EXPLOSION (1969)

Title: EXPLOSION

Year of Release: 1969

Director: Jules Bricken

Genre: Drama

Synopsis: A disturbed young man teams up with a hippie in order to avoid being drafted for Vietnam, but his fragile emotional state, and actions, causes his friend no end of angst.

Within a film history context: Movies which explore post-traumatic stress disorder (PTSD) as a result of military participation have been around for many years onscreen. One of the first was William Dieterle's THE LAST FLIGHT (1931). Young veterans from World War I spend their hours whiling away time in Paris, drinking excessively to dull their pain, and become involved with a woman, among their exploits. William Dieterle also directed another film about PTSD, being I'LL BE SEEING YOU (1944), this time, with an American setting. In this movie, a man suffering from shell shock falls for a woman just released from prison to spend time with family at Christmas, but her past may get in their way in this sentimental romance. Edward Dmytryk's TILL THE END OF TIME (1946), concentrated upon several World War II veterans, and the difficulties they faced in coming to terms with their lives as civilians. One of the most famous films dealing with returning veterans was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. A touching exploration of veterans, and their return to society, albeit with great hurdles, it was one of the highest-grossing films of the decade, and a triumph for all involved. Anthony Kimmins' MINE OWN EXECUTIONER (1947), featured a character who suffered from psychological trauma after being trapped in a Japanese prisoner of war camp. 

At the beginning of the 1950s came one of the most famous films dealing with PTSD, being THE MEN (1950), directed by Fred Zinnemann. Focusing upon a World War II army veteran who lost the use of his legs after being shot in the spinal region, and his relationship with his fiancée, it gave Marlon Brando a meaty part as the young veteran. Another closeup of emotional issues caused by war could be found in Fred Wilcox's SHADOW IN THE SKY (1952). Here, a man has been placed in a mental facility as his psychological issues have taken over his life, but his return to society is successful in the end. 5 AGAINST THE HOUSE (1955), directed by Phil Karlson, had a character who suffered from PTSD after his stint in the Korean War. On the other hand, Richard Thorpe's TIP ON A DEAD JOCKEY (1957) showed how a man who fought in the Korean War experienced PTSD, manifested in his behaviour, such as divorcing his wife, and falling into drink and gambling. The real-life story of American Indian Marine Ira Hayes was dramatized in THE OUTSIDER (1961), directed by Delbert Mann. In this film, Mr Hayes' depression after serving in the Marine Corp during the Iwo Jima battle, and subsequent alcoholism, were spotlighted, with Tony Curtis in the lead role. A rare film dealing with PTSD was Bobby Davis' A TORN PAGE OF GLORY (1968). Concentrating upon the problems of Vietnam veterans, and the emotional upheaval they experienced, it was mainly notable for starring Aldo Ray in the central role. EXPLOSION was an entirely different view of PTSD than previous entries for one striking reason.

All the films above had a protagonist who directly suffered from PTSD after serving in a war, with THE LAST FLIGHT, TILL THE END OF TIME, THE BEST YEARS OF OUR LIVES, and A TORN PAGE OF GLORY containing a number of male characters in this predicament. The lead character of EXPLOSION, though, did have PTSD, but did not himself serve in the Vietnam War. His PTSD was as a consequence of the death of his brother, who fought in the war, but died in combat. This was one of the rare occasions when the impact of the death of a family member from war was explored in cinema, and how it manifests in the younger brother's emotional problems. In the other films, the reactions of family members to the veteran's return are of a supporting, or secondary nature, to the lead's emotional issues. In EXPLOSION, the brother's feelings about his older brother's death, coupled with a cold and domineering father, and the absence of his mother, take center stage. These conditions are seen to create a combustive atmosphere for the young brother, who cannot come to terms with the loss of his sibling. It is a unique view of PTSD, and the consequences of war, which far too often is overlooked with an emphasis on the direct impact of war on the particular soldier. A striking view of PTSD, EXPLOSION is an underrated examination of this in film. 

Overview: Jules Bricken was an American director of three motion pictures in his fifteen-year career. He was more active on television, directing and producing episodes of prime-time television such as The Ford Theater Hour, Four Star Playhouse, The Ray Milland Show, Studio 57, Naked City, and Dr. Kildare. His first film, DRANGO (1957), was a western about a remorseful man who becomes governor of a city, but was involved in unrest which caused death and destruction, unbeknownst to the city's citizens. In Mr Bricken's final movie, DANNY JONES (1972), a young Welsh man wants to make his mark on the world, rebelling against his father in the process. EXPLOSION was Jules Bricken's second picture, and a very good effort.

With EXPLOSION, Jules Bricken has crafted an original, haunting film. Following the life of a young man mourning the loss of his brother in Vietnam, and the fallout from this event, it is an unusual, yet oddly compelling tale. From the outset, the narrative appears to be constructed in a loose manner, the chain of events not organized in an obviously logical way, but as the picture unravels, this is dispelled. It does feel as if it has been slapped together in the first half, but this is just an example of its freeform, labyrinthine structure which keeps one guessing. EXPLOSION picks up considerably in its second half, with the elements coming together in a most unexpected way. All the pieces of narrative and character information which the movie gradually releases begins to make sense, providing insight into its tortured protagonist, and why he acts and feels the way he does. This is admirable to witness, but in pursuing a fluid sequence of events in its structure, EXPLOSION misses out on important plot points which would have further boosted the picture.

Alan's father Mr Evans has an important place in the movie in its first half, but in the second is largely nowhere to be seen. His callous and indifferent treatment of his sons, which leads his eldest to fight in Vietnam to keep up appearances of a wealthy family, is quite powerful, but his no show later in the story is a letdown. Having Alan's psychiatrist Dr Neal function as a surrogate father does fill the void, but hearing Mr Evans' reaction to Alan's plight would have added immeasurably to the film. As with Mr Evans, Peter's girlfriend Doris is prominent in the initial part of the film, and has a telling scene with Dr Neal, but, again, she disappears. While EXPLOSION emphasizes the interaction between Alan and friend Richie in the picture, which is not to its detriment, Doris' role in the film subsequently takes a back seat. There was more that could have been explored here, as her sorrow at Peter's passing was strong. In saying this, it is clear that the director has tried something different here with his work on the effect of war, in this case the Vietnam War. An underappreciated movie about a topic which still burns today, EXPLOSION is a proficient film about war, and those it directly touches.

Acting: There are four performances in EXPLOSION which are worthy of mention. In the lead role of Alan, a young man who misses his older brother, and who turns his life upside down in the process, Gordon Thomson does well. An actor who later cornered the market on television with his portrayals of men in fraught relationship with their fathers on serials Dynasty and Santa Barbara, here he does likewise, with his clean-cut looks and sinister edge making Alan a compelling figure. As Alan's friend Richie, Don Stroud once again brings his special presence to bear on EXPLOSION. There is a chemistry between Alan and Richie, and Mr Stroud's humanness, and empathy, brings forward another perspective on Alan. The girlfriend of Alan's brother, Doris, is a distinctive part for Michele Chicoine. Although her role in the movie is limited, she does have some strong moments not only with Alan but also, Alan's therapist, Dr Neal. Aside from Richie, Dr Neal is another sympathetic figure in EXPLOSION. Richard Conte makes every second count as the pained psychiatrist who tries to help his patient Alan, but is hindered by circumstances beyond his control. 

Soundtrack: In terms of its soundtrack, EXPLOSION does a creditable job in this arena. The movie commences, and concludes with song 'Little Boy', performed by Robin Ward, with lyrics by Sol Kaplan, and William McCallay. It utilizes the late 1960s/early 1970s feature of a theme song at both the beginning, and end of a film, with what has been learned by the viewer between both points in time. Aside from this, Sol Kaplan's score emphasizes the tense nature of the story, and the central character's emotional mood swings, and deadly outbursts, with style. 

Mise-en-scene: EXPLOSION offers an effective onscreen experience for viewers. Cinematography by Joseph Brun captures both indoor scenes with ease, and the many outdoor sequences have an immediacy about them which invites belief in the story, and its characters. Bruce Grimes' art direction creates a world of contrasts with the stifling, gothic, dark atmosphere of the Evans family home, and the freedom of the outdoors, where Alan comes unstuck. Costume design by Ilse Richter is also another asset, with the formal attire adorned by Alan, his father, and doctor compared to the hippie clothing worn by Richie, inviting non-verbal comparisons between these characters, and their socioeconomic level. 

Notable Acting Performances: Gordon Thomson, Don Stroud, Michele Chicoine, Richard Conte.

Suitability for young viewers: No. Adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

Trailer

HOMER (1970)

Title: HOMER

Year of Release: 1970

Director: John Trent

Genre: Drama, Coming of Age

Synopsis: A young man, and budding musician, rails against the establishment in rural Wisconsin.

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, though, 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. HOMER was in the tradition of these movies, but added its own touches to the genre.

It was reminiscent of those films which concentrated upon a central male protagonist, such as THE TRIP, GREETINGS, WILD IN THE STREETS, SKIDOO, I LOVE YOU, ALICE B. TOKLAS, ALICE'S RESTAURANT, and CHANGES. Many of the above entries had a leaning toward comedy or satire, but, in comparison, HOMER was a straight drama. It had most in common with CHANGES in closely following its lead character, his relationship with the opposite sex, and, his interactions with his father. Here begin the differences between the two movies, being their treatment of these stories. This is firstly evident as Kent in CHANGES is a college student, where Homer is a recent high school graduate. The age difference between these two characters also lends itself to different treatments by the respective movies of their protagonist. Kent in CHANGES had a number of liaisons with different women, while Homer in HOMER just had a single girlfriend, Laurie. Father-son conflict was a major feature of HOMER, the most prominent story thread which propelled the movie. In the case of CHANGES, it was still important, with a heated scene between Kent and his father, but it took a definite backseat to Kent's three romances. Counterculture themes were another area that HOMER explored within its context.

Some of the above movies, such as THE HAPPENING, GREETINGS, WILD IN THE STREETS, SKIDOO, and I LOVE YOU, ALICE B. TOKLAS, had an irreverence in their synthesis of the counterculture, and how this affected its main character. While moments of reflection and pathos do appear variously here, these films are mainly rooted in comedic scenarios. In HOMER, Homer's resistance to the Vietnam War, conflict with his father, and general inability to live the life of his family are something also examined in CHANGES, with Kent roaming the country in search of meaning. The Vietnam war was also a story element used in ALICE'S RESTAURANT, where Arlo refuses to be drafted, instead wanting to concentrate on his music. Homer does likewise with his musical aspirations, and his father's smashing of his records, and record player one day the deciding factor for him to leave the family home. The act of Homer chaining himself to a store and playing his guitar is a more subtle counterculture deed than the frenzied scenes of resistance in SKIDOO, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS. A sound film which looks at counterculture themes in another way, HOMER is a good movie.

Overview: John Trent was a Canadian director who made seven films in his career over a fourteen year time span. His first movie, THE BUSHBABY (1969), was about a young girl who does not want to be separated from what matters most to her in life, being her pet bushbaby. With SUNDAY IN THE COUNTRY (1974), it was a move to more adult-oriented fare for Mr Trent. Three bank robbers meet their match in a farmer, who holds them hostage, and makes a point of torturing them while waiting for the police to apprehend these criminals. Comedy was next in IT SEEMED LIKE A GOOD IDEA AT THE TIME (1975). A playwright does anything to win back his former wife, who is remarried, but things are made easier by the fact that the ex-spouses are still involved in an intimately.

John Trent's fifth movie was another comedy, FIND THE LADY (1976). A woman is pursued in three kidnapping schemes, but things go awry when the wrong woman is captured, with zany consequences ensuing. Mr Trent's penultimate movie, MIDDLE AGE CRAZY (1980), was yet another film with a comic angle. A man suffering from midlife crisis begins to act in a crazy manner, which includes an extramarital affair, and buying a new car, to attract the opposite sex. John Trent's cinematic swan song, BEST REVENGE (1984), was released after his death in 1983. This tale of an American man in Spain becoming involved in drug dealing, doing his best to save his friend, starred John Heard in the lead role. HOMER was John Trent's second film, and an interesting effort.

In the case of HOMER, John Trent has made a movie which addresses a number of topical late 1960s/early 1970s themes in a respectable manner. The counterculture, the generation gap, Vietnam, pre-marital sex, coming of age, and a father-son conflict all receive airing in the film. The picture moves at a steady pace, although some sections are a little laden, but overall, it is sound. The most prominent storyline is the relationship between Homer Edwards and his father Harry, with love and hate displayed in equal measure. This is the strongest feature of the movie, the one story which dominates with its raw power. It is one of the best father-son storylines ever seen cinema, so vivid, and real are the emotions depicted, and played by the actors. While this is a positive for the film, it also exposes other story threads which are not as well-developed, as there was not enough time for these to fully unravel.

The anger, and tortured realism of Homer and Harry's fragile union is not duplicated in other stories, causing the film to lack oomph. Two examples stand out in particular. Firstly, it is a shame that the role of Homer's mother is not fully fleshed out. Having her as a shadowy figure, passively accepting her husband's treatment of their son, is not taking advantage of the opportunity for more galvanizing drama. If Mrs Edwards took on her husband regarding Homer, it would have added another perspective to the film. In addition, Homer's surreptitious relationship with Laurie was another missed opportunity to give more dimension to the characters. A Romeo and Juliet-type show of emotions where the young lovers are separated would have made matters more compelling, but things are glossed over. This, though, is indicative of the tone of HOMER. It is more internalized than anything else in terms of its show of emotions. This can be a good thing at times, but it also lends itself to making the film listless in its presentation. Subsequently, heated segments, such as Harry smashing Homer's record collection and player, stand out for their power more than the majority of the movie. A satisfactory if too-leisurely film, HOMER is an acceptable rendition of life at a turning point in the late 1960s/early 1970s United States.

Acting: HOMER contains two pivotal performances which assist the film considerably, one nicely complementing the other. In the lead role of Homer Edwards, musician, and activist with a social conscience, Don Scardino is excellent. A likable actor with pleasing musical talents, he makes the young and ambitious Homer sympathetic, and believable. Matching Don Scardino is Alex Nicol as Harry Edwards, Homer's father. The complicated Harry is both Homer's father and foe, with the two actors working so well together as a team that they make this father-son union utterly poignant to witness.

Soundtrack: As with other elements in the film, HOMER's soundtrack is also geared towards realism. There are many diegetic segments in the picture where Homer sings, and plays his music, such as in the town hall scene. On the other hand, the movie also has non-diegetic musical accompaniment in the form of tunes. The most memorable of these is 'Turn Turn Turn', performed by The Byrds. Alternately reflective, hopeful, and melancholy, the song clearly expresses the spirit of the movie, and what it sought to convey in its thoughtful style. 

Mise-en-scene: Laszlo George's cinematography captures the small-town feel of rugged landscapes, farms, traditional houses, and streetscapes with ease, intimating old-fashioned surroundings, and of Homer's desire to break away from this environment, in a non-verbal manner. Art direction by Jack McAdam creates this vivid diegetic world, which works hand in glove with the cinematography, and Keath Barrie's set decoration likewise. The comfortable middle-class homes of the Edwards and Grainger homes, the town hall utilized for the farewell of a young man for Vietnam, all position the characters in a time and place long ago, which ooze authenticity. In general, HOMER possesses an earthiness, and simplicity, in its onscreen experience which lends itself to a realistic orientation overall.

Notable Acting Performances: Don Scardino, Alex Nicol.

Suitability for young viewers: No. Adult themes, drug use.

Overall Grade: C

Link: IMDB Page 

FORTUNE AND MEN'S EYES (1971)

Title: FORTUNE AND MEN'S EYES

Year of Release: 1971

Director: Harvey Hart

Genre: Drama

Synopsis: A naïve young man is sentenced to six months in jail for a crime, witnessing prison horrors first hand, but becomes corrupt, and pays the price for his change in nature.

Within a film history context: Films which have been set in jail or in detention, featuring male prisoners are a cinematic staple over the course of film history. One of the earliest examples is Mervyn LeRoy's I AM A FUGITVE FROM A CHAIN GANG (1932) with its depiction of a wrongly-accused man and his inhumane treatment in a chain gang. Further films with a prison theme include Don Siegel's RIOT IN CELL BLOCK H (1954) with its prison riot storyline. Similar to this, though more explicit in its violence was Buzz Kulik's formidable RIOT (1969). More notable films with a prison setting include Alan Parker's moody MIDNIGHT EXPRESS (1978), with its intimation of homosexuality in jail, and Alan Clarke's SCUM (1979) which was centred around a juvenile detention centre.

FORTUNE AND MEN'S EYES, as with the other films from the 1950s, 1960s and 1970s, but unlike I WAS A FUGITVE FROM A CHAIN GANG, did not feature prisoners being forced into hard labour, instead just inhabiting their cells. Where the film diverged from the other examples was in its intimate portrayal of the four prisoners, and how they reacted not only to each other but also, to their enforced detention. It also had explicit homosexual overtones and depicted male rape which the other films only touched upon, with the exception of sexual violence in SCUM. On the other hand, FORTUNE AND MEN'S EYES could be said to be more tightly character-driven in nature, and its violence was not as detailed as the later MIDNIGHT EXPRESS.

Overview: Harvey Hart was a Canadian-born director who made eleven features in his career, beginning with BUS RILEY'S BACK IN TOWN (1965), and concluding with UTILITIES (1983). Mr Hart had a reputation for tackling challenging subjects through his filmmaking, variously exploring topics such as older man/younger woman relationships in BUS RILEY'S BACK IN TOWN, beach bums and bikers in THE SWEET RIDE (1968), prostitution and Satanism in THE PYX (1973), and drug dealing in THE HIGH COUNTRY (1981). FORTUNE AND MEN'S EYES, Mr Hart's fourth motion picture released in 1971 was no different, again focusing upon a difficult subject.

FORTUNE AND MEN'S EYES explores a number of characters in a jail, explicating their experiences of life behind bars for the viewer.  Men in jail is a subject which Mr Hart treats bravely and with honesty, as witnessed by his focus upon the central quartet of characters, showing them from all angles. While it could be said that some of his protagonists slightly resemble stereotypes, the acting which he elicits from his cast takes away from this assumption. While FORTUNE AND MEN'S EYES was adapted from a stage play of the same name the film is not stagy in any way, the director deftly moving the action from the cell which the four main characters inhabit, to other locations in the jail.

The director has included many revealing and eye-opening scenes of prison life such as male rape, violence and death which thankfully do not last too long on screen, but whose realism is still pungent. While these are important parts of the film, the scenes of attempted humour such as the episodes where prisoners tip buckets on water from above on other prisoners dent the emotional punch of some of its most intense stretches. These forays into dark comedy do not assist the film, only denting its impact, and could have been easily excluded. Despite these faults, this is a stark, uncompromising film which at times can be painful to watch. In the final analysis, FORTUNE AND MEN'S EYES should be lauded for attempting to intimately examine a social issue in all its grittiness.

Acting: The acting in this film is largely above-average, with several striking performances. Wendell Burton as Smitty, the film's main character does well with the material, making his transformation from victim to victimizer believable, despite some lapses in the film's continuity. He has a way about himself that indicates the character's fright at being jailed, and his general discomfort at being thrown into jail evident to the viewer. Mr Burton also looked like someone who would possibly find themselves in a difficult predicament, his clean-cut good looks initially typing him as the pure innocent, which is eventually shattered as the film progresses. Danny Freedman, as the hen-pecked, sensitive Mona, also delivers a believable performance, and his final few scenes with Wendell Burton are extremely moving, and exhibit tremendous chemistry between the actors. Mr Freedman is also highly proficient in earning audience sympathy as the helpless rape victim, his whimpering haunting as he is set upon by the other prisoners. There is, though, one performance which stands out in particular in FORTUNE AND MEN'S EYES for its sheer excellence.

The film's best performance is by David Zooey Hall as the charismatic, sexually ambivalent Rocky, Smitty, Mona, and Queenie's jail roommate. From his first scenes in FORTUNE AND MEN'S EYES, Mr Hall projected an assurance, a quiet sensuality, teamed with a danger that made him someone you could not move your eyes away from whenever he was on screen. Mr Hall was reminiscent of method actors such as Marlon Brando who have attended the Actors Studio, so poised was his performance, despite playing a character who could be alternately protective, and nefarious. On the other hand, Michael Greer as Queenie delivered a good performance, especially in the final few scenes, but his character was abrasive, and annoying at times, with a shrill voice that sometimes took away from the film's thoughtful and somber tone. The last segments redeemed him somewhat, showing that the character was indeed manipulative, and more than just a walking drag show.

Soundtrack: The use of the theme song in FORTUNE AND MEN'S EYES composed by Galt MacDermot at both the film's introduction, and at its conclusion provides a bittersweet commentary on the action which is to take place. Apart from this, there is minimal use of music, except for several instances such as the water fight in the eating hall which add a pseudo-comical feel to the action. This is par for the course for many 1970s films, which preferred a lack of music score or musical accompaniment to the onscreen action to allow what is happening to take precedence for the audience.

Mise-en-scene: FORTUNE AND MEN'S EYES was filmed in an actual jail, and this assists it tremendously in creating an authentic atmosphere for the viewer. One aspect that was striking about the film was that it was well lit, something which one would expect to be the opposite in terms of a dreary, depressing ambiance. This works in the film's favour as it allows the viewer to see the character's faces clearly, and their reactions to what is taking place, without mood lighting to create an artificial atmosphere. The beginning of the film is also noteworthy, with the bitterly cold winter in which Smitty and the other prisoners are transported into jail a metaphor for his chilling experience later in detention.

Award-worthy performances in my opinion: David Zooey Hall, Wendell Burton, Danny Freedman.

Suitability for young viewers: No. Male nudity, frequent coarse language, adult themes, medium-level violence, sexual violence.

Overall Grade: C

Link: IMDB Page

Trailer