MEN OF THE HOUR (1935), directed by Lambert Hillyer, was about two newsreel cameramen, and their rivalry, both professional, and personal, especially with regards to a young woman. Jack Conway's TOO HOT TO HANDLE (1938), centered around an ambitious if unscrupulous newsreel cameraman, meeting, and falling for, an aviatrix in China while covering reports there. CHINA GIRL (1942), directed by Henry Hathaway, was concerned with a newsreel cameraman in China during World War II, and how his attachment to a young woman, who is in danger, prompts him to act against the Japanese. In the case of Jack Donohue's CLOSE-UP (1948), a newsreel cameraman inadvertently becomes embroiled in an unseemly situation when he films a segment outside a bank, thus placing himself in peril. MEDIUM COOL fit easily into the category of films about cameramen, however, it added its own touches.

It shared affiliations with those movies where the lead was a newsreel cameraman, such as MEN OF THE HOUR, TOO HOT TO HANDLE, CHINA GIRL, and CLOSE-UP. TOO HOT TO HANDLE, and CHINA GIRL, had more of a topical edge than the other two examples, with the lead characters covering stories in places of unrest. This is something shared by MEDIUM COOL, in that John's predominate project is the 1968 Democratic National Convention, where opposing groups clash in a very public manner over their beliefs, and value systems. Where MEDIUM COOL diverts from the other examples is that John is a cameraman for a television station, which is an updated version of the newsreel cameraman characters from the 1930s and 1940s. Embedded in this, there is also a subtle message of the coldness of the media, particularly in this case, television, and how it captures disturbances on film, but does not serve an edifying purpose in some instances.

In related areas, the other films with newsreel cameraman were not, as such, pungent examinations of the media. Instead of this, these pictures observed the protagonists' reaction to events, and, largely, their relationship with the opposite sex. The presence of a female love interest was apparent in THE CAMERAMAN, MEN OF THE HOUR, TOO HOT TO HANDLE, and CHINA GIRL In MEDIUM COOL, John had a relationship with a nurse, but this transferred over to his friendship with a young mother and her son. It was not a case of true love here, rather, people coming together under trying circumstances, under the veil of threat. This was something which MEDIUM COOL shared with CHINA GIRL, and its newsreel cameraman, who falls for a young Chinese woman whose life is in danger. A strong movie about a television cameraman and his activities, MEDIUM COOL offers a solid account in this regard.

Overview: Haskell Wexler was an American director who made four feature films in his career. He was infinitely more active in the realm of documentary filmmaking, crafting an additional fourteen movies, and shorts. Mr Wexler was also involved as a cinematographer, and camera operator, on pictures such as THE HOODLUM PRIEST, ANGEL BABY, AMERICA AMERICA, THE BEST MAN, IN THE HEAT OF THE NIGHT, THE THOMAS CROWN AFFAIR, COMING HOME, MATEWAN, STUDS LONIGAN, DAYS OF HEAVEN, and THE ROSE, to name just several examples. As director, Mr Wexler's third movie, LATINO (1985), was the exploration of political unrest in Nicaragua, and the relationship between an American Special Forces Trainer, and a young Nicaraguan woman. FROM WHARF RATS TO LORDS OF THE DOCKS (2007), was Haskell Wexler's final movie. Harry Bridges, an Australian-born, American resident, champion of union rights for waterfront and other workers, was the subject here, as were his many legal battles and other challenges. MEDIUM COOL was Haskell Wexler's first picture, and the film for which he is best remembered.

With MEDIUM COOL, Haskell Wexler has crafted an intense, original motion picture. Following the life of a television cameraman covering the 1968 Democratic National Convention, and other incidents, it is an arresting, thought-provoking film. Mr Haskell has achieved this by concentrating on a small group of characters, specifically cameraman John Cassellis, his associate Gus, and Eileen, the young mother he encounters one day. Supporting characters such as the black man John invites for an interview are also effective, saying much about humanity, points still relevant today. Through these people, Mr Wexler examines the role of television and the media on the lives of both those in this business, and the people who, unfortunately, are often exploited, or caught up in this, through their activism on issues. The documentary aura of the piece, and feel for everyday life and issues, is where MEDIUM COOL is at its peak. The movie is stellar in general, but some areas of the film are less than ideal in retrospect.

MEDIUM COOL has a nervy mood, and atmosphere, which is compelling to witness. It maintains the attention from beginning to end, but one specific scene stands out for its incongruity in the film as a whole. John's relationship with nurse Ruth is something which slows down the picture, and could easily have been removed, as its purpose is limited. Ruth seems to exist solely for the purpose of the male-female nude scene, which does nothing for both her character, and John's. One never finds out more about her as she seems to be in the story one minute, and out the next. Presumably it was to point out how much deeper John and Eileen's connection is in comparison to his escapades with Ruth, but it leaves a sour taste in the mouth. Overall, though, in light of the movie's ambitious aims and powerful execution, it is just a small, tawdry part of a much better whole. MEDIUM COOL deserves the acclaim it has received over time for being a telling view of the life of a cameraman, its vision on the state of humanity, and as Haskell Wexler's best work.

Acting: There are two performances which are distinctive in MEDIUM COOL. As cameraman John Cassellis, Robert Forster offers a solid interpretation of the steely man with a sense of integrity, this discerned more in the latter parts of the film. An actor who took on tough guy roles with regularity, this part allows him to incorporate some vulnerability which is refreshing to see. As Eileen, the woman who unexpectedly comes into John's life, Verna Bloom offers the film's best performance. With her quiet ways, and ability to share her thoughts with the audience, Miss Bloom is a standout in MEDIUM COOL.

Soundtrack: MEDIUM COOL has an eclectic soundtrack which is in keeping with its edgy feel. While there are a number of familiar tunes scattered throughout the movie, in many instances employed to express a sense of irony in scenes, the best musical piece is Mike Bloomfield's theme for the movie. Played during the opening credits sequence, and a number of times in the picture, it has an excitable, compelling, mysterious aura that perfectly complements the film, and what it seeks to achieve in its trendsetting, counterculture manner. 

Mise-en-scene: The visual experience is one that works very well in MEDIUM COOL. Haskell Wexler's cinematography is beautiful, capturing everything onscreen with grace. The picture has many outdoor location sequences, and these are all excellent, and boost the film's realism considerably. The highway on which John and his offsider take photos of an injured woman in a car, the unruly neighborhood of Eileen and her son, and the protest scenes, are all well-orchestrated, and memorable sequences. Verna Fields' editing deftly keeps the attention on the characters, and their plights, without being jittery, which in other pictures of the era unnecessarily distracted from the goings-on to appear fashionable.

Notable Acting Performances: Robert Forster, Verna Bloom.

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

Overall Grade: B

Link: IMDB Page

CAPTAIN MILKSHAKE (1970)

Title: CAPTAIN MILKSHAKE

Year of Release: 1970

Director: Richard Crawford

Genre: Drama, War

Synopsis: A young Marine on leave from the Vietnam War falls for a young woman, and is caught up in a number of antiwar, and counterculture events at this time.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s, which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967), was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with psychological problems played out in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

A most infamous depiction of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Burt Topper's THE HARD RIDE (1971), featured bikers similar to others in the genre, but this time around, the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions between them spill over. On the other hand, Gunther Collins' JUD (1971), was an independent film which followed a Vietnam veteran, and charted his return to society in a most thoughtful manner. Different in scope and character, SKYJACKED (1972), directed by John Guillermin, showcased a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, CAPTAIN MILKSHAKE again surveyed a Vietnam veteran, but diverted in many ways from previous entries.

In surveying the other movies in the genre, it is refreshing that CAPTAIN MILKSHAKE has a Vietnam veteran who is basically well-adjusted psychologically. This was evident also in THE BORN LOSERS, with its mentally-sound lead character, and in JUD, where he managed to maintain a sense of himself, despite being in some stressful situations. Many of the other movies capitalized on the respective veteran's mental instability, such as in MOTORPSYCHO!, ODDO, THE RAVAGER, and WELCOME HOME SOLDIER BOYS. This was mainly employed for visual purposes, whereby violent passages occur with a veteran losing his grip on reality, and turning against those who he feels have wronged him, with innocent people in the firing line in some instances. This was particularly evident in WELCOME HOME SOLDIER BOYS, but the difference with the former films is that it had a well-developed storyline which explored why the veterans wreaked havoc on a small town and its inhabitants. None of this appears in CAPTAIN MILKSHAKE, which gives it a point of difference from the other slam-bang movies.

In CAPTAIN MILKSHAKE, Paul silently ponders his life while having flashbacks of his tour of duty in Vietnam. Viewers are given first-hand knowledge of Paul's thought processes, instead of him exploding for inexplicable reasons, which does stifle the realism of MOTORPSYCHO!, ODDO, and THE RAVAGER. Paul actually enunciates his experiences in Vietnam to other people, setting up a debate on the issue in which the audience can participate. In addition, CAPTAIN MILKSHAKE is also notable for its anti-war sequences featured throughout the movie. This is something that the other movies did not contain as they were straight narratives in comparison to CAPTAIN MILKSHAKE. The segments are slanted toward peace, and anti-Vietnam war sentiments, but, nevertheless, are important as a movie which takes a strong position on war and its aftermath. The scene with the mother of a Vietnam soldier who died in conflict is one of the best scenes in the film, moving in its execution. One of the best of the pictures about Vietnam war veterans, CAPTAIN MILKSHAKE is a candid movie.

Overview: Richard Crawford is an American director with only CAPTAIN MILKSHAKE to his credit. In addition to helming the movie, he also was responsible for the writing, and producing capacities. As he only made a single movie in his career, naturally the overview will concentrate on Mr Crawford's contribution to CAPTAIN MILKSHAKE.

With CAPTAIN MILKSHAKE, Richard Crawford has crafted a thought-provoking and daring motion picture. Taking as its subject a Vietnam veteran who has returned to his hometown on leave, and the many challenges he faces, it is both entertaining but also, an emotional movie experience. Mr Crawford has successfully juxtaposed a number of elements in his film, with the exploration of the lead character and his psychological makeup, late 1960s/early 1970s counterculture, romance, and anti-war sentiments. In general, these mesh well during the course of the movie, and keep things fresh and always evolving. The film is at its height particularly when examining the leisurely romance between carefree, hippy Melissa, and pensive returning veteran Paul, their family interactions, and the various anti-war set pieces the picture features. Story events unfold in a manner which is pleasing to witness, in keeping with the film's measured tone. There are, though, a number of aspects which unfortunately do go against the movie's grain as a whole.

While CAPTAIN MILKSHAKE is observant as a movie in terms of its milieu and characters, it does feel sometimes that it is too keen-eyed in certain instances. These do take up time which could have been better served in more emotional set pieces, a strength of the movie. Several examples come to mind. Paul and his friend visiting the bar with the topless waitress does nothing to further the story, only providing the film with a cheesy, exploitative feel. The scene where Melissa skinny dips in the pool with her friends, likewise where she and Paul do the same in the ocean, are needless, and only offer superficial titillation, but nothing more. Sequences where drugs are featured also seem to drag the film's pace. It could be said that these were representative of the picture's time period, but in retrospect, feel dated. CAPTAIN MILKSHAKE would have done well by looking at Melissa's relationship with her mother, and Paul's with his mother. This would have given them even more background, and a useful back story. In spite of these weaknesses, some things can be said about CAPTAIN MILKSHAKE. It is a sincere movie which convinces viewers of its anti-war stance with style, and in an edifying manner.

Acting: There are six performances in CAPTAIN MILKSHAKE which deserve praise. In the lead role of Marine Paul Fredericks, on leave from Vietnam, Geoff Gage is excellent. With his clean-cut looks and thoughtful manner, Mr Gage leaves one to ponder the absence of a talented actor to cinema. Paul's ladylove, the restless but sensitive Melissa, is played with jazzy appeal by Andrea Cagan. Her subtle anti-establishment leaning, and dislike for niceties, makes Melissa a nice match for Paul. As Paul's mother Mrs Fredericks, Belle Greer is another understated acting interpretation. Her comforting ways, and lack of pretension, steer her to the role of best mother in the movie. Three other actors contribute great work in CAPTAIN MILKSHAKE.

As Thesp, one of Melissa and Paul's friends, and a major instigator of the anti-war movement, David Korn offers yet another distinctive portrayal to CAPTAIN MILKSHAKE. Mr Korn's unique presence lends a visual counterpart to Paul and the other male characters, as a warrior in the picture. Melissa's upwardly mobile mother, Mrs Hamilton, is a small but telling role for Darlene Conley. Her singular presence is rewarding to witness, as it assists in explaining Melissa's reticence for refinement, and is entertaining in and of itself. The final acting of note was by Joanne Moore Jordan as Mrs Randolph, a woman in the anti-war peace rally who has lost her son in Vietnam. Miss Jordan makes clear her stance for the audience, appearing to become emotional at any time, but keeping her composure, ensuring that Mrs Randolph is one of the most telling characters in CAPTAIN MILKSHAKE.

Soundtrack: Despite being a picture of the early 1970s, CAPTAIN MILKSHAKE is pleasingly light-handed in its approach to its soundtrack. The movie could have been weighed down by a frenetic soundtrack, but thankfully is not of this orientation. There are a number of songs played at various moments in the narrative, with some diegetic uses of these. The most prominent is 'Untitled Protest', performed by Country Joe and the Fish. With its clear but no-nonsense take on the topic of war, it is a perfect summing up of the futility of war, adding a foreboding atmosphere to the film's end.

Mise-en-scene: Visually, CAPTAIN MILKSHAKE has much to recommend it. Cinematography by Robert Sherry is beautiful, particularly the beach scenes which the picture utilizes throughout its running time. The contrast between black and white, and colour photography also works well, and provides the film with a stimulating bridge between different scenes. The visual effects by Reggie Hager, Joe Purcell, and Harry Woolman, especially at the movie's conclusion, are also effective, lending it a pathos, and starkness, which haunts the senses.

Notable Acting Performances: Geoff Gage, Andrea Cagan, Belle Greer, David Korn, Darlene Conley, Joanne Moore Jordan.

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

Overall Grade: B

Link: IMDB Page

Trailer

BREAKING AWAY (1979)

Title: BREAKING AWAY

Year of Release: 1979

Director: Peter Yates

Genre: Drama, Sport

Synopsis: A young man from Indiana aspires to race as a professional cyclist.

Within a film history context: Movies about competitive cyclists have not been a common sight on cinema screens before BREAKING AWAY. Maurice Champreux's silent French film LE ROI DEL LA PEDALE (1925), alternate title THE PEDLAR, was about a hotel bell boy who determines to race in the Tour-de-France, and also capture the heart of his ladylove. This three-hour movie has a number of impressive race sequences which have stood up well for their authenticity, and picturesque locations. Comedy 6 DAY BIKE RIDER (1934), directed by Lloyd Bacon, starring Joe E. Brown, was similar in orientation. A man who has lost his girlfriend to a bike rider, tries to win her back by competing in a six-day bike racing competition. Jean Stelli's French movie POUR LE MAILLOT JAUNE (1940), or FOR THE YELLOW JERSEY, was about the romance between a cyclist competing in the Tour-de-France bike race, and a journalist covering this event. BREAKING AWAY was similar to all three of these movies, but diverted in other key areas.

As with LE ROI DEL LA PEDALE, BREAKING AWAY featured a main male character with a single-minded ambition to race in a major cycling event. Both pictures depict the existence of the particular protagonist, with their family lives deftly illustrated. The difficulties on the cyclist in training for the events are also deftly shown, making these films realistic in their presentation. Where Fortune, the cyclist in LE ROI DEL LA PEDALE seeks to win the admiration of a woman, in BREAKING AWAY, though, Dave's first love appears to be cycling. A romantic relationship with Katherine is a pleasing, if secondary notion for him. LE ROI DEL LA PEDALE, and 6 DAY BIKE RIDER, are compatible in terms of a man wanting the attention of a woman by utilizing his athletic prowess to garner affection. Dave in BREAKING AWAY goes in another direction here, wooing Katherine with Italian serenades that are as far away from cycling as one can get. This also paints Dave as a more multi-faceted character, in that he is not Italian himself, and uses these psychological tactics to disarm, and display his tenderness for Katherine. 

Other narrative traits of BREAKING AWAY deviate from the other European movies. BREAKING AWAY also departs from the other examples in the exploration of friendships which it offers. While Dave is the lead, and his psyche explored in an exhaustive fashion, he is contrasted with friends Mike, Cyril and Moocher. These are all young men coming of age, unsure of what to do with their lives, but finding mutual solace in their confusion. This character structure is nowhere to be found in LE ROI DEL LA PEDALE, 6 DAY BIKE RIDER, or POUR LE MAILLOT JAUNE, with their concentration on the main character. BREAKING AWAY additionally offers further insight into Dave via his interactions with his group of best friends, which is also measured against his relationship with his mother, and father. A well-executed of a cyclist, BREAKING AWAY is a pleasing addition to films in this category.

Overview: Peter Yates was a British director who initially made films in the United Kingdom, before working in the United States, and again in Britain. His output was varied in scope, from comedies, musicals, dramas, to thrillers. Mr Yates' first movie, SUMMER HOLIDAY (1963), was a popular musical starring Cliff Richard as a young man who travels with his friends across Europe in a double decker bus, finding adventure, love and fun along the way. In contrast, crime drama ROBBERY (1967), was a filmic account of the infamous 1963 Great Train Robbery, altered to maintain a fictional perspective alongside realistic detail. Peter Yates' next movie was among his most notable, being BULLITT (1968). The story of a hardened San Francisco policeman, and his pursuit of an underworld figure, was both a critical and financial success for Warner Brothers, and a top role for Steve McQueen in the lead. Next came romance JOHN AND MARY (1969), with Dustin Hoffman and Mia Farrow. A man and a woman who meet in a bar, have a one-night stand, and then become acquainted in an emotional sense, was the focus here, but it was not a popular success. The 1970s was a period when some of Peter Yates' best films were released to the public.

Peter Yates' seventh movie THE HOT ROCK (1972), was a heist caper about the pursuit of a valuable diamond from a museum, and the efforts to appropriate it, which are anything but easy for those involved in this comedy drama. Crime of a different nature ruled THE FRIENDS OF EDDIE COYLE (1973). A criminal with his fingers in a number of pies informs on his associates to avoid being jailed for a recent event, but things catch up with him in dramatic fashion. Much lighter in tone was FOR PETE'S SAKE (1974). The raucous tale of a Brooklyn housewife trying to help her husband financially, but coming unstuck time and again, was a deft showcase for Barbra Streisand in the lead, with Michael Sarrazin as her spouse Pete. Peter Yates followed this with another comedy, MOTHER, JUGS & SPEED (1976). The antics of a number of people in opposing ambulance companies for jobs made up the content here, with a cast including Raquel Welch, Harvey Keitel, Larry Hagman, and Bruce Davison. One of Mr Yates' most commercially successful projects came next, being THE DEEP (1977). The story of a pair of divers who stumble upon deep sea treasure in Bermuda, was one of the hits which assisted Columbia Pictures in its turnaround in the late 1970s. The 1980s, and after, were also productive for Peter Yates in a creative sense.

EYEWITNESS (1981), was a tense tale of the relationship between a man who witnesses a murder, and a television reporter covering the crime. Although critically well-regarded, it lost money at the box office. Mr Yates then made a foray into fantasy with KRULL (1983). The battle of a Prince to save his Princess fiancée from aliens from another planet, was another disappointment, with a low box office take, and high production costs, ruling out a healthy return. There was a return to form for the director with THE DRESSER (1983). The close relationship of a theatre actor and his personal assistant was a prestige picture which garnered numerous international film awards, and acclaim for the director, and its cast including Albert Finney, and Tom Courtenay. In SUSPECT (1987), a public defender is assigned the case of a homeless man accused of the murder of a judge's secretary, and from herein things take a murky turn for her in this thriller. An innocent person placed in a horrendous position by being in the wrong place at the wrong time was explored in AN INNOCENT MAN (1989). An airline mechanic going about his life is framed for murder by two corrupt policemen, ending up in jail, but once released, sets a plan in motion seeking revenge on these officers. 

Into the 1990s came YEAR OF THE COMET (1992), for Peter Yates. A valuable bottle of vintage wine from the early 1800s is discovered by a young woman, and this initiates the pursuit of this by various people, with some of these parties having an unethical interest in it. ROOMMATES (1995), starred Peter Falk as an elderly man whose union with his grandson is contrasted in two life stages. It was not a box office success, and critically derided. Peter Yates' penultimate movie, THE RUN OF THE COUNTRY (1995), observed the interaction of a father and his son in an Irish village, and how their strained relationship becomes even more so with the entrance of a young woman into the son's life. As with the previous example, this movie lost money on its release in cinemas. The final picture for Peter Yates was CURTAIN CALL (1998). In this comedy, a man purchases a Manhattan townhouse, and his life is disrupted by the spirits of two people previously living at the residence, who offer him words of wisdom about his life. BREAKING AWAY was Peter Yates' twelfth film, and one of his best-known pictures.

In the case of BREAKING AWAY, Peter Yates has crafted an appealing, consistent movie. Charting the life of an ebullient young man in Bloomington, Indiana, who aspires to be a competitive bike racer, it is a charming film which flows exceedingly well from start, to finish. The viewer is allowed to become an intimate spectator in the life of Dave, his family, and small circle of close-knit friends. There is a breezy sense of wonder, and truth to this movie, which makes it an inspirational ride for its audience. The depiction of the family is one of its sterling qualities, and beautiful in its execution. There are some allusions about class differences made in BREAKING AWAY which work in a subtle way, never becoming tiresome, or overwhelming the movie. These come from the characters on both sides of the class divide, adding poignancy to their situations. The 'haves', being the privileged Indiana University students, are not as such played as all-out villains, and the director manages to even give them a vulnerability which works within the movie's context. BREAKING AWAY, in all respects, does have many qualities to recommend it, but some flaws are obvious in retrospect.

The center of attention in BREAKING AWAY is Dave, and his friends subsequently take a back seat to him in the narrative, but fleshing out their personal lives just that bit more would have given them even more traction in the film. The scenes of Moocher with a young woman are akin to being a teaser in this respect, as this thread is brought forth, and dropped just as rapidly. If it was not included in the first place, it would not be missed. Both Mike, and Cyril, do not have a personal life in the movie as such, and this is disappointing. Mike, in particular, with his rebellious but charismatic nature, is inexplicably never referred to as being attached to a young woman at all. Aside from this, the usage of wealthy Rod, and his friends in the film also is insufficient. While the scenes which feature this group of characters are pithy, having them as a sideline, instead of delving further into what made them tick, was dismaying. Pitting Mike against Rod in extra scenes would have been dynamite, in light of the sequence where they compete against each other in the quarry's waters. Overall, though, despite these limitations, certain facts about BREAKING AWAY are clear. BREAKING AWAY is an enjoyable picture which scores with its views on coming of age, family, class, and happiness, with its sincere presentation.

Acting: The characterizations in BREAKING AWAY are one of its sterling qualities. In the lead role of Dave Stohler, avid bicycle racer and Italophile, Dennis Christopher is excellent. With his multi-faceted performance, Mr Christopher makes his protagonist complicated, yet understandable at the same time. As Dave's strong but sensitive friend Mike, the movie is a showcase for Dennis Quaid. Employing both body language, and expressions in a non-verbal manner, Mr Quaid deftly makes Mike one of the picture's most potent assets. Dave's wistful, knowing mother Evelyn, is expertly portrayed by Barbara Barrie. Miss Barrie plays off Dennis Christopher exceedingly well, convincing the audience they are a mother and son duo. The third cog in this wheel is Ray Strohler, Dave's father, and Evelyn's husband, in the agreeable person of Paul Dooley. Mr Dooley has a realism about his acting, coupled with a subtle zaniness, that makes his Ray a lifelike, and justified figure in the film. 

Three other performances are of note in BREAKING AWAY. As Roy, Mike's policeman older brother, John Ashton affords the movie another true to life performance. Although his role is small, nevertheless, Mr Ashton's authority shines through as Mike's unshakable sibling. Dave's love interest Katherine, is given credence by Robyn Douglass. Miss Douglass' attraction to the ambitious Dave can be keenly felt, and her reaction to his trickery one of the best scenes in BREAKING AWAY. The last important acting contribution is by Hart Bochner as the privileged, discriminatory Rod. With his good looks and understated manner, Mr Bochner makes Rod someone you love to hate, but the final reels display a gentleness which is both unexpected, and gratifying to witness.

Soundtrack: BREAKING AWAY has a great soundtrack which immeasurably assists the movie in its aims. The renowned composer Lionel Newman, long with Twentieth Century Fox, provides a beautiful score which lifts the spirits throughout the picture, enhancing its aspirational qualities. Aside from this, there are several songs featured, the most prominent being 'M' Appari Tutt' amor' performed by Dennis Christopher, as he woos Katherine from her window perch above.

Mise-en-scene: The onscreen experience for viewers of BREAKING AWAY is a convincing one. Matthew Lionetti's photography is consistent, the colour just right, as the film is not garish in tone, but of a more down to earth nature. Outdoor locations are all well-chosen, and boost the movie's naturalistic tone. Editing is another strong point, with Cynthia Scheider's work particularly palpable during the picture's exciting cycling sequences. Lee Poll's set decoration is keenly felt, especially with the Strohler family home, and its comfortable feel exuding the sense of being a real setting.

Notable Acting Performances: Dennis Christopher, Dennis Quaid, Barbara Barrie, Paul Dooley, John Ashton, Robin Douglass, Hart Bochner.

Suitability for young viewers: Parental discretion advised. Low-level violence.

Overall Grade: B

Link: IMDB Page

FRATERNITY ROW (1977)

Title: FRATERNITY ROW

Year of Release: 1977

Director: Thomas J. Tobin

Genre: Drama

Synopsis: At a college fraternity for young men in the 1950s, hazing rears its ugly head, culminating in tragedy.

Within a film history context: Hazing in academic environments was not a common topic in cinema. One of the first to deal with this was Jack Conway's A YANK AT OXFORD (1938). In this story of a young American man trying the find his way at Oxford, he pushes a replacement runner out of the way in the baton race, which leads to his hazing at the hands of fellow students in this comedy-romance. With comedy MR. BELVEDERE GOES TO COLLEGE (1949), directed by Elliott Nugent, an older man enters college as a freshman, and is subjected to a humorous form of hazing for shaving in Whisker Week. Gordon Parry's TOM BROWN'S SCHOOLDAYS (1951), was more serious. The experiences of a young boy at an English public school, with hazing the order of the day from other students, provided the repercussions of such behaviour in this drama. FOR MEN ONLY (1952), directed by Paul Henreid, looked at how a young man in a college fraternity is subjected to intense hazing, which leads to his death. A professor at the college aims to stop hazing at the establishment in light of this tragic outcome. FRATERNITY ROW dealt extensively, and with sensitivity, with the topic of hazing in its story.

The treatment of hazing in FRATERNITY ROW was, far and away, utterly serious, as was the case in FOR MEN ONLY. In this respect, it was fully removed from the light-hearted depictions of hazing in A YANK AT OXFORD, and MR. BELVEDERE GOES TO COLLEGE. These were in line with the overall comic tone of both of these movies, but their intentions were humorous, and not meant to lower the dignity of the person being hazed. FOR MEN ONLY showed how the young man being hazed, in the end, was indirectly killed by being forced out of the fraternity by the other members, and loses control of his car from the emotional stress. The fallout from this brings hazing, and the person mainly responsible for the young man's death, into the spotlight. 

In FRATERNITY ROW, a young man partakes in a dangerous hazing ritual by a sadistic member, and chokes on a piece of liver. The young man's experience here is brought forth in all its horror, and the tragedy of his death affects not only his closest friend but also, his fellow fraternity members, and the members of a female fraternity. The man who caused this event is castigated by the dead man's best friend, and is not as high and mighty as he was prior to this taking place. There is a keen sadness by the spectator felt for Zac in FRATERNITY ROW, to say that a promising young life has been taken away by a cruel and unnecessary ritual that leaves shock, and death, in its wake. Both FOR MEN ONLY, and FRATERNITY ROW express this sentiment, with the latter's presentation heartrending, and a move for change on this front. A solid account of the effect of hazing, FRATERNITY ROW does a creditable job handling this hot topic.

Overview: Thomas J. Tobin is an American director of a single movie, being FRATERNITY ROW. He has been much more active as a producer, editor, and assistant director not only in cinema but also, on television. As FRATERNITY ROW is Thomas Tobin's sole contribution to feature films as a director, the overview with naturally concentrate on his vision for FRATERNITY ROW.

With FRATERNITY ROW, Thomas J. Tobin has crafted a well-structured, intense motion picture. The story of a college fraternity in 1954, particularly spotlighting the insidious practice of hazing in the institution, and the consequences of an incident gone wrong, it is a movie which flows at a leisurely, but assured pace, and never lags or bores. In establishing the characters, and milieu, the initial opening stretches of FRATERNITY ROW are, to be honest, slightly sluggish. Once this passes, though, the film picks up the pieces, and is compelling for its remainder. FRATERNITY ROW possesses attention to detail not only in informing viewers about fraternity life, but also ensures that the viewer cares about the characters. This is a quality which makes the ending so heart-rending but also, elicits anger in the spectator, with a call to take action. There is both a hardness, and softness to this film which give it balance, and works with the material. It is very interesting to note that the movie was a project in which cast and crew from the University of Southern California participated, and is anything but an amateurish production. Additionally, the screenplay by Charles Gary Allison was based upon his university dissertation about a real-life fraternity occurrence resulting in death. Both of these hold the movie in good stead, imbuing it with realism. An above-average picture about a topic which will always be a bone of contention, FRATERNITY ROW makes one wish that Thomas J. Tobin had helmed another movie.

Acting: An attractive and talented cast have been assembled for FRATERNITY ROW who give their best on screen. As college pledgemaster Rodger Carter, Peter Fox provides the human core of the story, and his interactions with the other characters ensure its emotive delivery. With his strong but earnest presence, Mr Fox is the perfect lead. Rodger's best friend, Zac Sterling is given panache, and appealing idealism by Gregory Harrison. The teaming of both Peter Fox and Gregory Harrison is another asset to FRATERNITY ROW, their relationship real for all to witness, and savour. Rodger's love interest, the vituperative, by the book Betty Ann Martin, is given edginess, and style, by Wendy Phillips. With her ability to play not only the malevolent but also, the vulnerable sides of Betty Ann, Miss Phillips is a three-dimensional, fascinating spitfire. 

At the opposite end of the spectrum is Jennifer Harris, Zac's girlfriend, played with delicacy by Nancy Morgan. Aside from a nice chemistry with Gregory Harrison, Miss Morgan's explosive scene with Wendy Phillips' Betty Ann is something to behold. The final acting of note was by Scott Newman as sadistic pledgemaster Chunk Cherry, whose preoccupation with hazing sets up the film's final act. Mr Newman brings it all to the table with his larger-than-life persona and physical presence, but whose facial expressions make sure that the audience can attest to some glimmers of humanity. A skilled actor for whom this was his final role, Mr Newman was gone way too soon, but here is at his best.

Soundtrack: FRATERNITY ROW showcases a number of tunes throughout its running time, but interspersed nicely at appropriate moments in the story. The movie is careful to never overwhelm with its musical choices, which works in its favour. The best use of music is during the closing credits sequence, played to Don McLean's ethereal rendition of 'If You Can Dream'. This beautiful piece sums up the raison d'etre of FRATERNITY ROW, and adds a palpable emotional force to what is already a potent, compelling motion picture.

Mise-en-scene: The onscreen experience is especially convincing for viewers of FRATERNITY ROW. Cinematographer Peter Gibbons' subtle use of colour is effective, capturing the 1950s in a muted manner which is anything but longing for the nostalgic, which is not the movie's intent by any means. Authenticity is also established by the employment of real-life university locations which command attention, and verisimilitude. Interiors are also of a high standard, with the young mens' fraternity house a standout. One of the most notable features of FRATERNITY ROW is both its opening, and closing credit sequences. The contrast between these speak of the picture as a whole. The opening, with its shots of both male, and female fraternities, seeks to inform the viewer of the history of these, with its lively musical accompaniment. The closing credits are entirely contrary, with its rolling credits set against a black background, and solemn tune. This reflects what has taken place during the course of the film, and what the audience has learned not only about the characters, but about the fragility of life, and the impact of this on their own existence.

Notable Acting Performances: Peter Fox, Gregory Harrison, Wendy Phillips, Nancy Morgan, Scott Newman.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer

WALL OF NOISE (1963)

Title: WALL OF NOISE 

Year of Release: 1963

Director: Richard Wilson

Genre: Drama, Sport

Synopsis: An ambitious horse trainer's problems on the track extend into his busy personal life, especially with the opposite sex.

Within a film history context: Films which have a horse trainer as their central character have been quite sporadic in cinema history. One of the first major examples was Milton Carruth's BREEZING HOME (1937). The trials and travails of a horse trainer who falls in with some unscrupulous types, but is not drawn into their machinations, were the focus of this movie, along with the lead's romances. SPEED TO BURN (1938), directed by Otto Brower, had a young adult horse trainer who goes through a number of perilous situations, and encounters surly people, in order to see his horse run in the race. S. Sylvan Simon's SPORTING BLOOD (1940), starred Robert Young as a complicated young man who returns to his home town, and seeks to train a horse for a race. He finds not only support and romance, but also, misgivings on the part of others, due to his father's past. HOME IN INDIANA (1944), directed by Henry Hathaway, had an impulsive young man train horses, but not without distraction from the young women who seek to attract, and win his attention. Clarence Brown's NATIONAL VELVET (1944), was the classic story of a budding young equestrienne, and her association with a footloose young man, who together aim to train her horse for a major English racing competition. 

With THE RED STALLION (1947), directed by Lesley Selander, a young boy trains a horse in order to assist his grandmother with her expenses, but finds some nice surprises along the way in his journey. Joseph Newman's THE GREAT DAN PATCH (1949), was based upon the real-life story of racing horse Dan Patch, and his trainer's difficulties not only with the equine but also, his personal troubles. THE STORY OF SEABISCUIT (1949), directed by David Butler, was another example of a true story adapted for the screen. Here, the real-life racing exploits of horse Seabiscuit are the focus, with a trainer's niece falling for a jockey in this family movie. Frank Capra's comedy RIDING HIGH (1950), followed a man whose family want him to take a conventional route in life and participate in the family business, but whose heart lies in horse racing. WALL OF NOISE was one of the most serious of the entries about a horse trainer compared to other examples.

Several of the films, such as SPEED TO BURN, HOME IN INDIANA, NATIONAL VELVET, and THE RED STALLION, featured young adults who trained horses. These largely eschewed romantic subplots, with the exception of HOME IN INDIANA, and were of a family orientation. There was also a subtle coming of age theme present in these pictures, with the young men in question finding not only themselves but also, their purpose in life. WALL OF NOISE was allied more to the films which had an adult horse trainer, with BREEZING HOME, SPORTING BLOOD, THE GREAT DAN PATCH, THE STORY OF SEABISCUIT, and RIDING HIGH. Where WALL OF NOISE diverted was in its mature, intricate storytelling style, where sentimentality was not a presiding feature of the movie. The happy feelings evoked by RIDING HIGH, for example, were not present in WALL OF NOISE, with this film's emphasis of a dramatic nature. This is obvious in many areas of the movie. 

The horse trainer in WALL OF NOISE, Joel Tarrant, was uncompromising, and unsparing in his devotion to his sport, despite the many pitfalls it possesses for him. This gave WALL OF NOISE a harder, more compelling edge which the more conventional narratives could not offer. The other characters in the picture were similarly three-dimensional in their presentation, ensuring that the movie was geared to appeal to an adult audience, rather than to younger viewers. Romance is an area which WALL OF NOISE does not enter, keeping matters on a less mawkish level. Joel does have two dalliances with women in the film, but these exhibit the character's dispassionate feelings towards the opposite sex, not utilizing a softer approach in this arena. An intelligent examination of a horse trainer, and his dealings with those in this set, WALL OF NOISE is a perceptive movie.

Overview: Richard Wilson was an American director of eight motion pictures in his career over a fifteen-year period, from 1955 until 1970. His movies were mainly dramas, with two westerns, and several crime pictures among these. Mr Wilson's first movie, MAN WITH THE GUN (1955), was a western about a mysterious man who arrives in a small town, seeking to restore law and order. In crime drama THE BIG BOODLE (1957), a blackjack dealer is caught in a web of corruption and deceit linked to counterfeit money. Film noir was on the agenda for Richard Wilson with RAW WIND IN EDEN (1958). The arrival of a model, and her friend on a remote Mediterranean island causes waves for a man and his daughter, specifically of the romantic kind. AL CAPONE (1959), was the director's interpretation of the life of the infamous gangster, charting his ascent as crime kingpin, to his jailing. Aside from providing Rod Steiger with a showy role as Al Capone, it was one of the most popular films of its year. 

Crime once again was the focal point of PAY OR DIE! (1960). The career of real-life New York City police officer Joseph Petrosino was examined, particularly his fight against the Manhattan Black Hand racket of the early 1900s. Western INVITATION TO A GUNFIGHTER (1964), followed a gunfighter returning to his home, and finding himself not only without his home but also, marked opposition to his presence on a large scale by the town's inhabitants. THREE IN THE ATTIC (1968), was in contrast to Mr Wilson's other movies. A Don Juan romances three young women simultaneously, but their discovery of his activities leads them to lock him in an attic, where they take turns at having their way with him. Though not critically acclaimed, it was nevertheless a financial success for American International Pictures. WALL OF NOISE was Richard Wilson's sixth picture, and one of his most solid efforts.

With WALL OF NOISE, Richard Wilson has made a smoothly executed, nifty film. Taking the horse racing industry as its centerpiece, especially concentrating upon its lead character, driven horse trainer Joel Tarrant, and the assorted colorful people he encounters, it is a crisply made picture. The director has ensured that the story follows a logical and interesting course, with many surprising twists and turns throughout its running time. Scenes are all perfectly timed and never rushed, the viewer finding out exactly what the characters want, and why. Their passions are all real, and understandable. Some personalities in the movie may appear all bluster on the surface, but the screenplay assists the spectator to look deeper into what motivates these people. Aside from this, the background details of the horse racing industry itself are fascinating to witness, as are the wheeling and dealing to which many of the characters are given. It is obvious that time and effort have gone into research to make the movie as authentic as possible. An insightful peek into the racing world, WALL OF NOISE is an entertaining motion picture from director Richard Wilson.

Acting: WALL OF NOISE has stimulating performances which make the movie an enjoyable experience. In the lead role of Joel Tarrant, hard as nails horse trainer, Ty Hardin is excellent. A handsome actor with a surprising vulnerability which is displayed at just the right time in the film, his acting is strong here. The married woman who turns Joel's head, Laura Rubio, is given shading and humor by Suzanne Pleshette. A lovely actress with a knack for creating mysterious, but earthy heroines, Miss Pleshette's smoky voice and poise remain in the memory. The charismatic, complicated Matt Rubio, construction mogul and racing dabbler, is a sublime turn by Ralph Meeker. Flashing his ever-ready smile, spouting his endless list of schemes, and witty comebacks, Mr Meeker's Matt is a fascinating presence in WALL OF NOISE. Four other performances deserve mention in WALL OF NOISE.

Barnstorming modelling agency owner, and horse enthusiast Johnny Papadakis, is played with vigor by Simon Oakland. With his volatility and cutthroat ways, Mr Oakland turns what could have been a caricature into a distinctive persona. Joel's erstwhile flame Ann is given nuance and depth by Dorothy Provine. Although never a victim who takes things lying down, Ann is hard done by several people in the film, and ably captures the audience's sympathy, ensuring that they are rooting for her to have a happy ending. Spunky jockey Bud Kelsey, who takes a protective stance towards Ann, is given oomph by Jimmy Murphy. With his readiness to defend and attack, and ability to stand up for himself unequivocally, Mr Murphy offers a punchy interpretation of the lively jockey. The final acting of merit was by Murray Matheson as Jack Matlock, Joel's confidant. With his quiet, yet worldly, and philosophical ways, Mr Matheson adds a touch of class, and international pizazz, to WALL OF NOISE.

Soundtrack: William Lava's score is pleasing, adding just the correct amount of boldness, and majesty to WALL OF NOISE. Always measured, never overwhelming scenes, but emphasizing these in the best possible manner, it is a classic-style score which works. 

Mise-en-scene: WALL OF NOISE is a quality product, and this is reflected in what is presented on screen. The black and white cinematography by Lucien Ballard is beautiful, ensuring everything in front of the camera is captured in a crystal clear way. Lighting is also spot on, successfully making outdoor studio sequences convincing. Set decoration by John Austin is also notable, with the chic restaurant which Joel and Laura visit, and Laura's home two of the standouts. Costuming by Howard Shoup works on a subtle level, more marked by the female characters. The wardrobe for Suzanne Pleshette alternates between elegant daywear, and elaborate after five garments, while Dorothy Provine's costuming is toned down, but still stylish.

Notable Acting Performances: Ty Hardin, Suzanne Pleshette, Ralph Meeker, Simon Oakland, Dorothy Provine, Jimmy Murphy, Murray Matheson.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page