THE REVOLUTIONARY (1970)

Title: THE REVOLUTIONARY

Year of Release: 1970

Director: Paul Williams

Genre: Drama

Synopsis: A young male student rebels against his university association, believing that strong action has to be taken for reform of their activities.

Within a film history context: Movies about revolutionary figures were quite common in European and world cinema, with various examples found in American film history. The silent screen had several American and Russian pictures with a revolutionist central character, many of which are considered lost. One of the first movies to deal with a revolutionary was Josef von Sternberg's silent THE LAST COMMAND (1928). A Hollywood film director, previously a radical in Imperial Russia, seeks the services of a former Russian general to star in a picture about the Russian Revolution, an event which affected them both heartily. Into the sound era, comedy CRACKED NUTS (1931), directed by Edward Cline, was completely contrary. The machinations of a man who wishes to win a woman's favour, and move closer to her niece, by arranging for the overthrow of a country's king, was an early pre-Code movie. With Reinhold Schunzel's BALALAIKA (1939), an officer in the Russian army falls for a singer, who is in fact a covert revolutionary, but their union is complicated by the backdrop of turmoil during World War I in this romance. TORRID ZONE (1940), directed by William Keighley, spotlighted a plantation owner in South America whose livelihood was threatened by a revolutionary, whose influence on the workers there causes nothing but problems. In Robert Z. Leonard's musical NEW MOON (1940), a nobleman masquerading as an indentured servant leads his cohorts to rebel against their ship's captain. 

WE WERE STRANGERS (1949), directed by John Huston, had as its focus a man, and a woman, who worked together with associates to overthrow the despotic president of Cuba in the early 1930s. Elia Kazan's VIVA ZAPATA! (1952), was the stirring biopic of Mexican revolutionary Emiliano Zapata, and his efforts to topple corrupt government regimes. With Marlon Brando in the lead, Anthony Quinn and Jean Peters in support, it was a memorable picture. THE ROOTS OF HEAVEN (1958), directed by John Huston, had an ecologist at its fore, whose aim was to protect endangered African elephants from extinction. He attained the assistance of several people, but with detractors from his point of view in this drama. The life and adventures of Scottish sea captain John Paul Jones were dissected in John Farrow's aptly titled JOHN PAUL JONES (1959). From his early life on ships, journey to America, and exploits in Russia defending Empress Catherine the Great, it starred Robert Stack in the eponymous role. In contrast, THE DAY THEY ROBBED THE BANK OF ENGLAND (1960), directed by John Guillermin, also had characters as revolutionaries in the narrative. At the turn of the twentieth century, several IRA members plan to rob the Bank of England, but the execution of this is not as simple as first envisioned. Basil Dearden's KHARTOUM (1966), followed the efforts of a British general to protect the city from a religious zealot who will do anything to wrest control of it. 

In western VILLA RIDES (1968), directed by Buzz Kulik, Mexican revolutionary Pancho Villa teams up with an American aviator to bring about change in the country. The life and times of influential American dancer and choreographer Isadora Duncan was the premise for Karel Reisz's ISADORA (1968). With her lack of inhibitions, and commitment to her artistry, she blazed a trail in her time, this deftly conveyed by Vanessa Redgrave in the lead role. On the other hand, Lindsay Anderson's IF... (1968), observed an uprising by students at a boy's boarding school, headed by a number of pupils whose vehemence against the establishment reaches its zenith. 100 RIFLES (1969), directed by Tom Gries, revolved around a Mexican revolutionary seeking to free his people of a dictatorial regime. He joins forces with a Mexican woman, and an American lawman, to fulfil his quest. Richard Fleischer's CHE! (1969), was an account of the life of Argentine revolutionary Ernesto Guevera, more commonly known as Che, his involvement with Fidel Castro in Cuba, political problems there, and in Bolivia. THE REVOLUTIONARY was a movie which was dramatic in its orientation, as were the majority of films in this category, but distinguished itself from these in its own way.

Many of the films of this kind were based around characters caught up in political unrest in a respective country, such as THE LAST COMMAND, CRACKED NUTS, WE WERE STRANGERS, VIVA ZAPATA!, KHARTOUM, VILLA RIDES, CHE!, and 100 RIFLES. Generally, it was a strong male character going against corrupt regimes, and in quite a few instances, paying the price for their loyalty with their lives. There was support from other male protagonists, and, in rare instances such as WE WERE STRANGERS and 100 RIFLES, female characters. On this count, a female revolutionist could be found in BALALAIKA and ISADORA, but this was the exception rather than the rule. In comparison to those pictures which spotlighted turmoil in a particular country, the other examples had a less worldly view of events, with character being both revolutionaries, and activists for a cause. In NEW MOON, the lead had a concern for the rights of his fellow ship mates, and in ROOTS OF HEAVEN, the conservation of elephants was the burning issue. Other features of these films in comparison to THE REVOLUTIONARY are worthy of dissection.

Decidedly villainous depictions of revolutionaries were found in TORRID ZONE, IF...and THE DAY THEY ROBBED THE BANK OF ENGLAND. The people in these caused more mayhem than any real good by their actions. In IF...the bloodshed does not further anything positive, just a rebellion for the sake of one in the school. THE REVOLUTIONARY was along the lines of those radicals, as in the other films, who wanted to see a change for the better. In this case, the revolutionist strived for improvements both in university, and employment arenas, but was not able to achieve this aim. Where THE REVOLUTIONARY diverts from other entries is in its much quieter presentation of events. There is no melodrama in this movie, which marked WE WERE STRANGERS, VIVA ZAPAPA!, and KHARTOUM. Instead of this, the mood is slow and thoughtful, in keeping with the flavour of early 1970s New Hollywood cinema. The use of the main female romantic lead is also interesting, as she does not become caught up in her boyfriend's activities, but is mostly there in support. There is some minor suspense when she is meeting him in secret, but that is the extent of her role in the movie. An uncommon view of a revolutionist, THE REVOLUTIONARY is notable for its take on this type of character.

Overview: Paul Williams is an American director who has made eight motion pictures over a period of thirty-three years. His films consisted of dramas, comedies, and thrillers. Mr Williams' first movie, OUT OF IT (1969), juxtaposed two very different men, and their interactions with women, with one a bookworm, the other, a ladies' man in this comedy. DEALING: OR THE BERKELEY-TO-BOSTON FORTY-BRICK LOST-BAG BLUES (1972) was another comedy. The transportation of drugs from one city to another takes a wrong turn for a university law student, in that his girlfriend is arrested for the second cache, and seeks to get both the stash, and his love, back. With NUNZIO (1978), matters were of an entirely different nature. A grown man with mental issues believes he is Superman, but his life takes unexpected twists and turns in this touching drama. In MISS RIGHT (1985), a central male protagonist is at its center, with a Lothario journalist busily hopping from one woman to the other, but finding difficulty in extricating himself from these liaisons. A move into thrillers for Paul Williams resulted in MIRAGE (1995). Trouble starts when a man enlists a detective to tail his wife, who has emotional troubles, namely a personality disorder, causing the private eye's world to turn upside down. THE REVOLUTIONARY was Paul Williams' second movie, but not a sterling achievement.

Paul Williams has attempted to create a thoughtful motion picture with THE REVOLUTIONARY, but has come up short in its execution. The tribulations of a university student whose dissatisfaction with his college leads him on a quest to change the system, albeit unsuccessfully, it is a dispiriting movie experience. While there are some fleeting scenes which give momentary hope to the spectator that a sense of excitement will prevail, these are in vain. It is a film which does have a certain mood and feel, but it is too slow-paced, and listless, to maintain one's attention span. This happens, that happens, but there is never a sense of urgency, or emotional attachment, which emerges out of this. It is as if THE REVOLUTIONARY is a stylistic exercise which does not unravel as it should. On paper, it might have seemed better, but the reality is opposite to this. The conclusion is also problematic, and the fallout from this makes the viewer feel cheated, as it just ends with a freeze frame. A sincere but misguided attempt at building a portrait of a revolutionary, THE REVOLUTIONARY makes one consider how much better it would have been with surer handling, and a more gripping presentation.

Acting: There is a trio of acting performances which are of note in THE REVOLUTIONARY. As A, the student revolutionary, Jon Voight offers yet another incisive acting interpretation. An actor with a wide portfolio of roles over many years, he had a knack for portraying people on the fringes of society in his younger years, and this part suits him. He is well-paired with the radiant Helen, played with earnestness by Jennifer Salt. With her gracious and lively demeanor, Miss Salt provides an ethereal glow to the movie that alleviates its duller stretches. The final acting of merit in THE REVOLUTIONARY is by Seymour Cassel as Leonard, one of A's friends and accomplices. Mr Cassel always knows how to light up the proceedings, and this is no exception. Leonard's relaxed defiance is a nice contrast to A's more stony-faced reactions to events, making Leonard another memorable character in THE REVOLUTIONARY.

Soundtrack: In terms of its soundtrack, Michael Small has been careful to not overload the movie, despite a heady concentration on its subject matter. Music is most discernible during the opening credits sequence, with its background of photographs depicting revolutionaries, and in the closing segment. The soundtrack appears sporadically throughout THE REVOLUTIONARY, only at the most urgent of moments, which works well for it overall.

Mise-en-scene: In a visual sense, work has gone into THE REVOLUTIONARY to make it a convincing experience for the spectator. Brian Probyn's colour photography is perfect without being overly bright, making sense for an intense movie about revolutionaries, and their harried lives. Both interiors, and exteriors, have been carefully selected, representing the locales of a small town well. The introductory credits are also impressive, utilizing photographs of past revolutionary events, and figures, to place the incidents in the movie into perspective for viewers, by charting their development over time.

Notable Acting Performances: Jon Voight, Jennifer Salt, Seymour Cassel.

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

Overall Grade: D

Link: IMDB Page

T.R. BASKIN (1971)

Title: T.R. BASKIN

Year of Release: 1971

Director: Herbert Ross

Genre: Drama

Synopsis: A disaffected young woman from Ohio moves to Chicago, but finds nothing but loneliness, and isolation.

Within a film history context: The trials, and travails, of young women from a small town who go to live in the big city were explored a number of times before T.R. BASKIN. With Burton King's silent A LITTLE GIRL IN A BIG CITY (1925), a young woman from the country wins a beauty contest, falling into elaborate traps set by a cunning magazine publisher, but emerging with her dignity intact in this drama. THE RED KIMONO (1925), directed by Walter Lang and Dorothy Davenport, was a morality tale of a young woman from a small-town who becomes a prostitute, and is enveloped in a murder case when she discovers the man she loves has been cheating on her. Into the sound era, one of the most famous films about a small-town girl in the city was William Wellman's A STAR IS BORN (1937). A young woman desires to become an actress, and comes to Hollywood, but her meeting with an alcoholic star brings her not only happiness, but also, much grief. In comparison, NOTHING SACRED (1937), again directed by William Wellman, had a young lady who was thought to have a terminal illness, but discovers that she was misdiagnosed. She plays along with the ruse that she is ill, and a reporter looking for a story falls for her lies, and in love with her. On the other hand, Gregory La Cava's UNFINISHED BUSINESS (1941), featured a small-town woman who proceeds to New York, has an affair with a man, but is subsequently ignored by him. She then marries his brother on the rebound, but this marriage is tested in this romantic comedy.

PRESENTING LILY MARS (1943), directed by Norman Taurog, was the story of a young woman from Indiana who yearns for the stage, and at first is not taken seriously by a Broadway impresario. When she ends up in New York, and pushes him for a chance, she finally receives this. A suspense mode was employed in William Castle's WHEN STRANGERS MARRY (1944). When a young woman from a small town comes to New York to meet with her husband, she is forced to realize that he, in fact, may be a psychopathic killer. UNWED MOTHER (1958), directed by Walter Doniger, related the tale of a young woman from the country who heads to Los Angeles, and into the clutches of a Lothario, who leaves her pregnant, and in the lurch. Similarly downcast was Brandon Chase's GIRL IN TROUBLE (1963). When a young woman leaves the safety of her family farm to make it big in New Orleans, she becomes a stripper, and is subjected to nothing but maltreatment, and sadism, in this exploitation drama. CONFESSIONS OF A BAD GIRL (1965), directed by Barry Mahon, followed the narrative line of the previous entry. A young woman comes to New York to be an actress, but finds that auditioning involves the casting couch to the nth degree in her case. More exploitation fare with sex and nudity was found in Tony Orlando's HOT NIGHTS ON THE CAMPUS (1966). A young woman from Indiana comes to New York to attend college, and lives with four other women who initiate her on a crash course of permissive behaviour, which culminates in her falling pregnant. T.R. BASKIN was a movie which closely surveyed the life of a small-town girl from Ohio, examining her new existence in Chicago.

T.R. BASKIN was of a dramatic persuasion, and had most in common with those films which approached their subject in a serious manner. It was furthest as could be from those light entries where a small-town girl becomes a success in the big city, such as NOTHING SACRED, and PRESENTING LILY MARS. It lacked the sentimentality of these pictures, with their upbeat protagonists, instead, presenting a portrait of a young woman, essentially, on her own in the city, and living by her wits. There was a slight correlation between T.R. BASKIN, and movies from the 1950s and after, such as UNWED MOTHER, GIRL IN TROUBLE, CONFESSIONS OF A BAD GIRL, and HOT NIGHTS ON THE CAMPUS. In these movies, the morality of the young woman in question was the key issue here, and how her transplantation from a small town, to the big city, was a driver in her path to promiscuity. While this may be a simplification on the part of these films, nevertheless, this narrative line does infuse these examples. 

Having a young woman corrupted by her exposure to the big, bad city lended itself to much angst and melodrama, such as in UNWED MOTHER and GIRL IN TROUBLE. HOT NIGHTS ON THE CAMPUS concentrated on the sex and nudity angle, unlike the other movies, which were more straitlaced. The sexual element was but a small part of T.R. BASKIN, and not the raison d'etre, as in HOT NIGHTS ON THE CAMPUS, with its racy scenes. T.R. BASKIN was also not obvious in terms of its central character, and her psychology. It provided a limited account in this respect, mainly charting the woman's reaction to the coldness, and loneliness, of city life, and some of its people. The woman's interactions with other people were muted, and noted in a dry, distancing manner. The city itself could be seen as being a character of sorts in T.R. BASKIN, with the endless secretarial office space, and T.R.'s gloomy apartment just two examples of this. A different view of a small-town young woman in the big city, T.R. BASKIN offers an interesting account in this arena.

Overview: Herbert Ross was an American director who helmed twenty-four films over a twenty-six year period. His output consisted of romances, comedies, and musicals. Mr Ross' inaugural movie, GOODBYE, MR CHIPS (1969), was a remake of the 1939 version with Robert Donat and Greer Garson. This time around, the male school teacher was played by Peter O'Toole, with his showgirl ladylove, by Petula Clark. Next came Herbert Ross' first comedy outing, THE OWL AND THE PUSSYCAT (1970). The tale of a prostitute and a bookish man finding love, was a raucous effort that rang the box office bell, due to the presence of Barbra Streisand and George Segal, and a healthy dose of sauciness. Mystery was the name of the game in THE LAST OF SHEILA (1973). A movie producer invites a group of friends to his yacht, who were present at his home one year to the day when his wife was killed in a car accident. A game of cat and mouse then ensues, with red herrings aplenty in this thriller. Mr Ross then tackled the sequel to FUNNY GIRL (1968), being FUNNY LADY (1975). Continuing the story of Fanny Brice, her career highs, and personal relationships, it was another success for the director, with Barbra Streisand again in the lead. 

THE SUNSHINE BOYS (1975), was a comedy of two vaudeville comedians reuniting for a television special after many years, but whose existing offscreen animosity might affect their current project. Mystery THE SEVEN-PER-CENT SOLUTION (1976), focused upon duo Dr Watson and Sherlock Holmes, and how Watson seeks to assist Holmes with his psychological issues through Sigmund Freud. There was a change of pace for Herbert Ross with THE TURNING POINT (1977). Two friends involved in ballet compare their lives until the present, with the daughter of one becoming a ballerina, this making the women reassess where they have been, and where they are going in life. Also successful was THE GOODBYE GIRL (1977). The unlikely teaming of a struggling actor, a dancer, and her daughter in a New York apartment, was box office gold for Warner Brothers, also bringing an Oscar for Richard Dreyfuss in the lead role. Another well-regarded movie for Herbert Ross was CALIFORNIA SUITE (1978). With an all-star cast including Jane Fonda, Alan Alda, Michael Caine, Maggie Smith, and Walter Matthau, this peek inside the lives of guests at the Beverly Hills Hotel was a fun cinematic diversion, with some moments of pathos. 

The 1980s began a run of less-prominent projects for Herbert Ross. Biopic NIJINSKY (1980), though, was not as well-liked as his 1970s efforts. The life of Russian dancer Vaslav Nijinsky was the topic here, and his crumbling mental state. Despite a stellar cast, with Alan Bates, Janet Suzman and Sian Phillips, it was not a financial success. PENNIES FROM HEAVEN (1981), was another box office disappointment. The life of a sheet-music salesman in 1930s Chicago, and his romance with a schoolteacher, made up the content of this ambitious, but unpopular musical drama. I OUGHT TO BE IN PICTURES (1982), was also a loss maker, being the story of a young woman trying to break into the movies, and reunite with her screenwriter father. Herbert Ross made a comeback with FOOTLOOSE (1984). When a young man from the city moves to a small town, and rails against its stance toward music and dance, he starts a revolution of sorts in this energetic drama with a pulsating soundtrack. In contrast, comedy was at the core of THE SECRET OF MY SUCCESS (1987). A young university graduate finds a way of progressing his career without undue strain in this romantic comedy. 

DANCERS (1987), also examined ballet, as with THE TURNING POINT and NIJINSKY. The romance between a male ballet dancer and his younger muse was charted here, with Mikhail Baryshnikov in the central part. Despite this, it failed to recoup its costs at the box office. Success again came Herbert Ross' way with STEEL MAGNOLIAS (1989). When a young beautician gains employment at a salon, she is made to feel at home by the town's womenfolk. With an all-star cast including Sally Field, Dolly Parton, Olympia Dukakis, Daryl Hannah and Shirley MacLaine, it was a bonanza for Tri-Star Pictures. Comedy was also at the heart of MY BLUE HEAVEN (1990). When a federal agent is assigned to watch over a gangster and his wife, fireworks ensue in this comedy crime caper. TRUE COLORS (1991), had a male-male friendship at its core. The very different perspectives of two young men, both law students, are examined here, and how their aims to progress in Washington take them in opposite directions. This, unfortunately, was another of Herbert Ross' misfires, making back only a fraction of its production costs. Herbert Ross' cinematic sawn song was in the form of BOYS ON THE SIDE (1995). The close relationship between three women drives this narrative, which was not only a box office success, but also, critically acclaimed. T.R. BASKIN was Herbert Ross' third film, but one of his lesser movies.

Herbert Ross has made an unsatisfactory picture with T.R. BASKIN. The story of a young woman from Ohio who seeks a new life in Chicago, and running into inherent difficulties along the way, it is a deflating viewing experience. A number of reasons point to this in the movie. Although the acting is one of its best qualities, the lead actress, in particular, is let down by the film's reticence in providing a backstory for its titular character. Aside from the fact that T.R. Baskin is seeking a new life in Chicago, one never gets a sense of why this is so. This subsequently poses questions about her which are never answered, such as what she is running away from, and how she arrived at the decision to move to Chicago. Even though one receives some information about the character through her interactions with other characters in the story, for the most part, T.R. Baskin remains an enigma. Thus, audience identification with her is not an easy feat. While Herbert Ross aptly paints a picture of difficulties in city life, alienation, and loneliness through the visual aspects of the film, the narrative leaves much to be desired in terms of its execution. The movie largely limps along at a snail's pace, and with little to capture the emotions of the spectator. A demanding but disappointing work, T.R. BASKIN stands out as a dismaying movie from Herbert Ross. 

Acting: There are several notable acting performances in T.R. BASKIN. In the lead role of T.R. Baskin, Candice Bergen is excellent. Carefully unravelling the many layers of this young woman to the audience, with a revelation in the final section of the movie, it is one of Miss Bergen's most psychologically complex roles, and one she delivers with finesse. As Larry, T.R.'s love interest, James Caan adds his unique persona to the film. With his easy-going ways, crackly voice, and engaging personality, it would have been good to have seen more of Mr Caan in the picture. The final noteworthy acting in T.R. BASKIN was by Marcia Rodd as Dayle, T.R.'s colleague at the office. Miss Rodd's good humor, knowing attitude, and nous make her one of T.R. BASKIN's brightest lights, in what is otherwise a dispiriting movie.

Soundtrack: T.R. BASKIN takes a very lean approach to its soundtrack, which makes sense in terms of the film's themes, and presentation. Aside from diegetic music in scenes such as the restaurant sequences, there are two notable sequences which employ non-diegetic music. The first is the passage where T.R. and Larry are walking in the city, with a tinkly piano tune quietly playing in the background. The next is when T.R. strolls along the riverside after leaving Larry's home. These are some of the most pensive moments in the film, and nicely punctuated by the solemn scoring in these segments. The closing credits are in contrast to the lack of music in T.R. BASKIN as a whole, with Jack Elliott's piano theme ending the picture in a thoughtful manner.

Mise-en-scene: The visual experience for viewers is one of T.R. BASKIN's best qualities. Cinematography by Gerald Hirschfeld is beautiful, compensating for the deficiencies in the narrative with its subtlety. In turn, production design, and art direction by Albert Brenner is memorable, with the never-ending typing pool where T.R. Baskin works, her apartment, Larry's warm abode, the restaurants, bars, and department store which T.T. visits with Dayle, all excellent examples of his work. Costuming is also of a high standard, Agnes Lyon's creations ensuring that the cast is well-outfitted in upscale, smart apparel, this applying to both the male, and female performers.

Notable Acting Performances: Candice Bergen, James Caan, Marcia Rodd.

Suitability for young viewers: No. Brief female nudity, adult themes.

Overall Grade: D

Link: IMDB Page

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THE HOLLYWOOD KNIGHTS (1980)

Title: THE HOLLYWOOD KNIGHTS

Year of Release: 1980

Director: Floyd Mutrux

Genre: Comedy, Sex Comedy, Teen Comedy

Synopsis: A night in the life of The Hollywood Knights car club members in 1965 Beverly Hills.

Within a film history context: Teenage sex comedies were highly visible on cinema screens in the 1980s. While sex comedies have been present since the beginning of cinema, the 1980s had a large number of teen-oriented films, of varying degrees of quality. The push to bring younger viewers into the cinema, coupled with a new generation of talented performers and personnel, seeking to 'speak' the language of this audience, was the impetus for this genre. There were many examples of these over the decade, but for the sake of brevity, some main examples which appeared onscreen until 1984 will be highlighted. PRIVATE LESSONS (1981), directed by Alan Myerson, was about a French housekeeper who looks after a businessman's son for the summer, emphasizing sexuality and coming of age themes. It was successful at the box office, which may have been partly attributable to Miss Kristel's reputation from her appearances in the EMMANUELLE erotic comedy franchise. 

Definitely one of the most famous, if bawdy teen comedies was the PORKY'S series, beginning with PORKY's in 1981. Directed by Bob Clark, this first instalment was a hugely profitable movie that spawned two less successful sequels. Its unabashed raunchiness pushed the boundaries of teen sex comedies at the time, and inspired many imitators. 1982 brought the less saucy, but still raucous FAST TIMES AT RIDGEMONT HIGH, directed by Amy Heckerling. With a number of actors in early roles such as Phoebe Cates, Jennifer Jason Leigh, Sean Penn, and Judge Reinhold, it was a blend of comedy and drama, more topical in nature than the other films, but still with teen themes and situations. Further films showcased the teen sex theme in different ways. Robert J. Rosenthal's ZAPPED! (1982), had a young teenager with telekinetic powers use his gift for comical revenge purposes. It was another successful movie which had a later sequel in 1990. 

One of the most fondly remembered sex comedies was RISKY BUSINESS (1983), directed by Paul Brickman. More subtle in manner than the all-out films such as PORKY'S, it made a big star of its lead actor, Tom Cruise, apart from grossing a very healthy profit. Nostalgia received another workout in Rafal Zielinski's SCREWBALLS (1983). Set in the 1960s, it was about high school students and their shenanigans. As with the majority of these films, it also was a financial success, if critically shunned. In the manner of PRIVATE LESSONS, MY TUTOR (1983), directed by George Bowers, was another spicy entry in the genre. The story of two young men vying to lose their virginity, with one becoming involved with his alluring French tutor, was a money-making film for Crown Productions. Equally ribald, but in a broader comic manner, was Chuck Vincent's HOLLYWOOD HOT TUBS (1984). Following a young man who works by repairing the hot tubs of the affluent and wealthy in Hollywood, it had a number of funny sequences alongside the more risqué stretches. THE HOLLYWOOD KNIGHTS was among the first teen sex comedies in 1980, but one of the most inadequate.

All the teen sex comedies had sexual content of varying degrees in their narratives, some more overt than others, with PRIVATE LESSONS and MY TUTOR prime examples. The vast majority of these films were generally centered on one male character, following the course of his life in the film. Those in this vein included PRIVATE LESSONS, RISKY BUSINESS, MY TUTOR, and HOLLYWOOD HOT TUBS. In these instances, young men are brought out of their shell by an experienced female character, who in many cases, was older than them. FAST TIMES AT RIDGEMONT HIGH was an oddity among teen sex comedies as it balanced both male, and female characters within its context. It is also notable as an example of a multi-character film, something shared by THE HOLLYWOOD KNIGHTS, but the similarities with that picture end there. 

FAST TIMES AT RIDGEMONT HIGH defined its characters clearly, and the viewer could easily identify with them. One became acquainted on a micro-level with them, and why they acted as they did. THE HOLLYWOOD KNIGHTS, on the other hand, had a greater quantity of characters, but lacking individuality in this way. They were young men seeking to raise hell, but just for the sake of it. The vast majority of male characters were, in effect, interchangeable as characters, and negligible in the final analysis. At first glance, the closest example to THE HOLLYWOOD KNIGHTS would appear to be PORKY's, with its many male characters, and attention to sexual matters. PORKY's, at the very least, had the grace of making its characters more distinct, and exhibited a more coherent storyline, something which THE HOLLYWOOD KNIGHTS could not accomplish. A low-grade entry in the 1980s teen sex comedy genre, THE HOLLYWOOD KNIGHTS is a lackluster movie.

Overview: Floyd Mutrux is the director of five feature films over twenty-three years, his first being released in 1971, and his final one in 1994. Mr Mutrux's films display a partiality for 1950s and 1960s Americana, and penchant for nostalgia. His inaugural movie, DUSTY AND SWEETS MCGEE (1971), was a drama about two young drug addicts in Los Angeles, roaming the streets, and documents their lives. Floyd Mutrux's second picture, ALOHA, BOBBY AND ROSE (1975), was an uneven, but perceptive account of love between a car mechanic, and a fast-food waitress, which rang the box office bell in its time. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. Mr Mutrux's final movie, THERE GOES MY BABY (1994), was another foray into 1960s America, this time charting the lives of several Los Angeles high school students, and their reactions to events in the society of the time. As his penultimate picture, THE HOLLYWOOD KNIGHTS was another of Floyd Mutrux's box office hits, but, in light of his other movies, not a sterling effort.

Floyd Mutrux has made a disappointing film with THE HOLLYWOOD KNIGHTS. A tale of rebellious car club members on Halloween Night, 1965, and their assorted escapades and pranks, particularly targeting the police force, it is a dispiriting viewing experience. It has nothing in common with Mr Mutrux's other films, which, despite their faults, did have a semblance of a solid storyline, and something to savor in terms of emotional force. ALOHA, BOBBY AND ROSE, and AMERICAN HOT WAX are prime examples of this, both having the courage of their convictions. With THE HOLLWOOD KNIGHTS, the emotional impact is largely not present, and blunted, with the picture's insistence on showcasing unfunny, cruel, and demeaning lowbrow humor. The concentration on sexuality also becomes boring very quickly, as it is antic based, rather than coming from the heart. Explorations of sex, and its humorous angles come part and parcel in teen sex comedies, but here have been delivered in such a frenetic manner, one resorts to headshaking at the pace of it all.

THE HOLLYWOOD KNIGHTS maintains things on a superficial level almost throughout its entire running time, and this saps the film of depth which would have added much-needed pathos to the proceedings. The film, for example, is at pains to present the friction between The Hollywood Knights and the police, but it just adds up to a collection of stunts, without ever delving into why this situation developed in the first place. The adulterous liaison of Jacqueline Freedman and Nevans has its amusing passages, but one never finds out why they are so attracted to each other. The parts of the movie which, on the one hand, seems out of place with the hive of activity, but have emotional strength, are the romantic issues of Duke and Suzie, and Duke's friendships with Jimmy, and mechanic Smitty. These moments are true to life, and stand out for their realism in a film given to being a den of iniquity. Jimmy's upcoming tour of duty in Vietnam is a great scene in the film, leaving one hoping to know what happened to him, but this is never resolved. Unfortunately, these meaty segments are too few and far in between, resulting in a lopsided picture. One of Floyd Mutrux's less accomplished movies, THE HOLLYWOOD KNIGHTS stands out for all the wrong reasons as a dismaying film. 

Acting: There are several performances which are worthy of mention in THE HOLLYWOOD KNIGHTS, these standing out despite the movie's overwhelming push towards vulgarity. As the oversexed Jacqueline Freedman, one of the opponents of The Hollywood Knights, Leigh French is extremely amusing. With her high-pitched voice, and expert comic delivery, Miss French makes whatever she does, or says funny. She recalls comedian Alice Pearce from cinema, and television series Bewitched as the first Mrs Kravitz. The highly put-upon Dudley is made memorable in the capable hands of Stuart Pankin. His penchant for the English language, and participation in various zany escapades, make Mr Pankin another of the film's comic assets. At the opposite end of the spectrum, the owner of Smitty's car repair shop, Smitty, is given depth and realism by James Jeter. A character actor whose presence adds an authenticity to this part of the picture. Mr Jeter is perfect. Three other actors contribute great performances in THE HOLLYWOOD KNIGHTS.

As the former Hollywood Knights member Duke, in love with Suzie Q, Tony Danza turns in a sincere rendition of a young man trying to make the best of his life, and sharing this with the woman he loves. With his enthusiasm and hopefulness, Mr Danza ensures the audience is on his side. The object of his affections, Suzie Q, is also given intensive treatment by Michelle Pfeiffer. Possessing an ethereal presence, Miss Pfeiffer, as with Tony Danza, makes the trials of Duke, and Suzie Q, a great story thread in the movie. The final acting of note was by Gary Graham as Jimmy, Duke's friend headed to Vietnam. Mr Graham makes Jimmy a very real and three-dimensional person with his incisive acting, and reactions, convincing the viewer of his predicament, being that he may not return after his tour of duty.

Soundtrack: The soundtrack of THE HOLLYWOOD KNIGHTS is dotted with many rock and pop hits of the 1960s in both a diegetic, and non-diegetic sense. These are often played in brief as background noise, but are evocative of the 1960s. Tunes include 'California Dreamin', by the Mamas and the Papas, 'Big Girls Don't Cry', by The Four Seasons, and 'In the Midnight Hour', by Wilson Pickett, to name a few. The closing credits are accompanied by 'Hollywood Knights', sung by Brooklyn Dreams, summing up the adventures of the characters as witnessed by spectators in THE HOLLYWOOD KNIGHTS.

Mise-en-scene: THE HOLLYWOOD KNIGHTS has certain virtues on a visual level which cannot be disputed. Cinematography by William A. Fraker is well-measured for a movie which is set in the 1960s, with a nostalgic feel for the era, and, thankfully, without being overly colorful or bright. Art direction by Lee Fischer deftly creates a world that the characters inhabit, with the drive-in, and Smitty's repair shop some of his best set pieces. Darryl Levine's costume design is sound, especially notable are the jackets worn by the Hollywood Knights, seeming of the 1960s.

Notable Acting Performances: Leigh French, Stuart Pankin, James Jeter, Tony Danza, Michelle Pfeiffer, Gary Graham.

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

Overall Grade: D

Link: IMDB Page

MURPH THE SURF (1975)

Title: MURPH THE SURF (Alternate title: LIVE A LITTLE, STEAL A LOT)

Year of Release: 1975

Director: Marvin J. Chomsky

Genre: Drama, Action, Biography

Synopsis: Career criminals, and surfers Jack Murphy, and Allan Kuhn, plan a heist to steal precious gems from a museum. 

Within a film history context: With the rise of surf culture in the late 1950s and early 1960s, cinema began to respond with an assortment of movies about surfers. The first notable example was Paul Wendkos' GIDGET (1959). A young woman has her first experience with surfing one summer, and is squired by two surfers, one her age, the other considerably older. GIDGET was the first film released by a major Hollywood studio, Columbia, with a beach and surfing background. Its popularity led to two sequels, being GIDGET GOES HAWAIIAN (1961), and GIDGET GOES TO ROME (1963), several television movies, and television series in the years after. GIDGET and its counterparts were followed by the BEACH PARTY movie cycle, filmed by American International Pictures. 

Commencing with BEACH PARTY (1963), directed by William Asher, this led to a number of sequels, frequently starring Frankie Avalon, and Annette Funicello. These adeptly combined surfing shots with comedy, and romance. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965) and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big-name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. Aside from the BEACH PARTY movies, there were others which spotlighted surfers.

Leslie H. Martinson's FOR THOSE WHO THINK YOUNG (1964), was about a wild young man looking for romance, with the obligatory scenes of beach action, and surfing mixed in for good measure. RIDE THE WILD SURF (1964), directed by Don Taylor, contrasted the lives of three young surfers competing in Hawaii not only for the surf but also, the young women. Lennie Weinrib's musical BEACH BALL (1965), centered around a crafty, surfer rock and roll group manager employing dubious methods to raise money to purchase instruments for his band, which are discovered by the finance committee. THE SWEET RIDE (1968), directed by Harvey Hart, featured a character who was a surfer, among others such as a tennis player, and a musician in this light movie. MURPH THE SURF came later in time than the 1960s films, being released in 1975, but was notable for its differences from the other examples.

In common with the afore-mentioned movies, MURPH THE SURF had scenes of its lead characters surfing, relaxing on the beach, and other related activities. There was plenty of location footage which highlighted scenic places, and spaces, in this vein. Where it diverted was that its surfers were not teenagers, or twenty-somethings. They were men in their thirties, more seasoned by life in this respect, than young men yearning for romantic adventures. Their relationships with women were not romantic in nature, but more adult in tone. It was not a fairytale world of true love in MURPH THE SURF, as depicted in the BEACH PARTY movies, with their romantic misunderstandings peppering the story. With its male-female relationships treated with flippancy at times, MURPH THE SURF was a film for adults rather than teenagers or young adults. Other facets of the movie are also of interest.

In a related manner, the light-hearted, simplistic scenarios of BEACH PARTY, and others of its type, were not present in MURPH THE SURF. It did, though, have a cavalcade of events and happenings which marked all the surfer movies, but in MURPH THE SURF, these were of a more complex nature, in keeping with the film's real-life events. Both lead protagonists were career criminals who loved to surf, a distinct change from the largely crime-free world of BEACH PARTY series. Furthermore, while many of the movies had surfers in a supporting role, such as the GIDGET movies and THE SWEET RIDE, MURPH THE SURF offered two central male characters. This afforded contrasts in how both men saw life and love. The intricate nature of male characters in MURPH THE SURF harked back to GIDGET's Burt Vail, and his complicated persona. Another version of a film about surfers, MURPH THE SURF offered an original view in this respect.

Overview: Marvin J. Chomsky was an American director who made five motion pictures in his career. He was extremely prolific on television, presiding over thirty-one telemovies, and scores of episodic television series. His first movie, EVEL KNIEVEL (1971), was a biopic of the American stuntman, with George Hamilton in the lead role. It was a financial success based upon its comparatively low budget. Next came western MACKINTOSH AND T.J. (1975). The relationship between a cowboy, and a young man whom he meets one day under difficult circumstances, was notable as the last screen performance by Roy Rogers as the aging cowboy. GOOD LUCK, MISS WYCKOFF (1979) was contrary in tone. An unmarried schoolteacher has an affair with a black school janitor, which causes waves in a small Kansas town in the 1950s. Marvin Chomsky's cinematic swan song came in the form of TANK (1984). An army sergeant comes up against a ruthless sheriff, and they face off over a number of issues in this action movie. MURPH THE SURF was Marvin Chomsky's second film, but not one of his best efforts.

With MURPH THE SURF, Marvin Chomsky has made a disappointing motion picture. The story of real-life criminal Jack Murphy, and his friendship with Allan Kuhn, their partnership revolving around a jewel heist, it is a ponderous viewing experience. There are a number of reasons why this is so. The movie is a retelling of real events, but there is nothing remotely exciting about the presentation of these. One never feels involved with what is taking place, as emotion that should have been present, but is nowhere to be found. The characters, and their journey, are secondary to the anticipation built for the jewel robbery sequence which, of itself, fails to capture the imagination. While the movie, as such, cannot be accused of glamorizing crime, there is no suspense in seeing if the characters actually carry out their deeds, or evade prosecution. MURPH THE SURF, in honesty, functions as a dramatization of real events, with certain liberties taken, but that is the extent of its effectiveness. It is a plodding picture which has a few interesting sections, but that is all. One of the most monotonous heist movies ever produced, MURPH THE SURF is a forgettable movie.

Acting: MURPH THE SURF has a handful of striking performances which stand out. As Jack Murphy, master criminal, jewel thief and surfer, Don Stroud delivers an excellent portrayal of a charismatic, complicated man drawn to this way of life. An actor who always brings heart and soul to his acting, making his protagonists real, and sympathetic, despite many objectionable deeds, Mr Stroud is one of the film's best assets. Unfortunately, the same cannot be said for Robert Conrad, as Allan Kuhn, Jack Murphy's partner in crime. While he certainly looks the part as a man who almost lives on the beach, he does not make the same impact as his co-star, seeming lost against Don Stroud's dominant personality. As Ginny Eaton, Jack Murphy's girlfriend, Donna Mills, though, is radiant as the sensitive young woman who takes Jack too seriously. An actress with a luminosity about her, Miss Mills' role is too brief, but she still makes her mark in MURPH THE SURF.

Soundtrack: Phillip Lambro's instrumental score adds an urgency, and tension to MURPH THE SURF, which makes it one of the movie's best features.

Mise-en-scene: MURPH THE SURF offers a convincing onscreen experience for viewers. Exterior locations lend the film a freshness, and realism, which could never be achieved in a studio. Interior sets by Don Ivy and John McCarthy Jr. are also believable, such as the apartment where Jack and Allan reside with their girlfriends, planning their underhanded schemes. Costuming by Norman Salling is in keeping with the Florida coastal theme, with swimsuit changes for the central duo and their amours at the beach, deftly contrasting these with smart, relaxed attire for more formal events.

Notable Acting Performances: Don Stroud, Donna Mills.

Suitability for young viewers: No. Adult themes.

Overall Grade: D

Link: IMDB Page

RABBIT, RUN (1970)

Title: RABBIT, RUN

Year of Release: 1970

Director: Jack Smight

Genre: Drama

Synopsis: A footloose man leaves his alcoholic wife, driving across the country, and takes up with a prostitute.

Within a film history context: There were a few movies which dealt with the topic of a man leaving his wife in cinema history before RABBIT, RUN. One of the first was James Whale's SHOW BOAT (1936). In this story of life upon a show boat, and the people whose existences it marked, there are two incidents where a husband leaves his wife. The first deals with a man, Gaylord, who leaves his wife Magnolia, and child due to feeling that he is hampering her life as he is a gambler. The second is of a part black woman, Julie, who is also abandoned by her white husband, and takes to drink. Magnolia's story is similar in the film's 1929 version, but Julie's story is different, with the interracial arc not included here. THE MOON AND SIXPENCE (1942), directed by Albert Lewin, focused upon a stockbroker who leaves his wife and children to become a painter in Paris. Vincent Sherman's OLD ACQUAINTANCE (1943), features a man who leaves his wife, but whose heart is with another woman, being his wife's best friend. The woman's loyalty to her friend, though, forbids her from starting a relationship with her husband. 

With ROUGHLY SPEAKING (1945), directed by Michael Curtiz, a resourceful woman sees her place in the world akin to a man's, and marries someone with whom she does not see eye to eye on this topic. She is eventually abandoned by her husband for another woman who views things more to his liking of womanhood. George Sidney's 1951 remake of SHOWBOAT saw a small change in the story of Magnolia, whose gambling husband left her. Instead of having Magnolia's husband abandon her with a young daughter, in the remake, Gaylord was unaware that his wife was pregnant, and subsequently met his offspring when he and Magnolia reunite years later. INSIDE DAISY CLOVER (1965), directed by Robert Mulligan, had a man marry a young actress only to leave her, finding out about his bisexuality after the fact. Ken Kennedy's grindhouse movie THE VELVET TRAP (1966), saw a young waitress enduring a number of humiliating incidents, one of these marrying a man, only to be left by him the next day. RABBIT, RUN was a film which dealt extensively with a husband leaving his wife.

In general, most of the movies on the topic were about a woman abandoned by her husband, with the male role of a secondary nature. This trend is evident in the SHOW BOAT movies, OLD ACQUAINTANCE. ROUGHLY SPEAKING, INSIDE DAISY CLOVER, and THE VELVET TRAP. The individual movies placed varying degrees of importance on the aftermath on the female lead of this event, in the latter two pictures having lesser weight in the narrative. The incident occurs, and is just one in a long chain of events that the story presents to viewers, as both these movies were more melodramatic in nature. The husband leaving the wife, though, makes an indelible mark especially in the SHOWBOAT movies, and ROUGHLY SPEAKING. These pictures were the ones where the female lead had a family, and the husband not only left her but also, his children. 

The one picture closest to RABBIT, RUN was THE MOON AND SIXPENCE. This was in relation to having a central male character instead of a female character in the forefront. Where RABBIT, RUN's Harry differs from THE MOON AND SIXPENCE, is that Charles wants to be an artist in Paris, whereas Harry seeks to uproot from his existence due to dissatisfaction with his alcoholic wife. In another sense, Harry is the libertine version of Charles, wanting to do what he likes, where and when he likes, without having a specific goal, being Charles' dream of painting. On the other hand, Charles is not given to Harry's penchant for wandering, vanishing at a moment's notice, and taking up with another woman. Charles is the more upstanding incarnation of Harry, actually marrying another woman instead of having an affair with someone he just met. These posit male identity, and masculinity, at opposite ends of the spectrum. Where Charles is poised and artistic, Harry is promiscuous and insolent. An interesting if frivolous take on a husband leaving his wife, RABBIT, RUN is notable for its interpretation of this topic.

Overview: Jack Smight was an American film director who presided over seventeen projects during a twenty-five year period. He also was very prolific on television, with many prime-time series to his credit, and seventeen telemovies. Mr Smight's first film, I'D RATHER BE RICH (1964), was a romantic comedy of a young woman whose dying grandfather wants to meet her fiancé. When her fiancé is unable to attend, she convinces another man to take his place, the surprise being that her grandfather recovers in the process. THE THIRD DAY (1965), was a suspense film of a man involved in a car crash, but unable to piece together exactly what happened that day in light of his amnesia. HARPER (1966), covered a private investigator assigned to find a missing millionaire, and the deepening mystery surrounding his disappearance. Jack Smight then turned his hand to comedy in KALEIDOSCOPE (1966). The adventures of a wealthy gambler in London was a vehicle for Warren Beatty, with a mainly British cast including Susannah York, Clive Revill, and Eric Porter. It was back to suspense territory with NO WAY TO TREAT A LADY (1968). The story of two men, a deranged serial killer, and the police detective hunting him down, was a critical and financial success. Mr Smight rounded out the decade with THE ILLUSTRATED MAN (1969). A man whose entire body is tattooed, relates the stories of some of his body art, which are visions of doom.

Into the 1970s, THE TRAVELING EXECUTIONER (1970), was another dark movie for Jack Smight. A man with a portable electric chair, charging for executions in jails, comes unstuck when he falls for one of his prospective victims. Mr Smight then tackled AIRPORT 1975 (1974), which was the second entry in the Airport disaster movie franchise. Trouble brews for a plane when it collides with a smaller aircraft, causing the pilot's incapacity, and death of several crew members. The challenge is for a pilot to board the cockpit, and rescue the plane. It was a wildly successful movie, being one of the year's biggest hits. Next for Jack Smight came MIDWAY (1976). The story of the battle of Midway in 1942 fought between Americans and the Japanese, it was another commercial bonanza, bringing forth a healthy profit for its studio. Science fiction was next on the agenda in DAMNATION ALLEY (1977). The immense difficulties of a group of people in post-apocalyptic America were portrayed, but it was not a financial success. FAST BREAK (1979), was a breezy comedy about a basketball fan who assumes the position of coach for a team, bringing them to the heights of sporting fame. 

The 1980s were inducted by Jack Smight with LOVING COUPLES (1980). The complicated love shenanigans of a married couple trying to make the other jealous with outside parties starred Shirley MacLaine and James Coburn as the central duo, with Susan Sarandon and Stephen Collins in support. NUMBER ONE WITH A BULLET (1987), was Jack Smight's penultimate movie. When two detectives, opposites in manner and behavior, take on a murder case, they discover corruption in their own police force. It had a great cast, with Robert Carradine and Billy Dee Williams as the policemen, and capable support from Peter Graves, Valerie Bertinelli, and Doris Roberts. Mr Smight's final picture, THE FAVORITE (1989), was an historical story of a young French woman who is sold into slavery in an Ottoman harem, and charts her survival in this very demanding milieu. RABBIT, RUN was Jack Smight's ninth film, but not one of his best achievements.

Jack Smight has, unfortunately, made a convoluted motion picture with RABBIT, RUN. The tale of a man leaving his pregnant wife and young child, roaming the country by car, and subsequently taking up with another woman in the process, has been handled in an unsatisfactory manner. While the movie has interesting characters, they do not have a chance to really shine as the story is haphazard. This happens, that happens, someone says this, another says that, but it has been assembled in a pedestrian way. There is a major reason that this is so. It is difficult to feel a connection to what is occurring as events are unemotional in their execution. For example, one never finds out why Harry does what he does, aside from the obvious, that is, he is unhappy with his wife, and her state of mind. There is never a deep delving into character motivations.

The movie highlights a jokiness in its orientation which sometimes works, but quickly wears out its welcome. The naughty words and sexual innuendo seem forced, the main intention being to shock, instead of providing privileged glimpses into characters. Aside from this, characters, in the main, do not have in-depth conversations to hook the viewer. There are several scenes which are compelling in examining character interactions, but these are few and far between. What one witnesses overall is a flippancy, instead of revelations in the storytelling to secure spectators' attention. While RABBIT, RUN is watchable in a basic sense, its lack of finesse renders it half-hearted. One of Jack Smight's lesser movies, RABBIT, RUN is a disappointing film.

Acting: RABBIT, RUN has an excellent cast who do their best to make the film work. In the lead role of Harry Angstrom, the titular Rabbit, James Caan does a creditable job as a man torn in many different directions, but, in the main, this is of his own making. Mr Caan had an indelible charm which worked in both sympathetic, and villainous parts. His Harry is someone difficult to dislike, despite his actions in the movie. Harry's beleaguered wife, Janice, is excellently portrayed by Carrie Snodgress. A unique performer who easily captured the audience's sympathy with her friendly ways, Miss Snodgress makes the most of her part in the movie. Harry's mistress Ruth is given careful shading by Anjanette Comer. With her volatile manner and unpredictability, Miss Comer provides the movie's most complex female character. Another exceptional actress in RABBIT, RUN was Carmen Mathews as Mrs Springer, Harry's mother-in-law. With her serious expressions and quiet voice, Miss Mathews adds immeasurably with her singular presence. The last acting of note was by Melodie Johnson as Lucy, the priest's wife who takes a shine to Harry. Miss Johnson provides yet another intricate portrait of femininity in the film, with many twists and turns to keep Lucy a compelling personality in RABBIT, RUN.

Soundtrack: RABBIT, RUN has a soundtrack peppered with songs of the late 1960s/early 1970s, and some classic tunes. Many of these are employed diegetically with the scenes of Harry driving in his car, listening to the radio. The best use of music is the tune 'Anything Happening?' performed by Inner Sense. This is used both during the opening, and closing credits of RABBIT, RUN. It is an evocative song which makes one wish that the movie had actually delivered as equally as its effective theme tune.

Mise-en-scene: What appears onscreen for spectators is thoroughly convincing in RABBIT, RUN. Photography by Philip Lathrop makes the movie beautiful to view, his knowing use of Technicolor ensuring events appear lifelike. Both indoor, and especially outdoor location shooting, also imbue the picture with a freshness, and verisimilitude, that makes this one of the film's best aspects. Set decoration by Marvin March is also vivid, with Harry's home, his parent's kitchen, and Ruth's apartment standouts. 

Notable Acting Performances: James Caan, Carrie Snodgress, Anjanette Comer, Carmen Mathews, Melodie Johnson. 

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

Overall Grade: D

Link: IMDB Page

Trailer

INSERTS (1975)

Title: INSERTS

Year of Release: 1975

Director: John Byrum

Genre: Drama

Synopsis: A once-famous Hollywood silent director now makes pornographic movies in his mansion.

Within a film history context: Movies about the pornographic film industry were not common before 1975. There were several examples of these which were largely exploitation films, with unknown casts. INSERTS was the first which was produced for a Hollywood studio, with well-known actors, and first-time director. Ed Wood's THE SINISTER URGE (1960), was one of the first to look at the industry. It explored a pornographic mob-run movie business, and how the models in these are found murdered, highlighting the police search for the killer of these young women. IS THERE SEX AFTER DEATH? (1971), directed by Alan Abel and Jeanne Abel, contained a small scene of a pornographic movie being made, but it was simulated for the camera in this comedy-mockumentary about sex in its various forms. 

Alain Patrick's BLUE MONEY (1972), concerned itself with a Los Angeles director of pornographic movies. Married and with a child, he dallies with an actress, but his life unravels not only on the domestic front but also, as the police are on his tail due to his filmmaking occupation. SUGAR COOKIES (1973), directed by Theodore Gershuny, had an insidious pornographic filmmaker who murders his star on camera, but tries to pass this off as suicide, with the dead woman's lesbian lover seeking revenge. INSERTS was a movie which was consumed with the making of a pornographic film by its director, in comparison to the other entries.

INSERTS had the most in common with those pictures about a pornographic film director and the making of his movie, with both BLUE MONEY and SUGAR COOKIES standing out. In these pictures, there is a male director of pornographic films in the forefront, and the viewer becomes intimately acquainted with them, and their lives. BLUE MONEY and SUGAR COOKIES both have a 1970s setting, which made them contemporary. The movies were both positioned in 1970s territory, when there was an upsurge in pornographic filmmaking at the time. INSERTS differed as it was set in the early 1930s, when the director in that film, boy Wonder, had great difficulty in adapting to sound, making silent porn movies to survive. Aside from this, Boy Wonder in INSERTS was painted as a former auteur of sorts, whose previous success overshadowed his current persona. Neither of the directors in BLUE MONEY and SUGAR COOKIES could be seen in the same vein, just working in porn. This is where INSERTS diverted from these films, where a famed Hollywood director now made hardcore pornographic pictures. 

In terms of the psychological makeup of the respective porn director, Boy Wonder in INSERTS was closer to the director in BLUE MONEY than SUGAR COOKIES. While Boy Wonder did exhibit off-the-wall thoughts and actions, suggesting something akin to necrophilia at one point, he was not a psychopath as the director in SUGAR COOKIES. He was seen as a man down on the count trying to reignite his lost fame through shooting pornographic movies. This was a thoroughly different interpretation than that of the director in BLUE MONEY, who was being pursued by the authorities due to his filmmaking. The private life of the director was something the three films also tackled in vastly opposing ways. Jim in BLUE MONEY had a wife and child, and strayed with another woman. His situations was more of a domestic persuasion than that of Boy Wonder in INSERTS. One is given little access to Boy Wonder's private life in the picture, aside from the fact that he and Cathy Cake do sleep together. There is more of a concentration on Boy Wonder's efforts to make his porn film than peering deeply into his personal life. An in-depth look at a pornographic film director, this portrait is one of the best aspects of INSERTS.

Overview: John Byrum is an American director who made four films from 1975 until 1986. He predominately filmed dramas, with a sole comedy being his final picture to date. His second movie, HEART BEAT (1980), charted the relationship between the Beat Generation figures Carolyn Cassady, husband Jack Cassady, and Jack Kerouac from the late 1950s, until the 1960s. Mr Byrum's third effort, THE RAZOR'S EDGE (1984), was a remake of the 1946 film. A man returns from serving in World War I, and he finds that everything has changed dramatically, and life is not the same as what he left. John Byrum's final movie to date, THE WHOOPEE BOYS (1986), was a comedy of two young men in Florida, and their raucous antics. INSERTS marked John Byrum's movie debut, but is not one of his best pictures.

With INSERTS, John Byrum has, unfortunately, made a highly flawed film. The story of a Hollywood silent director whose career has seen better days, resorting to making hardcore pornographic movies in his mansion, it is not an easy picture to watch. There are reasons why this is so. While the narrative is divided into three acts, and has a sense of organization in this way, what appears onscreen is less than compelling. The movie, to be fair, does give some insights into characters and situations, which are deftly delivered by a great cast. INSERTS, though, has a tendency to ramble through its almost two-hour running time, which manifests itself in one particular way.

There is an emphasis on sexual situations, and a certain flippancy which becomes grating. This could be seen as being natural given the movie is about a porn director and the making of a movie, but relying on sexuality, and not delving deeper into what brought these people to porn films, gives INSERTS an air of emptiness. It feels as if it likes to shock and surprise the audience with its attention to sexual matters, but this is not backed up with a sturdier backstory to provide strength, and further clarity to the movie. The final section is the best part of the film, where Boy Wonder and Cathy Cake become acquainted in all respects, but by the time it arrives it is too late to save it. An enervating film to witness, INSERTS is lacking in many areas which could have made it a much better picture.

Acting: INSERTS has an enthusiastic cast who give their all, making the movie better than it is. In the lead part of Boy Wonder, one-time Hollywood director now down on the count, Richard Dreyfuss is excellent. Portraying all sides of a complicated character, whose nasty tendencies often come to the fore, Mr Dreyfuss succeeds in making Boy Wonder an entrancing figure. As Harlene, the drug addicted actress now shooting porn films for Boy Wonder, Veronica Cartwright is likewise formidable. Seeing the hyper Harlene carry on with her escapades is one of the most charming, compelling, but tragic depictions of addiction ever captured on film. 

Harlene's onscreen costar Rex the Wonder Dog is in the comely person of Stephen Davies. Mr Davies expresses this young buck's dreams and wild aspirations with an infectious fervour that, as with Harlene, have a pathos about them which is real. The final acting of note was by Jessica Harper as Cathy Cake, a young woman wanting to be an actress. Miss Harper's Cathy goes head-to-head with Richard Dreyfuss' Boy Wonder, being the only person to take him on, and get to the core of Boy Wonder's psyche. A poised actress with an intellectual approach to her acting, Miss Harper is another of the bewitching thespians who make their mark in INSERTS.

Soundtrack: INSERTS has an unusually lean soundtrack. The vast majority of the movie has no background music, either diegetic, or non-diegetic. The exceptions to this are the opening credits, a piano rendition of 'Moonglow' which appears non-diegetic, but is revealed to be diegetic in nature, segueing into Boy Wonder playing the piano. Boy Wonder plays the piano again in the final scenes, and this leads to the closing credits, with a vocal version of 'Moonglow' played. The film prefers to have the audience's attention focused on what is taking place onscreen rather than utilizing music to punctuate the action.

Mise-en-scene: INSERTS takes an interesting approach to its mise-en-scene. The entire movie is set in one location, being the mansion of Boy Wonder, and this allows the action to proceed in a single place. In some ways, it may seem limited to have a single set, but it maintains attention on the small group of characters who inhabit, and pass through this narrative world. Art direction by John Clark excellently creates a vision of a decaying mansion, alongside Josie MacAvin's set decoration. Cinematographer Denys N. Coop employs a dour use of Deluxe color, emphasizing brown hues, which is in keeping with the film's dark and subversive themes. Additionally, the shooting of the pornographic film within the movie is of interest. Scenes effectively jumps between color stock, and black and white, to show Boy Wonder filming the porn, and how it appears through his camera. This occurs not only during the opening sequences but also, later in the picture.

Notable Acting Performances: Richard Dreyfuss, Veronica Cartwright, Stephen Davies, Jessica Harper.

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

Overall Grade: D

Link: IMDB Page

Trailer

DIMBOOLA (1979)

Title: DIMBOOLA

Year of Release: 1979

Director: John Duigan

Genre: Comedy

Synopsis: Life in an Australian country town, with preparations for the wedding of two of its townfolk.

Within a film history context: Ocker comedies began to appear on Australian cinema screens from the early 1970s. In general, these spotlighted a male character, the eponymous 'ocker' who indulged in uncouth behaviour ranging from excessive drinking, sexual antics, swearing, and sexist attitudes toward the opposite sex. The first film in this genre was Tim Burstall's STORK (1971). The story of a gangly man and his outré activities, specifically with women, was a box office success of its time, and initiated the ocker genre to cinema. THE ADVENTURES OF BARRY MCKENZIE (1972), directed by Bruce Beresford, was another movie that made money. A man goes to Britan with his aunt to claim an inheritance, and a clash of cultures between Australian, and British sensibilities ensues in this comedy. The movie was so popular that a sequel, BARRY MACKENZIE HOLDS HIS OWN, was released in 1974, also directed by Bruce Beresford. 

A less humorous entry in the cycle was Tim Burstall's PETERSEN (1974). A rough and tumble electrician goes to university to further himself in life, but finds that he is instead drawn to sex escapades and affairs, unable to stay away from the lewder aspects of life. More satirical about its milieu and characters was DON'S PARTY (1976), directed by Bruce Beresford. The activities of characters on election night in 1969 Australia are placed under the microscope, letting everything hang out in their lives in both literal, and figurative senses. One of the final ocker movies of the 1970s, Tom Jeffrey's THE ODD ANGRY SHOT (1979), this time was set during the Vietnam War, following the hijinks of Australian soldiers on their tour of duty. DIMBOOLA was also released in 1979, but was another take on the ocker comedy.

It shared the focus on a male character, and his personal relationships, especially with women, which the other ocker films also highlighted within their individual contexts. In the case of DIMBOOLA, though, Morrie is found in a compromising situation with a stripper before his wedding, which sets in motion the breakup of his engagement. He is shown to not be comfortable placed in this position, unlike the characters of STORK, PETERSEN, and DON'S PARTY, where they were anything but unwilling in this respect. Aside from this, DIMBOOLA also had a multi-character structure, similar to DON'S PARTY, where events are deciphered through the eyes of many diverse protagonists. This allows for multiple viewpoints to be examined by the audience, although DON'S PARTY did a much more effective job due to its sturdier narrative.

Another area where DIMBOOLA diverts is in its setting. STORK, PETERSEN, and DON'S PARTY were in predominant urban/suburban settings, while THE ADVENTURES OF BARRY MCKENZIE, and its sequel, were largely set in England. DIMBOOLA was set in a country town, and afforded a completely different visual background for its characters, and consequently, for the viewer than the other movies. Lush outdoor locations, a country town with its homes, streetscapes, stores, cinema and theatre was the best, most expressive feature of the movie. The visual beauty of DIMBOOLA somewhat balanced its top-heavy storyline which too often strayed into over the top, exaggerated moments. An interesting sojourn into ocker film territory, DIMBOOLA is another perspective on this film genre.

Overview: John Duigan is an Australian director who has made twenty-one films over the course of thirty-seven years. His movies are thoughtful, character-driven narratives, many of these set in past eras, or with rural backgrounds. THE FIRM MAN (1975), marked Mr Duigan's debut. It was the story of a businessman starting work at a new company, his personal life, and friendship with a younger woman which takes things into another direction for him. THE TRESPASSERS (1976), similarly dealt with a male character and his personal troubles, this time following a journalist living with a woman. He has an affair with another woman, and the meeting of both of these women in his life takes a surprising turn. MOUTH TO MOUTH (1978), was the study of four young people battling to survive in the big city, documenting their hardships in detail. Into the 1980s, John Duigan made a number of meaningful films.

WINTER OF OUR DREAMS (1981), was about a man who hears of the suicide of a former girlfriend, and how he tries to discover more about this and becomes involved with her friend, a prostitute. This was John Duigan's first commercially successful movie, with Bryan Brown and Judy Davis in the lead roles. In FAR EAST (1982), a woman, whose journalist husband has been kidnapped, seeks help from a former lover, played by Bryan Brown, to save him from the Filipino military junta. Much more comical in orientation was ONE NIGHT STAND (1984). Four teens are trapped inside the Sydney Opera House, with nuclear war breaking loose worldwide, causing them to behave in a weird way, with Sydney possibly in the midst of an attack. It was back to more meditative fare for Mr Duigan with THE YEAR MY VOICE BROKE (1987). Charting the fractured relationship between a young man and woman in 1960s Australia, it won five Australian Film Institute awards, and made a star of its lead actor Noah Taylor. John Duigan rounded out the decade with ROMERO (1989), his first American film. A biopic of Salvadoran Archbishop Oscar Romero during the tumultuous era of a tyrannical regime in El Salvador, it was critically well-received, but a loss maker financially. 

It was back to Australian movies for John Duigan with FLIRTING (1991). In this sequel to THE YEAR MY VOICE BROKE, the character from the first film is now in boarding school, and falls for a young woman in an all-girls boarding school. Their union is threatened by issues of race, as the young woman is Ugandan-Kenyan-English. WIDE SARGASSO SEA (1993) was a period piece set in 1840s England. A young woman inherits land in Jamaica, on the proviso that she marries, but this marriage is filled with nothing but heartache for her, and her husband. SIRENS (1994), was set in 1930s Australia, charting the scandalous activities of artist Norman Lindsay, famed for his portraits of naked women. It was another success for John Duigan, grossing a handsome profit at the box office. 

John Duigan made his next American film, THE JOURNEY OF AUGUST, in 1995. The tale of a farmer in North Carolina of 1815, and his friendship with a female slave, it was an ambitious project which received miniscule box office. THE LEADING MAN (1996), was another letdown financially. A playwright initiates a complex chain of events to continue his affair with his actress-lover, trying to save his wife by seeking a lover for her, but things do not go the way he initially intended. LAWN DOGS (1997), was about a young pre-teen girl in a new gated community, and how her friendship with a gardener raises many questions about the nature of this relationship. In contrast, MOLLY (1999), was a comedy. A bachelor businessman takes on the care of his autistic sister, and she has surgery to improve her health, but things do not go to plan for Molly, or her brother. Into the 2000s and beyond, John Duigan made several more movies.

There was a foray into thrillers for Mr Duigan with PARANOID (2000). A young fashion model attends a party where she is left on her own, and undergoes many painful and humiliating experiences. It was back to comedy with THE PAROLE OFFICER (2001). A parole officer is set up for a murder charge, and finds that his former clients are the only ones who can help him out of this scrape. HEAD IN THE CLOUDS (2004), was another of John Duigan's period pieces. In this film, spanning from the 1920s, until the late 1930s in Europe, the lives of several young people are intertwined by love, and the flaming political atmosphere of the time. Unfortunately, it was another box office failure for the director, receiving acidic reviews. John Duigan's last picture to date, CARELESS LOVE (2012), centered upon a university student who works as a prostitute on the side, and becomes involved with one of her clients. Her life takes a turn for the worse after she falls for a fellow student, both of these relationships tested to the nth degree. As John Duigan's fourth movie, DIMBOOLA was one of his least successful projects.

In the case of DIMBOOLA, regrettably, the director has made an uneven motion picture. Set in the small real-life Australian town of the same name, it is based upon a 1969 play by John Hibberd. It follows the exploits of the town's residents, particularly focusing upon preparations for a wedding. DIMBOOLA also has a subplot about a British journalist who is in town to cover the wedding, and his involvements with the various citizens. While the director is adept at showing local colour, which is one of the movie's best qualities, the story is haphazard and overdone. There are too many characters in the picture, and it is difficult to keep up with all their adventures. In attempting to give as many characters as possible a chance to be seen in the film, it ends up being overloaded. DIMBOOLA did not require as many players as it had, and should have concentrated upon one main story thread. Morrie and Maureen's backwards and forwards engagement, complete with complications, is largely relegated to the back burner with the movie's avalanche of people, and their wacky ways, taking up space in the narrative. These consume valuable time that could have been better served with less people everywhere. Aside from this, there are some other tendencies which do not work in favor of the movie.

One would believe that having a British journalist covering the wedding would be beneficial to DIMBOOLA, giving it a sense of place, and perspective akin to a Greek chorus, but it never quite comes off as it should. Vivian Worcester-Jones, instead, seems to breeze into the movie, and out of it in the end. His only purpose is to comment lightly upon the happenings in the town, but the usefulness of the character is negligible. If he never appeared in the film, he would not have been missed. In addition, the movie likes to present cameos which is a positive thing, but having a host of characters pass through renders it top-heavy. The effect is that one does not have time to get to know these people, which points to something else in DIMBOOLA. The lack of real emotion felt for the characters, and what they go through, makes DIMBOOLA a dispiriting experience. The periodic vulgarity, and broad humor, results in many characters feeling more as caricatures than real people. Morrie's paternity should have been a stronger point in the film, but it is handled so flippantly one wishes things had been otherwise. DIMBOOLA seems to have been assembled just to see how outrageous one could be in the film, but without the spirit of real passion. One of John Duigan's most disappointing movies, DIMBOOLA makes one yearn for what could have been if it had firmer direction.

Acting: There are several performances which stand out in DIMBOOLA. As Morrie McAdam, Bruce Spence is in one of his best roles. A unique actor with a likeable presence, he does excellent work as the often-confused, put-upon Morrie. Morrie's other half, Maureen, is nicely played by Natalie Bate. With her forthright, well-spoken outlook, Miss Bate is a great foil for Morrie, and his lost-for-words persona. Unfortunately, Max Gillies, as Vivian Worcester-Jones, is not in one of his best parts. One of Australia's foremost comedians and impressionists tries hard to bring whimsy to his role, but is let down by the writing of the character. On the other hand, Bill Garner, as the ultra-masculine Dangles, Morrie's friend, is delightful. Seeing Dangles' masculinity satirized is one of DIMBOOLA's best moments, but Mr Garner ensures that Dangles has some vulnerable edges which make him real. 

Soundtrack: DIMBOOLA's use of sound is one of the things which works in its favor. Orchestral music is utilized both at the film's beginning, and end. In the first instance, it is diegetic, with the band playing in the town streets. The second time the piece is played is during the closing credits in a non-diegetic sense. The film otherwise has isolated instances of music, some diegetic, such as the band playing at the wedding, with non-diegetic music in scenes such as the evening after the buck's party, with Morrie laying on the ground, face covered in mud.

Mise-en-scene: One of DIMBOOLA's best aspects is its attention to detail in the visual experience for viewers. Tom Cowan's carefully composed cinematography is beautiful, making the locales in the country town lush to the eyes. His work on the interiors, such as Morrie and Maureen's wedding party, is likewise astute, evoking memories of Twentieth Century Fox studios' Technicolor extravaganzas with their appealing use of color. Production design by Laurence Eastwood, and Anni Browning's set decoration, are also pluses, creating a story world, and a country town which is vivid to witness, despite the film's wayward story. 

Notable Acting Performances: Bruce Spence, Natalie Bate, Bill Garner.

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

Overall Grade: D

Link: IMDB Page