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

MAKING LOVE (1982)

Title: MAKING LOVE

Year of Release: 1982

Director: Arthur Hiller

Genre: Drama

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: B

Link: IMDB Page

Trailer