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

THE BELL JAR (1979)

Title: THE BELL JAR

Year of Release: 1979

Director: Larry Peerce

Genre: Drama

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: A

Link: IMDB Page