BREAKING AWAY (1979)

Title: BREAKING AWAY

Year of Release: 1979

Director: Peter Yates

Genre: Drama, Sport

Synopsis: A young man from Indiana aspires to race as a professional cyclist.

Within a film history context: Movies about competitive cyclists have not been a common sight on cinema screens before BREAKING AWAY. Maurice Champreux's silent French film LE ROI DEL LA PEDALE (1925), alternate title THE PEDLAR, was about a hotel bell boy who determines to race in the Tour-de-France, and also capture the heart of his ladylove. This three-hour movie has a number of impressive race sequences which have stood up well for their authenticity, and picturesque locations. Comedy 6 DAY BIKE RIDER (1934), directed by Lloyd Bacon, starring Joe E. Brown, was similar in orientation. A man who has lost his girlfriend to a bike rider, tries to win her back by competing in a six-day bike racing competition. Jean Stelli's French movie POUR LE MAILLOT JAUNE (1940), or FOR THE YELLOW JERSEY, was about the romance between a cyclist competing in the Tour-de-France bike race, and a journalist covering this event. BREAKING AWAY was similar to all three of these movies, but diverted in other key areas.

As with LE ROI DEL LA PEDALE, BREAKING AWAY featured a main male character with a single-minded ambition to race in a major cycling event. Both pictures depict the existence of the particular protagonist, with their family lives deftly illustrated. The difficulties on the cyclist in training for the events are also deftly shown, making these films realistic in their presentation. Where Fortune, the cyclist in LE ROI DEL LA PEDALE seeks to win the admiration of a woman, in BREAKING AWAY, though, Dave's first love appears to be cycling. A romantic relationship with Katherine is a pleasing, if secondary notion for him. LE ROI DEL LA PEDALE, and 6 DAY BIKE RIDER, are compatible in terms of a man wanting the attention of a woman by utilizing his athletic prowess to garner affection. Dave in BREAKING AWAY goes in another direction here, wooing Katherine with Italian serenades that are as far away from cycling as one can get. This also paints Dave as a more multi-faceted character, in that he is not Italian himself, and uses these psychological tactics to disarm, and display his tenderness for Katherine. 

Other narrative traits of BREAKING AWAY deviate from the other European movies. BREAKING AWAY also departs from the other examples in the exploration of friendships which it offers. While Dave is the lead, and his psyche explored in an exhaustive fashion, he is contrasted with friends Mike, Cyril and Moocher. These are all young men coming of age, unsure of what to do with their lives, but finding mutual solace in their confusion. This character structure is nowhere to be found in LE ROI DEL LA PEDALE, 6 DAY BIKE RIDER, or POUR LE MAILLOT JAUNE, with their concentration on the main character. BREAKING AWAY additionally offers further insight into Dave via his interactions with his group of best friends, which is also measured against his relationship with his mother, and father. A well-executed of a cyclist, BREAKING AWAY is a pleasing addition to films in this category.

Overview: Peter Yates was a British director who initially made films in the United Kingdom, before working in the United States, and again in Britain. His output was varied in scope, from comedies, musicals, dramas, to thrillers. Mr Yates' first movie, SUMMER HOLIDAY (1963), was a popular musical starring Cliff Richard as a young man who travels with his friends across Europe in a double decker bus, finding adventure, love and fun along the way. In contrast, crime drama ROBBERY (1967), was a filmic account of the infamous 1963 Great Train Robbery, altered to maintain a fictional perspective alongside realistic detail. Peter Yates' next movie was among his most notable, being BULLITT (1968). The story of a hardened San Francisco policeman, and his pursuit of an underworld figure, was both a critical and financial success for Warner Brothers, and a top role for Steve McQueen in the lead. Next came romance JOHN AND MARY (1969), with Dustin Hoffman and Mia Farrow. A man and a woman who meet in a bar, have a one-night stand, and then become acquainted in an emotional sense, was the focus here, but it was not a popular success. The 1970s was a period when some of Peter Yates' best films were released to the public.

Peter Yates' seventh movie THE HOT ROCK (1972), was a heist caper about the pursuit of a valuable diamond from a museum, and the efforts to appropriate it, which are anything but easy for those involved in this comedy drama. Crime of a different nature ruled THE FRIENDS OF EDDIE COYLE (1973). A criminal with his fingers in a number of pies informs on his associates to avoid being jailed for a recent event, but things catch up with him in dramatic fashion. Much lighter in tone was FOR PETE'S SAKE (1974). The raucous tale of a Brooklyn housewife trying to help her husband financially, but coming unstuck time and again, was a deft showcase for Barbra Streisand in the lead, with Michael Sarrazin as her spouse Pete. Peter Yates followed this with another comedy, MOTHER, JUGS & SPEED (1976). The antics of a number of people in opposing ambulance companies for jobs made up the content here, with a cast including Raquel Welch, Harvey Keitel, Larry Hagman, and Bruce Davison. One of Mr Yates' most commercially successful projects came next, being THE DEEP (1977). The story of a pair of divers who stumble upon deep sea treasure in Bermuda, was one of the hits which assisted Columbia Pictures in its turnaround in the late 1970s. The 1980s, and after, were also productive for Peter Yates in a creative sense.

EYEWITNESS (1981), was a tense tale of the relationship between a man who witnesses a murder, and a television reporter covering the crime. Although critically well-regarded, it lost money at the box office. Mr Yates then made a foray into fantasy with KRULL (1983). The battle of a Prince to save his Princess fiancée from aliens from another planet, was another disappointment, with a low box office take, and high production costs, ruling out a healthy return. There was a return to form for the director with THE DRESSER (1983). The close relationship of a theatre actor and his personal assistant was a prestige picture which garnered numerous international film awards, and acclaim for the director, and its cast including Albert Finney, and Tom Courtenay. In SUSPECT (1987), a public defender is assigned the case of a homeless man accused of the murder of a judge's secretary, and from herein things take a murky turn for her in this thriller. An innocent person placed in a horrendous position by being in the wrong place at the wrong time was explored in AN INNOCENT MAN (1989). An airline mechanic going about his life is framed for murder by two corrupt policemen, ending up in jail, but once released, sets a plan in motion seeking revenge on these officers. 

Into the 1990s came YEAR OF THE COMET (1992), for Peter Yates. A valuable bottle of vintage wine from the early 1800s is discovered by a young woman, and this initiates the pursuit of this by various people, with some of these parties having an unethical interest in it. ROOMMATES (1995), starred Peter Falk as an elderly man whose union with his grandson is contrasted in two life stages. It was not a box office success, and critically derided. Peter Yates' penultimate movie, THE RUN OF THE COUNTRY (1995), observed the interaction of a father and his son in an Irish village, and how their strained relationship becomes even more so with the entrance of a young woman into the son's life. As with the previous example, this movie lost money on its release in cinemas. The final picture for Peter Yates was CURTAIN CALL (1998). In this comedy, a man purchases a Manhattan townhouse, and his life is disrupted by the spirits of two people previously living at the residence, who offer him words of wisdom about his life. BREAKING AWAY was Peter Yates' twelfth film, and one of his best-known pictures.

In the case of BREAKING AWAY, Peter Yates has crafted an appealing, consistent movie. Charting the life of an ebullient young man in Bloomington, Indiana, who aspires to be a competitive bike racer, it is a charming film which flows exceedingly well from start, to finish. The viewer is allowed to become an intimate spectator in the life of Dave, his family, and small circle of close-knit friends. There is a breezy sense of wonder, and truth to this movie, which makes it an inspirational ride for its audience. The depiction of the family is one of its sterling qualities, and beautiful in its execution. There are some allusions about class differences made in BREAKING AWAY which work in a subtle way, never becoming tiresome, or overwhelming the movie. These come from the characters on both sides of the class divide, adding poignancy to their situations. The 'haves', being the privileged Indiana University students, are not as such played as all-out villains, and the director manages to even give them a vulnerability which works within the movie's context. BREAKING AWAY, in all respects, does have many qualities to recommend it, but some flaws are obvious in retrospect.

The center of attention in BREAKING AWAY is Dave, and his friends subsequently take a back seat to him in the narrative, but fleshing out their personal lives just that bit more would have given them even more traction in the film. The scenes of Moocher with a young woman are akin to being a teaser in this respect, as this thread is brought forth, and dropped just as rapidly. If it was not included in the first place, it would not be missed. Both Mike, and Cyril, do not have a personal life in the movie as such, and this is disappointing. Mike, in particular, with his rebellious but charismatic nature, is inexplicably never referred to as being attached to a young woman at all. Aside from this, the usage of wealthy Rod, and his friends in the film also is insufficient. While the scenes which feature this group of characters are pithy, having them as a sideline, instead of delving further into what made them tick, was dismaying. Pitting Mike against Rod in extra scenes would have been dynamite, in light of the sequence where they compete against each other in the quarry's waters. Overall, though, despite these limitations, certain facts about BREAKING AWAY are clear. BREAKING AWAY is an enjoyable picture which scores with its views on coming of age, family, class, and happiness, with its sincere presentation.

Acting: The characterizations in BREAKING AWAY are one of its sterling qualities. In the lead role of Dave Stohler, avid bicycle racer and Italophile, Dennis Christopher is excellent. With his multi-faceted performance, Mr Christopher makes his protagonist complicated, yet understandable at the same time. As Dave's strong but sensitive friend Mike, the movie is a showcase for Dennis Quaid. Employing both body language, and expressions in a non-verbal manner, Mr Quaid deftly makes Mike one of the picture's most potent assets. Dave's wistful, knowing mother Evelyn, is expertly portrayed by Barbara Barrie. Miss Barrie plays off Dennis Christopher exceedingly well, convincing the audience they are a mother and son duo. The third cog in this wheel is Ray Strohler, Dave's father, and Evelyn's husband, in the agreeable person of Paul Dooley. Mr Dooley has a realism about his acting, coupled with a subtle zaniness, that makes his Ray a lifelike, and justified figure in the film. 

Three other performances are of note in BREAKING AWAY. As Roy, Mike's policeman older brother, John Ashton affords the movie another true to life performance. Although his role is small, nevertheless, Mr Ashton's authority shines through as Mike's unshakable sibling. Dave's love interest Katherine, is given credence by Robyn Douglass. Miss Douglass' attraction to the ambitious Dave can be keenly felt, and her reaction to his trickery one of the best scenes in BREAKING AWAY. The last important acting contribution is by Hart Bochner as the privileged, discriminatory Rod. With his good looks and understated manner, Mr Bochner makes Rod someone you love to hate, but the final reels display a gentleness which is both unexpected, and gratifying to witness.

Soundtrack: BREAKING AWAY has a great soundtrack which immeasurably assists the movie in its aims. The renowned composer Lionel Newman, long with Twentieth Century Fox, provides a beautiful score which lifts the spirits throughout the picture, enhancing its aspirational qualities. Aside from this, there are several songs featured, the most prominent being 'M' Appari Tutt' amor' performed by Dennis Christopher, as he woos Katherine from her window perch above.

Mise-en-scene: The onscreen experience for viewers of BREAKING AWAY is a convincing one. Matthew Lionetti's photography is consistent, the colour just right, as the film is not garish in tone, but of a more down to earth nature. Outdoor locations are all well-chosen, and boost the movie's naturalistic tone. Editing is another strong point, with Cynthia Scheider's work particularly palpable during the picture's exciting cycling sequences. Lee Poll's set decoration is keenly felt, especially with the Strohler family home, and its comfortable feel exuding the sense of being a real setting.

Notable Acting Performances: Dennis Christopher, Dennis Quaid, Barbara Barrie, Paul Dooley, John Ashton, Robin Douglass, Hart Bochner.

Suitability for young viewers: Parental discretion advised. Low-level violence.

Overall Grade: B

Link: IMDB Page

CALIFORNIA DREAMING (1979)

Title: CALIFORNIA DREAMING

Year of Release: 1979

Director: John D. Hancock

Genre: Drama, Romance

Synopsis: A young man comes to California from Chicago to live the surfing life, but finds that things are not greener on the other side of the fence for his friends and surfing acquaintances.

Within a film history context: Films about characters whose lives are marked by their experiences on the beach have been shown in cinema on many occasions. The first movies in this vein began onscreen in the late 1950s, a trend that has continued until the present day. Paul Wendkos' GIDGET (1959), was the first film released by a major Hollywood studio with a beach and surfing background. Its popularity led to two sequels, several television movies, and television series in the years after. Henry Levin's WHERE THE BOYS ARE (1960) unlike GIDGET, which had musical accompaniment, was MGM's entry in the genre. Starring a youthful cast including singer-actress Connie Francis, George Hamilton and Paula Prentiss, it was a popular film that appealed to young audiences at the time. One of the major films with a beach theme, though, was to arrive on screen in the early 1960s.

GIDGET and its counterparts were followed by the Beach Party movie cycle, filmed by American International Pictures. Beginning with BEACH PARTY in 1963, directed by William Asher, it led to a spate of sequels, frequently starring Frankie Avalon and Annette Funicello. 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. This filmic fad, though, eventually petered out in prominence, largely replaced by the biker genre, which would take hold in the mid-1960s, finding its zenith in the late 1960s with EASY RIDER (1969). One of the 1960s' best films of the beach, exploring the lives of the people who frequent it, is Frank Perry's LAST SUMMER (1969). An intensive study of four characters and their life on the beach at Fire Island, it was one of the finest dramatic motion pictures with a plage setting.

The rise of surf culture in the 1950s and 1960s, particularly in the U.S., Hawaii and Australia, also played a great role in the attractiveness of these movies to audiences. Thoroughly influential in this movement was Bruce Conner's documentary THE ENDLESS SUMMER (1966). A film featuring major surfing stars of the day including Michael Hynson and Robert August, and shot in locations such as the Hawaii, Australia, New Zealand and Indonesia, it was a box-office success, and spawned a sequel in 1986, THE ENDLESS SUMMER II. The director himself was a surfer, and this showed itself in the film's authenticity and verisimilitude. As with the beach party movies, THE ENDLESS SUMMER had a disarming humor and joie de vivre that resonated with viewers at the time, and is still fondly remembered many years after its release.

With the 1970s came increasingly complex narratives which were completely different in nature from the more innocent, benign teen based films of the 1960s. LIFEGUARD (1976), directed by Daniel Petrie, was the character study of a lifeguard in his 30s, contrasting his life with that of his younger colleague. A film that showcased lead actor Sam Elliott in a swimsuit for the majority of its running time, it was more than a celebration of male beefcake. It showed the personal side of its protagonist in detail, providing a sympathetic portrait for viewers to consider. John Milius' BIG WEDNESDAY (1978) was another film that explored the private lives of its characters. In the case of this movie, it charted the exploits in detail of three characters over the course of approximately a decade. There were less serious films such as MALIBU BEACH (1978), directed by Robert J. Rosenthal, which followed the hijinks of teenagers on a Californian beach. Different in handling from other beach theme films was Al Adamson's SUNSET COVE (1978). In this instance, an environmental theme was at play, with the teenage visitors of a beach protesting the construction of an apartment complex on their beach. In contrast, CALIFORNIA DREAMING contained elements of the less-serious movies such as the Beach Party series, but had more in common with the dramatic efforts such as BIG WEDNESDAY and LIFEGUARD.

The film contained the ingredients which were present in all of the films mentioned above - beautiful settings and attractive players, giving audiences, upon initial inspection, a pleasing visual experience. In this film, though, these were employed in a more naturalistic manner by the director, drawing the viewers in with these at first sight, but, nourishing the spectator with a credible story to back these up. While CALIFORNIA DREAMING had several comedic interludes, somewhat in common with non-beach movie AMERICAN GRAFFITI, as with this film, these bits were not included just for the sake of having comedy, but fit into the movie in a comfortable manner. CALIFORNIA DREAMING was also more of a multi-character narrative than the other beach films, offering vigorous coverage of several groups of characters that the viewer learns to care about over the course of ninety minutes.

With CALIFORNIA DREAMING, the film is akin to the beach party movies to a small degree, but, instead, delves further, and more intimately, into the lives of its protagonists than those films ever did. The sexual content, while not of itself extremely explicit in nature, goes beyond what the other films could present, not only because of the censorship of the 1960s but also, as CALIFORNIA DREAMING has a more mature outlook on all matters pertaining to its characters. The characters in this film also deal with love issues and the like, but in addition, other themes such as family, personal responsibility, marriage, and guilt. Another aspect sets the film apart from others of its type. While largely set on the beach and its environs, it does not feature endless sequences there, or of the characters surfing to a great extent. It is balanced between both its indoor, and outdoor scenes, without becoming a travelogue, or a surfing documentary. One of the most thoughtful films on the beach theme presented to viewers, CALIFORNIA DREAMING is a movie that deserves recognition, and discussion, for the sensitive treatment of its characters and milieu.

Overview: John D. Hancock is the director of eight feature films in his nearly fifty year career. After his debut in 1971, he has released his latest movie in 2020, with many television credits between. Mr Hancock's inaugural film, LET'S SCARE JESSICA TO DEATH (1971) was a horror movie, and he followed this with one of his most famous films, BANG THE DRUM SLOWLY (1973). The story of two baseball players and the relationship which blossoms between them, it was an excellent vehicle for stars Robert De Niro and Michael Moriarty. Next came BABY BLUE MARINE (1976) with Jan-Michael Vincent. Following the adventures, and mis-adventures of a young marine, set during World War II, it offered its star ample opportunities to display his winning charm for viewers. After an eight year hiatus from cinema, Mr Hancock released WEEDS (1987). With Nick Nolte in the lead role, it was about a jailed lifer who writes a play, this piquing the curiosity of a reporter. Mr Hancock's most recent movie, THE GIRLS OF SUMMER (2020) is a character study of a young woman who yearns of becoming a musician, but events throw her many curve balls along the way. CALIFORNIA DREAMING, as with all of his movies, is character-driven in nature, that also treads on dramatic, but realistic situations, that could easily have occurred in life.

This focus on realistic situations and scenarios is something that permeates all of Mr Hancock's work, and is sharply in evidence in CALIFORNIA DREAMING. Mr Hancock offers portraits of his characters who, at the outset, would appear to be two-dimensional or lacking depth. The talk of surfing, girls and tans is shallow, making the characters seem partial to judging others on a superficial level. As the film progresses, and the viewer becomes accustomed to the characters ands their quirks, the director strips away the veneer, showing these people with all their flaws, making them very real, and in many instances, moving. There is more to them than suntans and swimwear, and laying on the beach all day. 

The tight concentration on character groups in the movie serves it well, making the film flow soundly, without the necessity of unnecessary scenes that otherwise might bog down the action. While one of the character groups, without doubt, would have benefitted from deeper examination, instead of being present just for comic relief, in retrospect, this decision works. It serves to balance the film, especially in the final acts, where it is at its most heart-rending. What is not as attractive to witness was the sexual scene between T.T. and Corky in the movie. It is tasteless in nature and takes too long onscreen to unravel, hampering the film's reflective nature to an extent. It added nothing except possibly embarrassing the actors in question, but it is the one segment of the film that could have been shortened without any issue. This, though, is a minor quibble when considering the film's impact overall. CALIFORNIA DREAMING is one of John Hancock's smoothest, most accessible films, which packs an emotional wallop that one will remember long after seeing it.

Acting: The acting in CALIFORNIA DREAMING is one of its best qualities, taking the film from what could have been an ordinary scenario, and making it into something special. As Duke, the owner of the beach café, this is one of Seymour Cassel's best, most shaded performances. As the gentle dreamer Duke, Mr Cassel provides the film's most moving scenes. Everything about it, from Mr Cassel's quiet voice to his careful movements, adds up to a wonderful interpretation of the wistful Duke. He is matched by Dennis Christopher as T.T., the young man Duke takes under his wing, only to have events in their friendship spin out of control. A lively actor adept as playing both the friendly but also, utterly reprehensible sides of his character well, Mr Christopher excels as the believable T.T.  As Fay, Dorothy Tristan works well as a team with Mr Cassel's Duke, her subtle mannerisms and quiet voice used to great effect. Their estrangement, and subsequent reconciliation are handled with self-assurance by the two actors. There are three other performers in CALIFORNIA DREAMING who warrant recognition for their contribution to the film.

John Calvin, as macho, conceited surfer Rick, offers a complex interpretation of a character who normally would have seemed one-note. Mr Calvin is a capable actor who seems to be comfortable in any environment, be it on the beach wearing a swimsuit as he is here, or in a three-piece suit in FOOLIN' AROUND (1980). He has a certain teasing nature in this film that is both humorous, but also, contemptible when necessary. As his girlfriend Stephanie, Tanya Roberts is just right in CALIFORNIA DREAMING. An actress who was excellent in Charlie's Angels as Julie Rogers, in this film she displays acting attributes that, unfortunately, were largely underutilized in the other films in which she starred. Here Miss Roberts plays the patient, understanding young woman seeking to make a life with a man who just sees her as a pretty diversion. It is interesting to note Miss Roberts' use of her eyes in the film to show her unsureness, and silence when faced with certain truths. While the scenes could have been played with a more overt flashiness, Miss Roberts wisely eschews this, underplaying her role. She uses her facial expressions, and body language, to convey her feelings to the audience. The final performance of note in the movie was that of Johnny Fain as Tenner, surfer friend of Rick, in what was his last screen appearance. A real-life champion surfer who acted in several movies over the years, here he was employed in an effective but too-brief capacity on screen. His reaction to Rick's words in the film ring true, and his contribution rounds out the great acting in CALIFORNIA DREAMING.

Soundtrack: CALIFORNIA DREAMING is peppered with melodic pop tunes throughout its running time which enhance what is taking place onscreen. Always appropriate and never overpowering, the use of music only makes the film a more pleasurable viewing event.

Mise-en-scene: The film has a naturalistic approach to its locations and sets, and this works to the advantage of CALIFORNIA DREAMING. The vast majority of the movie is filmed on the beach, giving it a feeling of veracity. A studio could in no manner have duplicated the authenticity that a actual location provides, and the beach and water provide an excellent backdrop to the scenes. The film is also measured in both its indoor, and outdoor locations, providing a good balance between both of these. A number of examples stand out in the movie of this. Duke's bar is suitably casual without being over the top or 'beachy', Duke and Corky's home feels like a real beach house, and Stephanie's family home is comfortable and lush while still retaining a seaside vibe.

Award-worthy performances in my opinion: Seymour Cassel, Dorothy Tristan, Dennis Christopher, Tanya Roberts, John Calvin, Johnny Fain.

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

Overall Grade: B

Link: IMDB Page

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