THUMB TRIPPING (1972)

Title: THUMB TRIPPING

Year of Release: 1972

Director: Quentin Masters

Genre: Drama

Synopsis: A young man and woman meet while hitchhiking in California, having various experiences together, learning about life, and each other along the journey.

Within a film history context: Films which feature hitchhiking characters have been around in cinema since the silent era. E. Mason Hopper's THE RIGHT DIRECTION (1916) is an early documented example of this. A young woman begins hitchhiking to take herself, and her younger brother, to a better life away from their miserable existence, and finds problems with the family of the man who picks up her and her brother. One of the most famous scenes of hitchhiking can be found in IT HAPPENED ONE NIGHT (1934), directed by Frank Capra. With Claudette Colbert attempting to gain a ride for her and Clark Gable in a most amusing sequence, it was one of the best ever scenes of hitchhiking to be presented in cinema. William Dieterle's DR. SOCRATES (1935) had a supporting character who was a hitchhiker, in this crime film which starred Paul Muni in the title role. In the overtly titled HITCH HIKE LADY (1935), directed by Aubrey Scotto, a mature woman hitchhikes from New York to California to visit her son, who, unbeknown to her, is in jail. With Leigh Jason's THAT GIRL FROM PARIS (1936), an opera star hitchhikes after leaving her husband-to-be in the lurch, and encounters romance and adventure while hitchhiking. On the other hand, HEAVEN WITH A BARBED WIRE FENCE (1939), directed by Ricardo Cortez, starred Glenn Ford as a young man who hitchhikes across America, accompanied by another man and a woman, to reach his land in Arizona. As with the 1930s and prior, the 1940s also had varied hitchhiking scenarios.

Preston Sturges' SULLIVAN'S TRAVELS (1941), the story of a film director who conducts unconventional research as a vagrant for his next movie, finding romance along the way, featured a lead character, played by Joel McCrea, who hitchhiked as part of his personal journey. DETOUR (1945), directed by Edgar G. Ulmer, was much more dramatic. As with SULLIVAN'S TRAVELS, it also had a hitchhiking male protagonist, this time a pianist who becomes enmeshed in intrigue, taking on the identity of the mysterious man with whom he rode. Tay Garnett's THE POSTMAN ALWAYS RINGS TWICE (1946) had a central character who hitchhiked his way into the lives of others in the movie, causing torment. Another film with a shady hitchhiker was THE DEVIL THUMBS A RIDE (1947), directed by Felix Feist. In this tale, an upstanding man takes in a murderous hitchhiker, with many unexpected consequences. Similar to THE POSTMAN ALWAYS RINGS TWICE, Delmer Daves' DARK PASSAGE (1947), began with a main character who hitchhikes to another life, this time escaping from jail, leading to an intricate set of compelling events. Into the 1950s, there were equally interesting hitchhiking scenarios and characters.

As with the films of the mid to late 1940s with their dark post-war premises, TOMORROW IS ANOTHER DAY (1951), directed by Felix Feist, follows a couple involved in a crime who hitchhike to evade capture. Dangerous hitchhikers are again presented in Ida Lupino's THE HITCH-HIKER (1953). In this movie, two fishermen make the grave error of picking up a psychotic man who gives them a chilling pronouncement - after they arrive at their destination, he will kill both of them. Equally tense was THE NIGHT HOLDS TERROR (1955), directed by Andrew L. Stone. A wealthy man picks up a hitchhiker who, along with several others, cause mayhem for the man and his family. In a more exploitation, but surprising vein was Charles Saunders' KILL HER GENTLY (1957). A man picks up two hitchhikers who are wanted criminals, but does not turn them over to the authorities, instead, he propositions them to murder his wife. As with other film decades, the 1960s also had diverse hitchhiking themed films.

A benign view of hitchhiking was brought forth by the Elvis Presley vehicle IT HAPPENED AT THE WORLD'S FAIR (1963), directed by Norman Taurog. Here, two friends hitchhike to the Seattle World Fair as their mode of transport was confiscated by police, finding romance and fun. Marc Lawrence's NIGHTMARE IN THE SUN (1965), co-starring real life couple John Derek and Ursula Andress in the lead roles, followed a married woman who picks up a male hitchhiker, their affair leading to intrigue and murder. A romantic view of hitchhiking could be found in WILD SEED (1965), directed by Brian Hutton. A young woman runs away from home after discovering her true parentage, and meets a drifter, their fraught relationship blossoming over the course of the movie. In contrast, Dennis Hopper's EASY RIDER (1969), altered the mode of transport from automobile to motorcycle, the bikers in the film picking up a number of hitchhikers on their way across the country. CHASTITY (1969), directed by Alessio de Paola, featured Cher as a young woman who hitchhikes to find a new life, and get away from her tragedy-twinged existence. Before the release of THUMB TRIPPING there were several films which looked at hitchhiking in varying ways.

Bob Rafelson's FIVE EASY PIECES (1970) showcased two hitchhiking scenes. The first is a revealing scene where Bobby picks up two hitchhikers, one of whom speaks continuously about anything and everything in the car, which is one of the film's best. The second scene occurs at the movie's end when Bobby hitches a ride from someone, subsequently abandoning girlfriend Rayette at the gas station. A more exploitative journey into hitchhiking was evident in JANIE (1970), directed by Roberta Findlay and Jack Bravman. A young woman hitchhikes to reach her father, but the means by which she accomplishes this are thoroughly decrepit and base, with murder and sex on her mind. Richard Sarafian's VANISHING POINT (1971), most notably, features a gay couple whose intentions with the driver are anything but legal. TWO-LANE BLACKTOP (1971), directed by Monte Hellman, had a number of hitchhiker characters, including a woman, and a gay man. In Jerry Jameson's BRUTE CORPS (1971), a man and woman hitchhiking together fall in with brusque soldiers, and pay a hefty price in this violent melodrama. THUMB TRIPPING shared elements of the previous films with hitchhikers, but added its own touches to the genre.

Where THUMB TRIPPING overlapped with other hitchhiking films was in that the hitchhiking served as a mean to an end for its characters, and without any tragic consequences. This was something also present in HITCH HIKE LADY, IT HAPPENED ONE NIGHT, and IT HAPPENED AT THE WORLD'S FAIR, where overall the narrative itself was light, and not meant as a diatribe on the evils of hitchhiking. It was more of characters experiencing the world, with the films themselves charting their perceptions of the events occurring to them, such as in CHASTITY. It is about learning, self-awareness and enlightenment, more than moral considerations taking place. Aside from this, THUMB TRIPPING was the first movie to totally focus upon hitchhikers in its narrative. While the other films featured hitchhikers as supporting characters, or an event that occurs in isolated instances, here it took up the whole running time, making THUMB TRIPPING a specialized film on the topic. Other features of THUMB TRIPPING also made it stand out compared to other entries.

As with many of the other films, such as the afore-mentioned examples, the hitchhikers in THUMB TRIPPING were not of a malevolent nature, which was a trend marked from the mid-1940s onwards. The people who pick them up along the way are all of different persuasions and states of mind, while one in particular is especially psychotic. This is the exception, rather than the rule in THUMB TRIPPING. The remainder of the people who pick up Gary and Chay have emotional issues that are sometimes addressed via the presence of the hitchhikers, who in a manner of speaking 'heal' their drivers. This is especially evident in the truck driver who has a sexual relationship with Chay, to Gary's consternation. The married couple also are better after being with Gary and Chay, even though there are hiccups along the way with their open marriage. One of the most revealing parts was the woman who picks them up, and talks about her family and their problems. These are the most unique segments of the movie, those that are the most memorable in retrospect. A different take on hitchhiking, THUMB TRIPPING is an unconventional movie with some interesting moments.

Overview: Quentin Masters is an Australian director who helmed four feature films in his career, with several other writing, cinematography, and producing credits. His second film, THE STUD (1978) is perhaps Mr Masters' best-known movie. Starring Joan Collins in this tale of a woman who owns a nightclub, and her various marital, and extra-marital problems, it was adapted from a novel by Miss Collins' sister Jackie Collins. Mr Masters' third film, A DANGEROUS SUMMER (1982), was a thriller about the burning of a hotel, and the investigation mounted surrounding this incident. Quentin Masters' last movie, MIDNITE SPARES (1983), as with his previous picture, was made in Australia. This adventure film centred around a man's pursuit in finding his father's killers, with plentiful action sequences included. THUMB TRIPPING marked Quentin Masters' movie debut, and is of interest for several reasons.

Mr Masters has made a film that is entirely devoted to an examination of hitchhiking, and how his characters interact with the various people they encounter along the road. He tackles the different scenarios with vigor, making them all as individual as possible to avoid repetition in the narrative. The people who pick up Gary and Chay are variously happy, sad, comfortable within their own skin, while others are jumping out of it with regularity. This gives the film a spontaneity that works, and a realistic quality. It also makes the point that the world is filled with individuals whose mindsets are never alike, which is valid. While this is to be lauded, not all of the vignettes are as effective as each other, or as powerful in effect. The stop and start nature of events has the effect of running the viewer hot and cold with great regularity.

The scenes with the psychotic man, played by Bruce Dern, are compelling to watch, and one does not know what will happen to Gary and Chay, but these are downplayed by their laughter after leaving his car. It dulls the effect of what has taken place prior, and while their laughing might have been a nervous reaction to being in danger, it does not help the film's mood. Another scene that is rather incongruous is the one with the mother and her children. While it works as an acting showcase for Joyce Van Patten, it does not have that much punch. The other two vignettes in the film function in a similar watchable, but odd manner. The randy truck driver who takes more than a passing interest in Chay, and the frustrated married couple who see Gary and Chay as a diversion, are both well-acted, but the effect in total does not add up in an emotionally fluent way. Possibly it was the movie's intention of having its characters witness human nature in often bizarre ways, but it needed more to strike a powerful mental chord. There were some other ellipses which could have made an average film so much better.

While there is a segment at the beginning where Gary and Chay are with some campers, who are possibly the most level-headed of all the characters, there are no further characters without neuroses, which makes the movie topsy turvy. Not everyone in the film had to be alienated to make an impact, which does become a little tiresome as the picture unreels. Apart from this, we never really find out why Chay has taken to the road hitchhiking, the lack of access to her character makes her enigmatic to a degree. While there is a voiceover explaining the rationale for Gary's actions, which is helpful, nothing of the same degree is presented for Chay. Nevertheless, in summation, some things can be said about THUMB TRIPPING in retrospect, in spite of its deficiencies. It is an original film that sheds light not only about hitchhiking but also, humanity, in its thoughtful, but clipped, way.

Acting: The performances in THUMB TRIPPING are one its strongest assets. Michael Burns, as hitchhiker Gary, exhibits a naturalistic acting style, and is the film's central focus. His reactions to everything, moods and feelings are all spot-on, and expertly delivered by Mr Burns. As his hitchhiking partner, Meg Foster is equally fine. An actress with striking eyes, utilized in the movie to express non-verbal behavior, Miss Foster does a great job as the intriguing, but ultimately faithless Chay. In complete contrast, Bruce Dern as the psychotic man who picks up Gary and Chay gives another excellent performance, but the number of unbalanced men Mr Dern played in the early part of his film career makes one wish his tremendous talents had been used in more complex ways. Four other actors make the most of their appearances in THUMB TRIPPING to make indelible impressions.

As Diesel, the truck driver with eyes for Chay, Michael Conrad plays his role with steamy assurance, seeming every bit his part, his eerie expression just right. Joyce Van Patten, as a mother who picks up Gary and Chay on the side of the road, contributes another excellent portrayal in THUMB TRIPPING. Her crumbling psychological excesses, mumbling, and lack of remorse make her mother character one of the most complex people to appear in THUMB TRIPPING. Burke Byrnes, as Jack, one half of the film's married couple, does a fantastic job as the virile husband with definite reservations about his life, carried out beautifully by the good-looking Mr Byrnes. A performer with a resemblance to Australian actor Rod Taylor, his mix of working class man bravado, and sadness is excellent. The last acting of note in the movie was by Marianna Hill as Lynne, Jack's wife. Exhibiting marital frustration with her high-strung, overwrought behavior, this coming to a head when she starts dancing in a bar wearing just a bikini, Miss Hill makes the viewer wonder what went so badly she had to resort to this, and empathize with the emptiness her character is feeling.

Soundtrack: THUMB TRIPPING has a soothing introspective score that is in keeping with its pensive mood. The opening credits feature an instrumental tune that works well to set the film's easy-going, casual tone. The movie has a number of 1970s songs which are played at various intervals, such as 'Go Where The Feeling Takes You', during a montage of Gary and Chay together by the ocean, that deftly emphasize what is occurring onscreen. A screaming rock score would not have been appropriate for THUMB TRIPPING, and would have detracted from its elegaic aura, thus making it one of the film's best aspects.

Mise-en-scene: The cinematography by Harry Stradling, Jr is beautiful, taking advantage of the film's many outdoor sequences by presenting the landscapes in a soft, pleasant manner, without ever being garish or harsh in its color hues. THUMB TRIPPING takes advantage of lush locations in the California Big Sur Coast, and San Francisco, giving the movie crispness and immediacy, and centering the characters in this dreamy milieu.

Notable Acting Performances: Michael Burns, Meg Foster, Bruce Dern, Michael Conrad,  Joyce Van Patten, Burke Byrnes, Marianna Hill.

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

Overall Grade: C

Link: IMDB Page

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THE KING OF MARVIN GARDENS (1972)

Title: THE KING OF MARVIN GARDENS

Year of Release: 1972

Director: Bob Rafelson

Genre: Drama

Synopsis: A radio disc jockey becomes involved in his older brother's fantastical get rich quick and other schemes, trying to set him on the straight and narrow, and away from an aging beauty and her stepdaughter but, fate has other ideas.

Within a film history context: Stories of families, in this case of two brothers, have been featured variously through cinema history. DUEL IN THE SUN (1946) and SABRINA (1954) are notable examples from the 1940s and 1950s respectively, each pitting one brother against the other for the love of a woman, with contrasting results. With the 1970s, the decade of THE KING OF MARVIN GARDENS came movies such as THE GODFATHER (1972), JUNIOR BONNER (1972), THE LAST AMERICAN HERO (1973), LOST HORIZON (1973), and THE GRAVY TRAIN (1974). Unlike the examples from 1946 and 1954, these 1970s films did not involve brothers battling over a woman. These movies had brothers in combat for a variety of reasons, such as the family business in THE GODFATHER, with THE GRAVY TRAIN showcasing brothers in a loving relationship who defend each other to the very end. JUNIOR BONNER and THE LAST AMERICAN HERO spotlighted brothers who had personal rivalries unconnected to romantic entanglements, but which were on a personal level.

In the case of LOST HORIZON, on the other hand, two brothers were at odds for one of them to not become involved with a woman, which was in definite opposition to the other movies. THE KING OF MARVIN GARDENS has a similar predicament, in which one brother tries to dissuade the other from pursuing a relationship with a woman and her stepdaughter, with tragic results. Unlike the other movies mentioned, the themes of brotherly love and loyalty are handled in an exhaustive manner in THE KING OF MARVIN GARDENS, taking up the majority of the movie's screen time. This has the effect of making the film one of the most intimate, honest explorations of brotherly relationships in the history of cinema.

Overview: THE KING OF MARVIN GARDENS was director Bob Rafelson's third film, released after FIVE EASY PIECES (1970) and his first feature film, the irreverent HEAD (1968). The majority of his films are character-driven in nature, with some sporadic forays into suspense such as THE POSTMAN ALWAYS RINGS TWICE (1981). THE KING OF MARVIN GARDENS falls into the category of Mr Rafelson's character-driven dramas, a tightly directed, engrossing drama of two brothers, and how their bond is tested by outsiders but, events, and their own idiosyncrasies, threaten this close kinship.

Mr Rafelson has made a film which thoroughly examines the relationship of two brothers, opening them to the audience with all their flaws and fantasies intact for viewers to contemplate. This is the excellent component of the film, its most compelling aspect. There are some slow stretches in the film which dull the effect to a small degree, but Mr Rafelson makes up for these with his showcasing of the central brother-brother relationship. The female characters in THE KING OF MARVIN GARDENS bring tension and complexity to the film, testing the brotherly dynamic, and add an unpredictability which showcases further nuances in the brothers. On the same note, there is the impression that if the distaff side did not appear in the film there was enough material in the brother-brother dynamic that could yet have been covered, so compelling was the relationship between the two central protagonists.

Acting: The acting in THE KING OF MARVIN GARDENS is of a very high standard, with two performances in particular standing out for their realism. Bruce Dern is an actor who always gives his best on film, and this movie is no exception. An engaging, energetic performer who in this movie does not hold back in the role of Jason Stabler, the silver-tongued, roguish cad. Mr Dern infuses his role with personality and depth, and one wants to believe his pipe dreams, and hope that they turn out as he wishes. Jack Nicholson is more than a match for Mr Dern as his pensive brother, David Stabler, in THE KING OF MARVIN GARDENS. Mr Nicholson is the real surprise, and revelation in the movie.

Usually cast in roles which take advantage of his penchant for off the wall antics and scene-stealing, in this film he takes on the role of the quieter, more thoughtful brother. This works so beautifully as Mr Nicholson stays largely composed in THE KING OF MARVIN GARDENS, underplaying his role, that it creates a great contrast with Bruce Dern. This choice makes their relationship all the more poignant, and realistic. This is my favourite performance from Jack Nicholson, and the effect of his restraint works all the more in an emotional sense especially at the film's conclusion.

Soundtrack: THE KING OF MARVIN GARDENS has relatively no score or music, the naturalistic background noise the only soundtrack the film possesses. The use of sound or music is most evident when Sally welcomes David to Atlantic City accompanied by a small orchestral ensemble, a nightclub visit, and, the faux Miss America pageant where the principals participate. The film largely stands on its own without any theme music, preferring to concentrate on the visuals which draws attention to both these, and the actors.

Mise-en-scene: The imagery in THE KING OF MARVIN GARDENS is what remains with the viewer long after the movie has ended. The cinematography has captured a bleak winter in Atlantic City to maximum effect, and it reflects the chilly emotions in play for the characters in the movie, particularly Jason Stabler's tenuous relationship with aging beauty Sally. Aside from this, THE KING OF MARVIN GARDENS utilizes other outdoor locations such as the train station where David and Sally first meet, the beach where the brothers are on horseback, and the shop that David and Jason visit, and these add a freshness and veracity to the proceedings. Interior locations such as the slightly garish hotel room in which the brothers and women are staying reflects the raw emotions and scenes that take place inside here. With the red drapes and carpeting this infers that what is taking place between the characters here is akin to a theatrical performance, replete with barnstorming emotions between them for the audience to witness, and devour.

Award-worthy performances in my opinion: Jack Nicholson, Bruce Dern.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

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DRIVE, HE SAID (1971)

Title: DRIVE, HE SAID

Year of Release: 1971

Director: Jack Nicholson

Genre: Drama

Synopsis: Basketball champion and university student Hector Bloom carries on an affair with his professor's girlfriend, while Hector's friend Gabriel suffers a nervous breakdown attempting to avoid the draft for Vietnam.

Within a film history context: Character studies of sports stars have often been featured throughout cinema history. Comparable films from around the late 1960s and early 1970s come to mind, such as a professional skier in DOWNHILL RACER (1969), a tennis pro in THE CHRISTIAN LICORICE STORE (1971), and a stock car champion in THE LAST AMERICAN HERO (1973). These movies explored different sporting personalities, their drive to the top of their game, with the concurrent effect that their personal lives clashed with their competitive spirit, and were polar opposites in nature. DRIVE, HE SAID was no different, examining the professional and personal life of a basketball player, but unlike the other two films, was much freer in highlighting the protagonist's sexual, and other extracurricular activities. It was also notable for its dialogue which was sprinkled with four-letter words, and inclusion of both male, and female frontal nudity. This frank content set it apart from other movies around this era which were more restrained in these areas.

In addition to being a character study, DRIVE, HE SAID was also among a group of films with a university campus theme produced in the early 1970s. These included movies such as Richard Rush's GETTING STRAIGHT (1970), Michelangelo Antonioni's ZABRISKIE POINT (1970), Stuart Hagmann's THE STRAWBERRY STATEMENT (1970), and Stanley Kramer's R.P.M (1970). While these films covered thematic territory similar to DRIVE, HE SAID in terms of alienation and disillusionment, the movie differed from these in how it moved away from the depiction of lecture theatres and other university locales. The closest the film was to spotlighting university rooms was the basketball auditorium, the outside grounds of the establishment, and, most notably, the science laboratory at the film's conclusion.

Overview: DRIVE, HE SAID was actor Jack Nicholson's directorial debut, followed by GOIN' SOUTH (1978) and THE TWO JAKES (1990). DRIVE, HE SAID explores the life of ace basketball player, and university student, Hector Bloom. While the movie's events follow Hector's life and loves, the impression is that the protagonist plays, in retrospect, more of a secondary role in the narrative, which shifts the emphasis to the supporting characters. This may not always be detrimental in cinema, but in the case of DRIVE, HE SAID it makes Hector seem like a dullard, and just a viewer in his life more than an active participant. It also renders his relationship with Olive, and their various ups and downs, as rather boring, instead of being the film's primary focus. Despite these deficiencies, there are some very good aspects to the movie.

The filming of the basketball sequences are exciting, the camerawork capturing the action as if the audience was there in the stadium witnessing it first hand. The behind the scenes shower room frolics give the characters a depth and identity away from their public image as basketball champions. Apart from the basketball scenes the supermarket segments are entertaining, and takes some steam away from the movie by giving it a lighter air. Gabriel's draft dodging, shameless behaviour, and eventual breakdown, though, are the best part of the film. These are handled in an eye-opening but sympathetic manner, particularly the science laboratory scene, without making the character seem like a caricature. In all, DRIVE, HE SAID is an insightful, thoughtful film with some very interesting elements, but, is not coherent as a whole.

Acting: This is a movie where the acting is sound, with some miscasting in pivotal roles which hampers the film somewhat, but several very striking performances abound. In the lead role William Tepper does a passable job, and is watchable, but, unfortunately, lacks the charisma which would entirely convince the viewer of his plight. This has the effect of him passing the baton to other performers in the film to shine, and also, functioning more as a plot device than as a real character. The role would have been much better suited to Jeff Bridges, who, after playing basketball in HALLS OF ANGER (1970) would have brought more drama and full-blooded emotion to the part. The lead role notwithstanding, Bruce Dern, on the other hand, turns in a brilliant, finely tuned performance as Hector's coach who does his best to keep Mr Tepper's character on an even keel professionally, but finding difficulty due to Hector Bloom's excesses. Presenting Bruce Dern onscreen without his usual moustache was an inspired idea, and works beautifully in DRIVE, HE SAID. The camera feasted upon Mr Dern's face, particularly his eyes, which expressed so many different emotions, and also afforded him an even more authoritative aura than other films in which he had appeared with his facial hair.

Apart from Bruce Dern, Michael Margotta also offers a standout performance as Hector's troubled, drug-addicted friend Gabriel in the film. He has by far the most challenging role in DRIVE, HE SAID, given the character's mood swings and extreme behaviour throughout the film. It is a credit to Mr Margotta that he maintained audience interest in his character who could be thoroughly resistible at times. The pity felt towards the character at the film's end is justified, and Mr Margotta plays these scenes to maximum effect, often without uttering a single word during his most manic moments. Additionally, there were several other performances in the film which merit discussion.

Karen Black, a performer who generally shines in her roles, was given a part as Hector Bloom's secret dalliance Olive that severely undercut her energy. The role did not allow her to display the range and sensitivity that was so apparent in films such as FIVE EASY PIECES (1970), and BORN TO WIN (1971) to give a few examples. On the other hand, June Fairchild was lively as Gabriel's girlfriend Sylvie who also takes a shine to Hector Bloom. There was the feeling, though, that she could have been further utilized in a better capacity in DRIVE, HE SAID instead of just having her giggling in her scenes, and running around naked. She had an energy and sass that was contagious, and deserved more coverage in the film than she received.

Soundtrack: The music used during the opening basketball scenes adds a pulsating, thumping rhythm to the proceedings, perfectly matching, and enhancing, the action. This music is employed at various other points in the movie, and works just as well, emphasising the nervy, jazzy energy of DRIVE, HE SAID.

Mise-en-scene: The sets and spaces used in the film are naturalistic and appropriate to the characters and the action taking place. The scenes of hijinks between the basketball players in the shower stalls are realistic, and add dimension to the characters. It is as if the audience is afforded an uncensored, revealing look at what happens behind the scenes between athletes, with the shower faucets running, and uninhibited displays of male nudity. On the other hand, the supermarket scenes between Hector and Olive have a certain flair about them due to their location. This location provides an authentic backdrop to the argument that is taking place between them, adding an everyday feel to it, with the restrictions of the store used to full effect.

Apart from the public areas in the film, the characters' places of living are also well designed. The abode that Hector and Gabriel share is messy, which parallels their stormy private lives, in particular Gabriel's shattered state of mind. In complete contrast to this, the house that Olive lives in with her boyfriend, university professor Richard, is homey and well-appointed. With a comfortable kitchen and living room that have wide windows, offering a view of the outside world from this vantage point, the living room exuding a graceful air, Richard and Olive's home is the most attractive of the settings featured in DRIVE, HE SAID.

Award-worthy performances in my opinion: Bruce Dern, Michael Margotta, June Fairchild.

Suitability for young viewers: No. Frequent coarse language, male and female nudity, adult themes, medium-level violence, drug use.

Overall Grade: C

Link: IMDB Page

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