THE STRAWBERRY STATEMENT (1970)

Title: THE STRAWBERRY STATEMENT

Year of Release: 1970

Director: Stuart Hagmann

Genre: Drama

Synopsis: A young university student becomes involved in the student protest movement, despite his initial qualms.

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was a confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies it has a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating. It led to a sequel in 1970 being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. Also raucous was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. 

SKIDOO (1968), directed by Otto Preminger, was a comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, and not a financial success in its original release. Bob Rafelson's HEAD (1968) was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a young deaf woman looking for her brother in San Francisco, and how through this odyssey she encounters wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. 

In a slightly more thoughtful style was ALICE'S RESTAURANT (1969), directed by Arthur Penn. A young man tries to avoid being drafted to Vietnam, becoming involved with a restaurant owner, being the titular Alice, and a group of other offbeat characters in the process. One of the most famous counterculture movies was Dennis Hopper's EASY RIDER (1969). Two bikers embark on a journey across the United States, and find not only freedom but also, resistance to them, which leads to tragedy. A poetic film that was a tremendous success upon its initial release, it was emblematic of its time. CHANGES (1969), directed by Hall Bartlett, was notable in being one of the softer, more romantic films of counterculture ideals. A young man has relationships with three different women, searching for meaning in his life, but finding matters difficult. THE STRAWBERRY STATEMENT was alike many of the above films in terms of its counterculture point of view, but had its own distinguishing features.

Unlike movies such as THE HAPPENING, SKIDOO, HEAD, and I LOVE YOU, ALICE B. TOKLAS, which had a broad comic tone, THE STRAWBERRY STATEMENT had a more subtle sense of humor which was in keeping with its overarching dramatic focus. While Simon, the movie's protagonist, was in contact with several wacky characters over the course of the narrative, and, in addition, had his own zaniness, these elements were handled in a subdued manner. These predominately offered an insight into Simon and his life than just existing for comic effect, something the previously-mentioned films could be seen as possessing. In this way, THE STRAWBERRY STATEMENT came closest to ALICE'S RESTAURANT in a melding of both lighter, and serious moments. Funny events occur from time to time, but they are, by and large, supported by a dramatic backbone. The scenes of men being drafted for Vietnam in ALICE'S RESTAURANT, as with the protest sequences in THE STRAWBERRY STATEMENT, are among the most honest, revealing moments in both motion pictures. Other facets of the movie are also worth exploring.

The theme of discontent, leading to characters embracing counterculture ideals is where THE STRAWBERRT STATEMENT is at its best. The gradual acclimatizing of Simon into the student protest movement is witnessed by viewers across the entire movie. In the beginning he is hesitant toward this, but finally realizes that it is something in which he believes, and can fight for. This mirrors the descent of THE TRIP's main character into the drug scene, and how the rock singer in WILD IN THE STREETS falls under the spell of power, and becomes someone different than what he was in the beginning of the film. While WILD IN THE STREET's protagonist Max did have violent tendencies which the movie portrayed, Simon in THE STRAWBERRY STATEMENT appeared pacifist in his ideals, and not wishing to become involved in the protest movement. There is a swing from one belief system to another in the movie for its main character which makes sense, but he himself does not become a villain, as occurred with WILD IN THE STREET's Max Frost. The transition makes sense without being over the top, or cartoonish, of which WILD IN THE STREETS could be accused. There is, though, another aspect where THE STRAWBERRY STATEMENT diverts from other films in the genre.

The use of drugs by characters in THE STRAWBERRY STATEMENT is also notable when compared to other entries. THE TRIP and EASY RIDER had a particular emphasis on the topic, with many consequences detailed such as lives spinning out of control in the former movie, and tripping out in the latter, likewise with PSYCH-OUT and ALICE'S RESTAURANT. The more comical effects of drugs on show in I LOVE YOU, ALICE B. TOKLAS and SKIDOO were in another category, but there did not appear to be lasting consequences of these on the characters, in line with the flippant tone of these pictures. In THE STRAWBERRY STATEMENT Simon mentions that he did experiment with recreational drugs at one point, but that these affected his cognitive functions. This is far and away a novel view of drugs for a counterculture movie, but it suits the material. The film does indeed chart the private life of Simon, but is more entrenched in the student protest theme, and romance between Simon and Linda, than in the subject of narcotics. The romance angle between Simon and Linda is reminiscent of CHANGES' Kent, and his various liaisons, but in THE STRAWBERRY STATEMENT this takes a backseat to the mechanics of student protests. An interesting variation on the counterculture theme, THE STRAWBERRY STATEMENT is striking in its execution of this late 1960s/early 1970s film genre.

Overview: Stuart Hagmann was a film director with only two motion pictures to his credit, being THE STRAWBERRY STATEMENT (1970) and BELIEVE IN ME (1971). Mr Hagmann was more active in television, directing episodes of series, and two telemovies. His second movie, BELIEVE IN ME, was the story of a medical student and a young woman who fall into drug addiction, the film charting their many subsequent difficulties and hardships. Marking Mr Hagmann's screen debut, THE STRAWBERRY STATEMENT, overall, is a satisfactory film. Stuart Hagmann has made a movie that nicely captures the mood of dissent and counterculture that was present in the United States of the late 1960s, and early 1970s. He adequately makes the case for student revolt against the establishment, this building nicely through the course of the picture. There are some effective set pieces such as the protest scenes, and the reaction of the public to these, keeping vigil by candlelight. While the film has certain discernable assets, it also has liabilities which detract from its power.

THE STRAWBERRY STATEMENT delivers a passable story experience for the viewer that makes sense, but is hampered by the director's insistence on visual gymnastics. For example, there might be a scene that is compelling to watch on its own account, by is followed by the camera zooming, taking in odd angles and the like, which proves to be distracting. It does nothing but make the film choppy and slightly superficial, which would not have been the intention of its makers. If the movie did away with its flashy excesses, or at least toned them down a little, it would have been better. One wants to become emotionally involved in the diegetic world, and feel what its characters do, but the technical stuff does get in the way. One of the only segments where the camerawork does do it justice is in the lead up to, and during the climactic protest. The overhead camera shots in the hall as the students chant are effective, the darting from one character to another during the protest a standout sequence. The movie, though, has another tendency that makes it frustrating to watch at times.

THE STRAWBERRY STATEMENT tries to be edgy and modish in its storytelling, but, in doing so, does hop from one situation to another with regularity. The film is faithful to its lead character, and depicts the account of a pacifist young man who becomes involved in student politics with clarity. The many diversions to the main story, such as Simon's tussle with a blonde woman in the office, and cutting back and forth from the heated anger of the students, though, do make the film lose steam. If the movie tightened its focus even more on its main character, and excised the extraneous scenes such as those previously-mentioned, it would be been a more polished product. One of THE STRAWBERRY STATMENTS's best features is the romance between Simon and Linda. The chemistry is there, one wants them to be together, but the crisscrossing of events away from them does subtract somewhat from its power, but the film's final few scenes make up for this. It leaves the impression of a skittish film that is trying to be too much all at once, but not following through with the positive elements that are already there. A sound film that one feels would have been better with a steadier hand, THE STRAWBERRY STATEMENT nonetheless is a watchable, but flawed piece of filmmaking.

Acting: THE STRAWBERRY STATEMENT features several meaningful performances from its cast. In the lead role of Simon, Bruce Davison is exceptional. A genial actor who makes his character intensely interesting, likable and credible, his presence boosts what is sometimes a lackluster movie. As Simon's love interest Linda, Kim Darby provides another authentic screen performance. An actress skilled at both comedy and drama, Miss Darby knows how to make it all real, particularly in the film's final stretches. As Swatch, a commanding presence in the student protest movement, Michael Margotta contributes another distinctive, if all too short cameo in the movie. With his eye patch and steady voice, Mr Margotta brings a sense of authority, with quirkiness, to THE STRAWBERRY STATEMENT. The final acting of note was by James Coco as the grocery store shopkeeper. With his insistent speaking voice, shifty eyes, and sense of whimsy, Mr Coco also emits a great irreverent vibe in his brief appearance.

Soundtrack: THE STRAWBERRY STATEMENT has a number of songs of the era on its soundtrack. The most memorable is 'The Circle Game', beautifully performed by Buffy Sainte-Marie. Played at both the beginning, and ending of the picture, in common with many films of the period, it allows the viewer in retrospect to compare, and contrast the movie at these times, and how events unfolded to bring about the conclusion. Aside from this, there is also the notable use of 'Our House', sung by Crosby, Stills, Nash and Young, during the scenes where Simon and Linda play at the carnival.

Mise-en-scene: THE STRAWBERRY STATEMENT has excellent attention to what appears on screen in many departments. Cinematography by Ralph Woolsey is careful to not be too colorful but never pallid, in keeping with the movie's easy-going feel. Exterior locations such as the university courtyard, the streets of San Francisco, and other locales such as the park where Simon and Linda are accosted, are all well-chosen, and make sense in the film's diegetic world. While the film does have many segments with eye-popping camera effects, which sometimes become distracting, regardless of this, these do demonstrate a keenness not only to experiment but also, deliver an innovative experience for viewers.

Notable Acting Performances: Bruce Davison, Kim Darby, Michael Margotta, James Coco.

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

Overall Grade: C

Link: IMDB Page

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BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME (1971)

Title: BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME

Year of Release: 1971

Director: Jeffrey Young

Genre: Drama

Synopsis: Beatnik student Gnossos Pappadopoulis makes waves, and rubs many people up the wrong way in an American college in 1958.

Within a film history context: Movies which feature a beatnik protagonist were present to a small degree in cinema before 1971. One of the first was Howard Koch's UNTAMED YOUTH (1957). In this movie, two unruly young women are sentenced, and sent to a farm to straighten out after indulging in illicit activities in this irreverent film. Another movie in a similar style was DADDY-O (1958), directed by Lou Place. Here, an unconventional young man working as a truck driver is challenged by a young woman in a sports car to a race, but is arrested and loses his license. He then begins work singing in a nightclub, and becomes caught up in intrigue and drug dealing. More blatant in its intent was Charles Haas' THE BEAT GENERATION (1959). A misogynistic beatnik responsible for the rapes of women in Los Angeles is pursued by a detective who becomes obsessed with catching him at all costs. Slightly different in mood was A BUCKET OF BLOOD (1959), directed by Roger Corman. Featuring a number of beatnik characters, it was about a busboy who, after seeing the clay statue of a dead cat, begins to carry out murderous acts to produce further works of sick art, in this black comedy. Exploitation was also prevalent in Julian Roffman's THE BLOODY BROOD (1959). The story of a psychotic beatnik who becomes mixed up in mayhem, and murder, with other beatniks gave Peter Falk a showy lead role. Another wild film about beatniks was in the form of A COOL SOUND FROM HELL (1959), directed by Sidney J. Furie. A young beatnik becomes enmeshed in drug dealing and other activities, pining for a promiscuous eatnik young woman, while his true love lays low for him. Into the 1960s, further movies about beatniks and their adventures were on cinema screens.

Ranald MacDougall's THE SUBTERRANEANS (1960) had a male novelist fall for a beautiful beatnik, and become involved with her crowd, with romantic problems occurring due to their incompatibility.  The lead character of WILD FOR KICKS (1960), directed by Edmond T. Greville, was a viper whose dealings with beatniks brought her nothing but trouble. A humorous look at beatniks, though, was in Henry Koster's TAKE HER, SHE'S MINE (1963). A young American woman in Paris studying at college hooks up with beatnik friends, as described to her father in her letters to him, and he determines to extricate her from them, with many moments of hilarity unravelling. At the other end of the spectrum was THE FAT BLACK PUSSYCAT (1963), directed by Harold Lea. Revolving around the murders of three young women, linked by their wearing of high heels, and the investigator attempting to solve the case, but finding difficulties dealing with the world of beatniks into which he is plunged in the process. 

The positing of beatniks as evil was evident in Guy Hamilton's THE PARTY'S OVER (1965). In a similar manner to TAKE HER, SHE'S MINE, but lacking its comedy angle, a young American woman falls in with beatniks in England, the lines blurring between fantasy and reality, which leads to tragedy. The exploitation BLOOD BATH (1966), directed by Jack Hill and Stephanie Rothman, had a number of beatnik characters, with their café hangout one of the locales in this horror movie. Thoroughly contrasting was George Seaton's unconventional WHAT'S SO BAD ABOUT FEELING GOOD? (1968). This film had a beatnik man living a wacky life in a New York loft, and having many zany adventures along the way. In comparison to the majority of movies dealing with beatnik themes, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME was of a more serious nature.

It lacked the sensationalism that marked films such as UNTAMED YOUTH, DADDY-O, and THE BEAT GENERATION, and many others which had beatniks involved in mayhem, murder, and other illicit, and illegal activities. While Gnossos, the protagonist of BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME, creates controversy with his actions and behaviour, as the saying goes, stirring the proverbial pot wherever he is, the film is a character-driven piece more than one founded on spectacle, or eye-catching set pieces. The viewer gets to know Gnossos on an intimate level, and while one may not agree with what he does, and says in many instances, there is an innate understanding as to why he acts as he does. It is a deep, intense characterization than the more casual, shallow interpretations of beatniks in titles such as A BUCKET OF BLOOD, which oftentimes can be two-dimensional in scope. Related features of BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME set it apart from other movies about beatniks.

The concentration upon a central character is something that other entries such as A COOL SOUND FROM HELL, WILD FOR KICKS, and THE PARTY'S OVER share, but in BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME there is a broadening of narrative events which displays Gnossos in many different lights. BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME has a blend of romance, drama, tragedy, student politics, political intrigue, and whimsy, that moves beyond trapping its beatnik character as being either good or bad, nice or nasty. It is a much more ambitious storyline than others in the genre, taking in a variety of events, and away from stereotypical views of beatniks as just people who read poetry, and take recreational drugs. While there are some scenes of Gnossos using drugs, these are the sequences that are possibly the most out there in the movie, utilizing psychedelic colour schemes and fuzzy camerawork. These scenes, though, are in the minority overall. A film with some thoughtful moments, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is an interesting movie which tries to make its beatnik character a more fully-rounded person than previous pictures in the genre.

Overview: Jeffrey Young was an American director of a sole feature film, being BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME. As this is the case, this overview shall concentrate on Mr Young's directorial contribution on this movie. In looking at the picture overall, Jeffrey Young has done a satisfactory job with BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME. Adapted from Richard Farina's 1966 novel, it is about a radical student attending a conservative college in the late 1950s, and his clashes with almost everyone in the story, due to his counterculture ideals. Mr Young has made a film that has a nice flow to it, and a solemn mood that provides the movie a pensive atmosphere which assists it. The scenes are suitable in length, deftly delving into not only the mindset of its protagonist but also, the supporting characters. While the film does have a number of favorable points, there are certain weaknesses discerned when the movie is examined in further detail.

In trying to cover all the bases, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME, unfortunately, becomes overloaded. Possibly this has occurred as the director has attempted to be as true to the book as he could, but the sheer number of elements renders the film ubiquitous. This takes place many times in cinema and is probably not the intention of the filmmakers, but excising segments would have considerably strengthened the movie. BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is at its best when it follows Gnossos, particularly during the parts where he rebels against the conventions of the college, indulging in student politics, and his romance with Kristin, which has a touching ring to it. His intimate conversations with other such as Beth are also interesting, and add dimension to the life of Gnossos. These are the scenes that have the most weight in the movie. 

The more humorous scenes such as Gnossos seducing a young woman at the beginning, his part with Father Pettis, and Gnossos cooking in the nude worked on another level, giving the character depth, and not only being a non-conformist in a confrontational manner. What does not work as well is the opening sequence, where the viewer is led to believe that they are in AMERICAN GRAFFITI-style nostalgia territory, and the film's last scenes of political intrigue, set in Cuba. This last stretch is the most threadbare of the entire film, and does nothing for it. What distinguishes this segment is that there is no sense of tragedy present, or that the lead character has really learned anything here. It goes off on a tangent, without any real effect. If the film could have ended earlier, such as Gnossos leaving the college, and having a big emotional scene, it would have worked better. As it is, the film leads nowhere at the end, which is a disappointment. A movie bursting with aspiration, but not able to deliver an entirely coherent viewing experience, BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is notable as a movie that could have been much better with suitable streamlining.

Acting: BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME is a film with great performances, and others where, unfortunately, some actors are not fully utilized. Barry Primus is excellent as Gnossos Pappadopoulis, the protagonist of the movie. An actor able to project many emotions, creating a thoroughly rounded, realistic character, his acting propels the movie, making what is at times a turgid film into one with power. Linda De Coff, as Kristin, Gnossos' girlfriend, perfectly matches with Mr Primus, their relationship one of the brightest spots of the movie. Her relaxed Kristin is a contrast to the passionate, intense Gnossos, and works. As Beth, Cynthia Harris provides some striking moments in her brief screen time as Gnossos' friend, who imparts some home truths to him. Marian Clarke, as Pamela Watson-May, the woman Gnossos tantalizes at the film's start, is played with sincerity and charm by the actress. On the other hand, Bruce Davison is wasted in a small role as Fitzgore, one of Gnossos' friends. While he does very well in his part, one wishes that he would have been showcased more in the film. Susan Tyrrell succumbs to a similar fate in a tiny role as Jack, an acquaintance of Gnossos. An actress with a distinctive look and manner, as with Bruce Davison, there is a definite yearning to see more of her in the movie, as she could have contributed further than what appeared in the finished product.

Soundtrack: BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME has a lean soundtrack, mainly consisting of musical pieces at the beginning and end of the movie. There are some diegetic 1950s tunes played at the start of the film which give a nice feel of the era without being too overpowering.

Mise-en-scene: The picture employs both its indoor, and outdoor locations very well. Cinematography by Urs Ferrer is subtle, neither washed out, nor too bright, but properly measured, suiting the movie's thoughtful tone. The indoor scenes of Gnossos and his friends at the university, and in his small bohemian apartment, all appear authentic, his home especially reflective of Gnossos and his wayward life. Location filming is also excellent, with college milieu effectively conveyed to the viewer, and the lakeside sequences of Gnossos and Kristin are beautifully shot and executed.

Notable Acting Performances: Barry Primus, Linda De Coff, Cynthia Harris, Bruce Davison, Marian Clarke.

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

Overall Grade: C

Link: IMDB Page