J W COOP (1971)

Title: J W COOP

Year of Release: 1971

Director: Cliff Robertson

Genre: Western, Drama, Road Movie

Synopsis: After being released from prison, J W Coop aims to reassume his place as a professional rodeo cowboy.

Within a film history context: Character studies of rodeo cowboys have been onscreen since the silent period of cinema. One of the first was silent film THE CALGARY STAMPEDE (1925), directed by Herbert Blache. In this movie, a cowboy is thought to have murdered his amour's father, but is declared innocent when the real culprit comes to light. In D. Ross Lederman's THE RIDING TORNADO (1932), Tim McCoy battles horse thieves and becomes involved in intrigue, while also falling for a young woman. Actor John Wayne featured in many films of the era as a rodeo cowboy, and Fred Allen's RIDE HIM, COWBOY (1932), was no exception. Here, Mr Wayne takes on a horse which is thought to have committed murder, but his investigations lead to the real assailant, which lands him in jail. Many of the films of this era had a solid storyline which explored more dramatic angles, while others had a more comic outlook.

SOMEWHERE IN SONORA (1933), directed by Mack V. Wright, was a comedy drama of a rodeo cowboy attempting to curb the robbery of his lady friend's silver mine. In Lloyd Bacon's COWBOY FROM BROOKLYN (1938), a rodeo cowboy was challenged in his pursuit of a career in radio with a catch - that he show evidence he was, indeed, a cowboy. In a similar humorous fashion, THE COWBOY AND THE LADY (1938), directed by H.C. Potter, was a mistaken identity comedy, with a wealthy woman acting as a maid, and falling for a down-to-earth rodeo cowboy. The 1940s followed a comparable thematic line, with comedies, dramas, and musicals in the cowboy motif prevalent.

Gene Autry was the lead in CAROLINA MOON (1940), directed by Frank McDonald. In this film, Mr Autry brought justice to a place where landowners had been illegally divested of their holdings by an unscrupulous man, with some musical trimmings. In Joseph Kane's KING OF THE COWBOYS (1943), Roy Rogers joins forces with other men to end the demolition of government warehouses by criminals. Diverting from the previous themes, A LADY TAKES A CHANCE (1943), directed by William A. Seiter, mined more romantic territory. In this picture, cowboy John Wayne entrances Jean Arthur, and they become an item. In contrast to the 1940s films, the 1950s movies brought with them less sentimental, and tougher explorations of the rodeo cowboy theme.

THE LUSTY MEN (1952), co-directed by Nicholas Ray and Robert Parrish, was a look into the more domestic aspects of a rodeo cowboy's life, with the wife of a cowboy baulking at her husband's involvement in the sport. Richard Fleisher's RODEO (1953), in a similar manner to THE LUSTY MEN, documented the impact of rodeo on a cowboy's life, and how this affected both himself, and his wife. Different in approach was BUS STOP (1956), directed by Joshua Logan. Starring Marilyn Monroe as Cherie and Don Murray as Bo, the film's cowboy protagonist, it explored the relationship between the leads, as Bo wanted to marry Cherie, and live with her on his ranch. Moving into the 1960s, John Huston's THE MISFITS (1961), was a realistic drama of a cowboy falling in love with a divorced woman, again starring Marilyn Monroe, exploring the repercussions of this union. 

HUD (1963), directed by Martin Ritt, was the story of an unorthodox Texas rodeo cowboy who makes the existences of everyone around him a misery with his self-centred view of life. Burt Kennedy's THE ROUNDERS (1965), charted the comical exploits of two cowboys, and the many zany situations in which they find themselves. In comparison, TICKLE ME (1965), directed by Norman Taurog, was an Elvis Presley vehicle with the singer as a rodeo cowboy who falls into work at a ranch which is, in fact, an all-female fitness centre. Peter Tewksbury's STAY AWAY, JOE (1968), was another film with Elvis Presley as a rodeo cowboy. In this instance, the escapades of an American Indian rodeo star are highlighted, specifically attempting to assist his people in a number of unconventional ways. J W COOP was one of the strongest, and most serious of the films dealing with a rodeo cowboy. 

J W COOP was definitely of the dramatic persuasion, but its focus was on weaving a character portrait for viewers, thus avoiding action scenarios. Many of the earlier examples had predominate action-adventure leanings, such as THE CALGARY STAMPEDE, THE RIDING TORNADO, and KING OF THE COWBOYS. The personal lives of the rodeo cowboy took a back seat to visual spectacle here. From THE LUSTY MEN onward until HUD, though, there was an attempt at more intimate, candid portraits of rodeo cowboys, these moving away from the more simplistic narratives from beforehand. J W COOP falls into this category of movies, charting the reactions of other people to the particular rodeo cowboy, and his lifestyle. There is a deeper synthesis of viewpoints on display for viewers to ponder about its main character, instead of a rodeo cowboy just saving the day for others. Furthermore, J W COOP did concentrate on its lead, as did RODEO, BUS STOP, THE MISFITS, and HUD, but the cast of supporting players did not remain fixed, as was evident in HUD, with Hud taking on, and being contrasted, with the other characters. The people who largely come and go in J W COOP are utilized differently than prior examples. As J W COOP is the study of a man seeking to be a rodeo cowboy, and this entails going from one place to another, the fluid nature of the story reflects this, as the movie thereby has some relation to road movies. There are shades of this in J W COOP, but these parts always relate back to J W Coop himself, without becoming another type of film. One of the most intriguing of the pictures of a rodeo cowboy, J W COOP adds its own flourish to this collection of movies. 

 

Overview: Cliff Robertson was an American actor who appeared in over fifty motion pictures during his fifty-two year screen career. As a performer, he won a Best Actor Academy Award for his performance as an intellectually disabled man in CHARLY (1968). Mr Robertson directed only two pictures in his career, with THE PILOT (1980), being his second and final effort. The struggles of an airline pilot to maintain his balance in the face of alcohol addiction was the focus here, but the movie was not a popular success. Cliff Robertson's first picture, J W COOP (1971), was his best film, and the one for which he will be most remembered as a director.

With J W COOP, Cliff Robertson has crafted an earnest, lyrical film. Taking as its main focus a middle-aged cowboy seeking to make it big on the rodeo circuit after a long absence, it is a thoughtful and touching movie experience. Mr Robertson achieves this effect in the following ways. He displays a sheer respect for, and understanding of, his protagonist, way of life, and motivations. Cliff Robertson makes certain that the audience comprehends exactly where J W Coop is coming from, and identification with its engaging protagonist is therefore guaranteed. Aside from this, J W COOP has a uniquely luxurious pace and tone which allow for scenes to unravel in a natural, dignified way. It quietly takes its time with everything, and this unrushed feel is one of its best qualities. Even with the more raucous stretches, these are not out of place, as J W COOP has the correct balance to accommodate these. J W COOP does have many qualities to recommend it, but there are specific aspects which could have benefitted from improvement. 

The spectator is offered an intense look into what makes J W Coop tick from his first appearance in the movie, but his backstory is insufficiently examined. There is some time given to his family life, particularly his relationship with his mother and father, but J W Coop's personal life prior to his prison term is sketchy to say the least. More details about him would have made the movie even stronger, such as the revealing sequence with his father, which was fleeting. In addition, the pairing of J W and Bean does have credibility, but, again, her life is an enigma. Bean is a hippie, but the reasons that brought her to being one are not explored. The May-December romance of J W and Bean seems to be founded on the basis of a younger woman wanting an older man, but what is behind this, again, remains something for viewers to work out in their own mind. These gaps are frustrating to witness, but, thankfully, do not hinder the picture as a whole. One thing, though, is for certain in speaking of this film. J W COOP is Cliff Robertson's most solid directorial achievement, and a penetrating character study of a rodeo cowboy, and the sport itself.

Acting: There are several illuminating performances in J W COOP which are worthy of mention. In the lead role of rodeo cowboy J W Coop, Cliff Robertson is in yet another great acting portrayal. A versatile actor with a serious approach to his craft, able to play all sides of the emotional spectrum, here makes the complex J W Coop someone for whom the audience can sympathize. There are three actresses in smaller roles who, nonetheless, are notable for their contributions to the movie alongside Cliff Robertson.

As Dora Mae, the touchy barmaid in the middle of a slow-burn argument, Beverly Powers makes a strong impression in her brief role, suggesting that there was much more to her than first meets the eye. An actress active from the early 1960s until the mid-1970s, she makes the maximum of her limited engagement count. The flirty Bonnie May, able to mouth innuendo and suggestive talk with ease, and sheer glee, is brought to life by Mary-Robin Redd. With her calm, uninhibited manner, her stint in the movie is all the more amusing after her altercation with Big Marge. The last contribution of note to the movie is by Marjorie Durant as Big Marge, one-time love of J W Coop from the past, and his all-round supporter. Miss Durant is rollicking, and always fun to watch here, but also displays a nous, and sensitivity, giving Big Marge a depth, and adding another perspective on the life and times of J W Coop.

Soundtrack: J W COOP has a soundtrack which definitely complements the onscreen action. The score by Don Randi is perfect, ticking all the boxes. Alternately tender, boisterous, and touching, it suits every situation in which it is employed. Likewise, Louie Shelton's guitar rhythms are also beautiful, adding a thoughtful edge to the movie, especially evident in the second half of the opening credits. 

Mise-en-scene: J W COOP is utterly convincing with what it presents to viewers in a visual sense. Frank Stanley's cinematography splendidly captures the rugged landscapes which the movie spotlights, giving these an air of dignity, and wonder for the eye to behold. Exterior locations are all excellent, and well-selected. They offer an impressive non-verbal account of the protagonist's life which speaks volumes. Editing by Alex Beaton is another strong suit, with the rodeo scenes edited for maximum impact, and, in particular, the final moments of the picture.

Notable Acting Performances: Cliff Robertson, Beverly Powers, Mary-Robin Redd, Marjorie Durant.

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

Overall Grade: B

Link: IMDB Page

LOVE HAS MANY FACES (1965)

Title: LOVE HAS MANY FACES

Year of Release: 1965

Director: Alexander Singer

Genre: Drama, Romance

Synopsis: When a man is found washed up on the beach in Acapulco, a wealthy American woman with prior connections to him is suspected of his death.

Within a film history context: Movies set in Acapulco were not a common sight on cinema screens, with little more than a handful in number. Jacques Tourneur's film noir OUT OF THE PAST (1947), had an important meeting between a private investigator, and a mystery woman in Acapulco in this classic movie. Another film noir, THE LADY FROM SHANGHAI (1947), directed by Orson Welles, in which a sailor becomes entangled with a femme fatale, featured a number of sequences set in Acapulco. Edward L. Cahn's SILENT FEAR (1956), was predominantly set in Acapulco, and told the romance of a miner and a nightclub singer, with many ups and downs along the way in their relationship. Film noir territory, and Acapulco once again meshed in A WOMAN'S DEVOTION (1957), directed by Paul Henreid. A couple's honeymoon in Acapulco is interrupted when the husband is suspected of the murders of two women. In an entirely contrary mode was Richard Thorpe's FUN IN ACAPULCO (1963). In this Elvis Presley vehicle, a young man has a number of adventures, and finds romance, with music also featured. LOVE HAS MANY FACES was entirely set in Acapulco, and this is where it diverted from some of the other examples.

LOVE HAS MANY FACES, as with SILENT FEAR, A WOMAN'S DEVOTION, and FUN IN ACAPULCO, had Acapulco as its main locale where all the action transpired. It was a place of relaxation and leisure in LOVE HAS MANY FACES, with a minor element of peril included. This was unlike OUT OF THE PAST and THE LADY FROM SHANGHAI, where a small part of the narrative occurred there. These two films were also of a suspense orientation, whereas LOVE HAS MANY FACES had a minor component in this respect. The death of a gigolo, found on the beach, was just a small segment of the movie. All the films had romantic leanings, with OUT OF THE PAST and THE LADY FROM SHANGHAI both showcasing dangerous temptresses with more to them than meets the eye. The women in LOVE HAS MANY FACES, though, were controlled by passion and their devotion to men and love, rather than criminal exploits. LOVE HAS MANY FACES was geared more toward a female audience than the others, in that strong female characters, and male-female relationships were placed under the microscope. 

In LOVE HAS MANY FACES, contrasts were drawn between three very different women, and how they looked at life in their individual manners. The male characters, on the other hand, were the object of the female gaze in this film, as were the women with their garments, but the men were highly sexualized. The men were handsome, tanned, muscular, and, in one instance, given to wearing swimwear on a regular basis. This was worlds away from how male characters were portrayed in OUT OF THE PAST, THE LADY FROM SHANGHAI, and SILENT FEAR. A WOMAN'S DEVOTION was possibly closest to LOVE HAS MANY FACES in the depiction of its male protagonist, appearing shirtless with regularity. The female character in this, though, was unlike Kit in LOVE HAS MANY FACES, her attire demurer than the showy, expensive wardrobe of Kit. An interesting look at life in Acapulco, LOVE HAS MANY FACES provides an agreeable, if plush, perspective on this.

Overview: Alexander Singer was an American director who helmed five feature films in his career. The majority of these centred upon their female characters, and their interactions with the opposite sex. Mr Singer presented their flaws, foibles and strengths, warts and all to viewers to sympathize and understand, if not necessarily to agree with. Alexander Singer was particularly adept at showcasing actresses in strong roles. His first film, A COLD WIND IN AUGUST (1961), was the character study of a stripper who falls in love with a seventeen-year-old young man. Lola Albright in the lead part bolstered the movie, which had its leaden moments. Next came PSYCHE 59 (1964), an elegant, suspenseful drama about a woman's loss of memory, and the impact this had on her life, and that of her sister and husband. This time, Patricia Neal was a standout as the pained woman. 

Mr Singer's fourth movie, and entirely different from his others, was CAPTAIN APACHE (1971). A western about an American Indian, and his involvement in political intrigue, was a change of pace, albeit not a successful one. Lee Van Kleef, Stuart Whitman, and Carroll Baker did their best to bring the film to life, but it was not enough to save it. Alexander Singer's final feature, GLASS HOUSES (1972), was the story of a California family on the brink of breakdown. Mr Singer's best film, an unjustly forgotten, and original movie with much emotional detail and nuances, unfortunately, it has all but disappeared from view. LOVE HAS MANY FACES was Alexander Singer's third effort, and a satisfactory, but unspectacular picture. 

In the case of LOVE HAS MANY FACES, Alexander Singer has made a diverting, slick motion picture. Taking as its focus a wealthy American woman, Kit Jordan, living the high life in Acapulco with her husband, and the various interactions she has with others in this resort city, it is a glossy entertainment that passes the time well. The movie has a partiality to portraying Acapulco as a playground of the rich, complete with their hangers-on, which is pleasing to the eye. It affords views of beaches, beautiful vistas, attractive people, and their melodramatic lives, something akin to a combination of a travelogue, and the machinations in a juicy bestselling novel. While the movie is to be commended for offering eye candy and easy-going intrigues in this manner, when examined closer, it starves the viewer in other areas intellectually where it should have been much stronger.

The movie has a habit of introducing plot threads, but their follow up is never fully developed. LOVE HAS MANY FACES has a storyline which initiates the action, being that a gigolo is found dead washed up on the beach, but the delivery of the mystery behind this is anything but compelling. Kit Jordan is suspected of this crime, but nothing much comes of this. It appeared she had a connection to him, but this is dumbed down in the film. This plotline facilitates, though, the entrance of the man's girlfriend who comes to see what happened to her boyfriend. She stays for a spell, strikes up a rapport with Kit's husband Pete but, leaves when he elects to stay with his wife than be with her. The fact that one never sees flashbacks of the dead man, which would have explained much about him, renders the story stagnant, and unemotional. Other parts of the film also needed more attention than they received.

Backstory for the two beach boys Hank and Chuck is, unfortunately, largely non-existent. Both have a presence in the film, but further insight into their lives would have been helpful. Of the two older ladies who seek male companionship in Acapulco, one is severely underdefined. Margo has her snappy retorts and attitude, but Irene hardly says a word. A nice contrast could have been set up between the two ladies, and what led Irene to come to Acapulco for male company, but this is never clarified. These examples, though, appear to be a tendency on the film's part of the lackadaisical lives of the characters intruding on the writing of the movie. It is one thing to go with the flow, but not having a sturdier story does make the picture come unstuck. A watchable but lacking movie, LOVE HAS MANY FACES is a passable picture, but not the best film from Alexander Singer.

Acting: LOVE HAS MANY FACES contains a number of interesting acting performances from its cast. As lead character Kit Jordan, unfortunately, Lana Turner is not in one of her best parts. While she does a serviceable job as Kit, the writing of the character lets her down considerably. In addition, the insistence of the film on presenting various costume changes for the actress does her a disservice, making her acting take a back seat to the visual frou frou. In complete contrast, Cliff Robertson, as Kit's husband Pete, radiates integrity, and authority, as her loyal spouse. An actor whose commanding presence brought conviction to many movies, here does likewise with the sturdy, wary Pete. Kit's long-ago lover Hank comes alive with the inimitable Hugh O'Brian. Despite appearing in the film bare-chested, and swimsuit clad for much of its running time, Mr O'Brian gives his gigolo a humor, and realism, that make him a charming figure. 

As one of the two American women seeking company in sunny Acapulco, Ruth Roman's Margot is another distinctive portrayal. With her husky voice, and seen it all before demeanor, she makes the role hers, and feelings understandable. Virginia Grey, as Margot's friend Irene, though, is not as lucky. The actress has been completely wasted in her tiny role, and it would have been interesting to hear another perspective on loneliness from her character. The part of Carol Lambert, girlfriend of the dead man, is comfortably inhabited by Stefanie Powers. With her clear diction and agreeable personality, Miss Powers' Carol clashes dynamically with Lana Turner's Kit in the movie. The final acting of note was by Ron Husmann as Chuck, friend, and fellow beach boy to Hank. Although his appearances are limited in the movie, Mr Husmann has a quietly arresting aura, and whose seething anger sears Hank in Chuck's final scenes.

Soundtrack: The soundtrack for LOVE HAS MANY FACES supports the visuals in an unobtrusive, yet telling way. As always, David Raksin provides a reliable score which ably underlines scenes without being over the top. It is subtle during the quieter scenes of character interaction, and suitably punctuates the more dramatic sequences with flair. Both the opening, and closing credits feature the song 'Love Has Many Faces' performed by Nancy Davis, which is serviceable, but not particularly spectacular. Its main purpose is a musical comment on the tangled love lives of the protagonists which it delivers in a sound manner.

Mise-en-scene: LOVE HAS MANY FACES offers a credible onscreen experience for viewers. Joseph Ruttenberg's Eastmancolor cinematography captures Acapulco, and Mexico City, in a naturalistic way, allowing the eyes to graze the scenery in a relaxed manner. Mr Ruttenberg is adept at showing differences between the sunny Acapulco and its environs, and the darker tones of Kit and Pete Jordan's home, in particular, their bedroom. The living room of Kit and Pete appears slightly artificial, though, with the garden at the top of the room extremely faux. Costuming by Edith Head is stylish, and suited to the environments in which the characters find themselves. The one element which stands out for the wrong reason are some of the outfits worn by Lana Turner in the movie. Several of these are elegant, but others are flashy, and make some of Miss Turner's dramatic scenes risible to witness. The intention may have been to be striking, but it is distracting at times, and unnecessary in retrospect.

Notable Acting Performances: Cliff Robertson, Hugh O'Brian, Ruth Roman, Stefanie Powers, Ron Husmann.

Suitability for young viewers: No. Adult themes.

Overall Grade: C

Link: IMDB Page