THE MAGIC GARDEN OF STANLEY SWEETHEART (1970)

Title: THE MAGIC GARDEN OF STANLEY SWEETHEART

Year of Release: 1970

Director: Leonard Horn

Genre: Drama

Synopsis: A young aspiring filmmaker living in a Manhattan apartment conducts a hedonistic lifestyle filled with free love and drugs, but becomes unstuck in the process.

Within a film history context: There were several movies which looked at college dropouts as a subject in film history. One of the first was Charles Guggenheim and John Stix's THE GREAT ST. LOUIS BANK ROBBERY (1959). A college dropout becomes enmeshed in a planned bank robbery which does not quite proceed as originally envisioned. HAIL, HERO! (1969), directed by David Miller, followed a young man who drops out of college to enlist in the Vietnam War. His methodology is simple; join the army, and spout notions of peace, without violence and death. Alan Pakula's THE STERILE CUCKOO (1969), was about the tender affair between two college students. This time around, the college dropout was a female character instead of a male, but her mental instability takes its toll on her. SUMMERTREE (1971), directed by Anthony Newley, surveyed the life of a college dropout, his relationship with a nurse, and opposition to the Vietnam War, among matters. THE MAGIC GARDEN OF STANLEY SWEETHEART proffered another position on a college dropout.

As with HAIL, HERO!, THE STERILE CUCKOO, and SUMMERTREE, the college dropout was the main character in the movie, the only difference being that the second film featured a female, Pookie, instead of a male, student. The sexual content in the final two examples were more marked than the first, but it is here that THE MAGIC GARDEN OF STANLEY SWEETHEART set itself apart. Stanley's life is a succession of different women, a threesome at one point, and is drug infused at various times. In a related issue, the sex and nudity angles were exploited much further than THE STERILE CUCKOO and SUMMERTREE, whose depictions are more discreet in nature. There was also a monogamous inclination respectively for both Pookie, and Jerry in these films that Stanley completely rejects in THE MAGIC GARDEN OF STANLEY SWEETHEART. This reflects the maelstrom occurring in Stanley's life, to a degree similar to Jerry's in SUMMERTREE. The presence of a family unit is another difference between SUMMERTREE, and THE MAGIC GARDEN OF STANLEY SWEETHEART.

Jerry's mother and father in SUMMERTREE add some authority to the story, and their point of view is valuable as a contrast to that of Jerry's. Stanley in THE MAGIC GARDEN OF STANLEY SWEETHEART does not have a family in the film, the only mention is of Stanley's mother in one scene where he is reading a letter from her. This gives some insight into Stanley's background, being that he is of a privileged background, and does not have to struggle for anything, but this is not a given. The tuition of Jerry in SUMMERTREE has been paid for by his parents, which is one of the reasons why they do not wish for him to go off the rails. They, as such, have an investment in his well-being, something the other examples did not elucidate. There is thus a subtle socio-economic subtext there, in comparing Jerry to Stanley. 

In addition, it is notable that Jerry in SUMMERTREE takes a stand on issues close to his heart, such as leaving college to become a musician, and his opposition to the Vietnam War. Stanley does not possess the same level of application, only standing for a good time with women, and whatever else he can find. The sole scene where Stanley resists something he does not like, being the gay man who tries to come onto him, is the only part where he actually stands for something. The ending goes somewhat into inferring that Stanley's actions are heavy on his mind, particularly since the suicide of his friend, which takes a toll on him. This is one of the most thoughtful passages in the film, adding a poignancy to the proceedings. An interesting view of a college dropout, THE MAGIC GARDEN OF STANLEY SWEETHEART presents a capable portrait of an ardent, but confused young college dropout.

Overview: Leonard Horn was an American director with three films to his credit. He was very active on television, helming countless prime time series from the early 1960s, until his death in 1975. Mr Horn presided over episodes of Alfred Hitchcock Presents, The Untouchables, Route 66, Dr. Kildare, Lost in Space, and many others. Leonard Horn's picture debut, ROGUE'S GALLERY (1968), was about a detective, whose involvement with a wealthy young woman may bring him heartache. Studded with veteran performers from the Golden Age of Hollywood, with Dennis Morgan, Brian Donlevy, Farley Granger, and Jackie Coogan, it was not released theatrically, but later on television. Mr Horn's final movie, CORKY (1973), centred around a mechanic who dreams of being a racing car driver, but this may be more difficult for him to achieve on closer inspection. THE MAGIC GARDEN OF STANLEY SWEETHEART was Leonard Horn's second cinematic outing, and an acceptable effort. 

Leonard Horn has crafted a sound motion picture with THE MAGIC GARDEN OF STANLEY SWEETHEART. Examining the life of a college student, and amateur filmmaker in New York City who drops out of his studies, majorly detailing his experiences with women, and drugs, it is a reasonable motion picture. The central strength of THE MAGIC GARDEN OF STANLEY SWEETHEART is in the portrayal of its charismatic, unsettled, but promiscuous lead character. Stanley's life is a whirlwind of women, drugs, running around, and generally avoiding either responsibility, or accountability to others. The movie, to its credit, is not morose or too heavy, and has some unexpected humorous moments which provide reprieve from Stanley's shenanigans. The mood is typical of the anything goes feel of the era, giving THE MAGIC GARDEN OF STANLEY SWEETHEART spirit in this respect. The ending is good, leaving both the viewer, and Stanley, to ponder the effect of his actions, and what this will mean for him. THE MAGIC GARDEN OF STANLEY SWEETHEART, though, in some parts, leaves much to be desired, dragging the movie down a few pegs.

In his Don Juan way, Stanley beds a number of young women in THE MAGIC GARDEN OF STANLEY SWEETHEART, and, at one stage, is sleeping with two best friends at the same time. The revelation that he is with Cathy, and then with her friend Fran, is never discovered by the two women. It could have precipitated a fallout out between them, but is ignored. Stanley's friendship with Danny, and Danny's fate in the final stretches, is another underdeveloped plot. Danny is a character who appears to have much going on internally, being a musician, and taking recreational drugs, but his suicide comes out of nowhere. One has not been offered privileged information about him explaining why this has occurred, and it is a cheap shot in the film to create some quick drama. It would have enriched THE MAGIC GARDEN OF STANLEY SWEETHEART by knowing more about Danny, and what led to this drastic event. This, though, is something that explains what really is at the heart of THE MAGIC GARDEN OF STANLEY SWEETHEART. It is a passable rendition of a time, and an era in the United States, and possibly elsewhere, with some courage of its convictions, if not fully expressive of these in a substantial manner.

Acting: The acting in THE MAGIC GARDEN OF STANLEY SWEETHEART is one of its strengths. In the lead role of Stanley Sweetheart, Don Johnson makes an impact as the charming, footloose young man who may in fact be his own worst enemy. An actor with a ready smile, but a wildness about him that suggests volatility, here makes an auspicious acting debut. As the girl who captures Stanley's restless heart, but to whom he cannot fully commit, Dianne Hull is in another of her thoughtful roles. With her subdued but friendly manner, her Kathy is the conscience of THE MAGIC GARDEN OF STANLEY SWEETHEART. Kathy's exuberant friend Fran is an excellent turn by Holly Near. With her zaniness on display for all to see, Miss Near adds a vulnerability, and pathos, that rings true, making her character very real. 

Similarly high on the wackiness level is Linda Gillen as Barbara/Shayne. With her cutting observations of life, and ability to see through situations, Miss Gillen adds an upbeat, comic spin to the film which balances it evenly. Michael Greer, as Stanley's friend Danny, is in one of his best performances. Keeping his style understated in this movie, Mr Greer makes Danny someone it would have been great to know more about. The last acting of note was by Brandon Maggart in a cameo role as Jim, a man in the cafe who tries to come onto Stanley. With his gregarious and outgoing persona, he builds his character profile well, making it crystal clear what he wants from Stanley, and eliciting surprise from the audience in the process. 

Soundtrack: The soundtrack of THE MAGIC GARDEN OF STANLEY SWEETHEART is a positive, and memorable, feature of the movie. While it includes a brief selection of several late 1960s/early 1970s songs within its running time, these nicely accompany the visuals, and provide a flavor of the era. There are, though, several tunes which are most striking in retrospect. The opening credits are enhanced by 'Nobody Knows', performed by Richie Havens. This is a fitting start to the movie which lends an aura of pensiveness to the film, with Mr Havens' deep voice a pleasure to listen to. 'Happy Together', sung by The Mike Curb Congregation, is an alluring, emotive tune which works seamlessly to emphasize Stanley's two-timing antics with Kathy and Fran. Similarly evocative is the beautiful 'Sweet Gingerbread Man', also performed by The Mike Curb Congregation. With its bright feel, but slight melancholic undertone, it adds to the thoughtful, but whimsical, feel of the picture. The closing credits are also notable, as they showcase a somber instrumental version of 'Sweet Gingerbread Man', which perfectly sums up the movie as a whole, and relates back to the quiet opening credits. 

Mise-en-scene: The visual experience for viewers is a good one in THE MAGIC GARDEN OF STANLEY SWEETHEART. Cinematography by Victor Kemper is just right, the color not too bright, but easy on the eyes. There are plenty of outdoor location sequences which adds realism and flair to the movie. The city streetscapes, university exteriors, and shopfronts are all imperative to show the life and times of Stanley Sweetheart. Interior locations are also of a high standard, with the psychedelic nightclubs, and bustling bars vividly portrayed. Stanley's messy apartment is exemplary of his busy, and chaotic private life, and a key non-verbal detail tellingly showcased by the movie. 

Notable Acting Performances: Don Johnson, Dianne Hull, Holly Near, Linda Gillen, Michael Greer, Brandon Maggart.

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

Overall Grade: C

Link: IMDB Page

ALOHA, BOBBY AND ROSE (1975)

Title: ALOHA BOBBY AND ROSE

Year of Release: 1975

Director: Floyd Mutrux

Genre: Drama, Romance, Action, Crime

Synopsis: A garage mechanic and a fast food employee fall in love, but his impetuous behaviour one evening lands them both in deep trouble with the law.

Within a film history context: Films about lovers on the run have been featured many times in cinema. One of the first was William Wellman's BEGGARS OF LIFE (1928). A young woman kills her stepfather, and takes to the road with a young man. They indulge in various adventures while eluding the law, the young woman also dressing as a man to conceal her identity from the authorities. In BARBARY COAST (1935), directed by Howard Hawks, a woman and her true love run away from the scheming casino owner who tried to dominate her life in this film set in 1850s San Francisco. Nicholas Ray's THEY LIVE BY NIGHT (1948) was about a young woman who falls in with an escaped convict, and is drawn to him, and into his criminal doings. With GUN CRAZY (1950), directed by Joseph Lewis, a husband and wife crime duo with a penchant for arms use guns to steal, but the wife is more trigger-happy, and deadly to others, than her spouse in this film noir. Jean-Luc Godard's BREATHLESS (1960) revolved around a petty criminal who kills a policeman, and goes on the run. He hooks up with a young American woman, and they fall in love, but she eventually finds out about his crimes. Another Jean-Luc Godard French film, PIERROT LE FOU (1965), also starred Jean-Paul Belmondo in the lead. This time around, a man leaves his wife, and life, and takes up with an old girlfriend who is involved in criminal activity. 

One of the most famous films about lovers on the run was Arthur Penn's BONNIE AND CLYDE (1967). Based upon the real-life story of criminals Bonnie Parker and Clyde Barrow, who teamed up to rob banks, and killed many people along the way, it was a turning point in cinema for depictions of violence, and a deserved box office success of its time. THE GETAWAY (1972), directed by Sam Peckinpah, was another film with a substantial amount of violent content. A man is freshly released from jail after serving time for armed robbery, and undertakes another robbery with his wife's support, but things take many twists and turns in this suspenseful movie. Equally intense was Terrence Malick's BADLANDS (1973). A young woman in a Southern town hooks up with a footloose young man, and they embark on a killing spree across the United States, the man responsible for the carnage. Based upon the real-life crime spree of Charles Starkweather and Caril Ann Fugate in the late 1950s, it was a critically acclaimed movie that was thoroughly well-made and acted. Another film based upon real events, THE SUGARLAND EXPRESS (1974), was directed by Steven Spielberg. In this movie, a woman assists her husband to escape from jail, in order to kidnap their son who will be placed in the care of foster parents. Along the way they take a policeman hostage, and roam the country in their car to avoid capture. ALOHA BOBBY AND ROSE was reminiscent of many of the films about lovers on the run, but had its own distinct traits.

It was similar to the movies where a young woman is pulled into the criminal life of her other half, such as THEY LIVE BY NIGHT, BREATHLESS and BADLANDS. Where ALOHA BOBBY AND ROSE differs, though, is that Rose has the most obvious discomfort with boyfriend Bobby's activities. She has the most active conscience of all the female characters who have been propelled into their lover's life of crime. This is displayed in the scenes such as after the accident, and her reaction to this incident. Aside from this, Rose also stands out as she has a young child and a mother, which gives her a depth lacking from some of the other portrayals. It was a more real-life, relatable story for Rose than others, such as BEGGARS OF LIFE, which amped up the melodramatic personal lives of its female characters. BONNIE AND CLYDE, as a matter of fact, did feature Bonnie's mother in a short sequence, but in comparison to ALOHA BOBBY AND ROSE, did not have the same depth, despite giving another insight into Bonnie. Rose being both a mother, and a daughter gave the movie a tragic quality, whereby she loves Bobby, but is also mindful of her responsibility to her child. The film's treatment of Bobby is also interesting for various reasons.

Unlike many of the movies with a criminal male protagonist, such as THEY LIVE BY NIGHT, BREATHLESS, PIERROT LE FOU, BONNIE AND CLYDE, and BADLANDS, Bobby in ALOHA, BOBBY AND ROSE is not actively criminal in his nature and actions. He is more of the rebellious and irreverent type, someone whose reckless behaviour lands him in hot water, something for which he is not prepared. Bobby is not premeditated in his actions, which Kit indeed was in his bloodless disregard for human life in BADLANDS. Romancing Rose was Bobby's main intention in ALOHA, BOBBY AND ROSE, something that the male characters of BONNIE AND CLYDE, and BREATHLESS possessed to a smaller degree in their narratives. There was a sweetness, and a quality of being misunderstood, that made Bobby one of the most comely of the male characters landing in hot water with the law. These are some of the reasons why ALOHA, BOBBY AND ROSE is one of the most interesting of the films with a lovers on the run theme.

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. 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. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about the 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. His penultimate picture, box office success HOLLYWOOD KNIGHTS (1980) was a variation on AMERICAN GRAFFITI, following the antics of car club members in the mid 1960s. Floyd 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. ALOHA, BOBBY AND ROSE was not only one of Floyd Mutrux most-recognized works, but was also popular commercially.

With ALOHA, BOBBY AND ROSE, Floyd Mutrux has made a movie which captures a definite mood and spirit of the mid-1970s in a most convincing manner. In what is essentially a love story played out against the backdrop of real-life obligations, loyalty, crime, and the consequences of one's actions upon their lives, ALOHA, BOBBY AND ROSE is blessed with a vivid sense of time, and place, that not all films can readily boast. One is swept up by the emotions of the characters, the unhurried nature of their blossoming love story, and the doses of reality that the film dispenses from time to time. The relationships of Bobby and Rose, Rose and her mother, and their interactions, all ring true in an emotional sense. In addition, there is an irresistible quality to the film's spotlighting of the various locations which add an air of verisimilitude to the action. From the gas stations to the take away diners, the shops on the street, these seem to have a life of their own. While ALOHA, BOBBY AND ROSE has certain virtues, there are some flaws which, unfortunately, take away from the film's power.

The first third of the movie is the best in terms of laying out to the audience the central relationships, and why people do what they do in the narrative. Rose's union with her mother, what binds them together, Rose's loyalty to her son, and how life events put her in the position she is, are all explained to the viewer. Once Bobby enters the picture, and how his actions affect his, and Rose's life, are compelling to witness. Where ALOHA, BOBBY AND ROSE comes unstuck, though, is in the second third of the movie, where the heart-stopping action comes to an end. The entrance of Buford and Donna Sue into the picture, while giving the film another point of interest, unfortunately bogs the movie down in talk and a lack of action, thereby cutting the suspense level considerably. One wants to see how Bobby and Rose will evade capture, and other things that could have happened, but this never takes place. Showing Rose's mother toward the end of the movie takes the film back to a good emotional plane, but by then it is too late. When the conclusion arrives, while shattering, its impact has been undercut by the second third of the movie, and its listlessness. This hurts the movie in an irreparable way. What could have been a great movie becomes rudimentary. A picture that runs its audience hot and cold by its lack of cohesion, ALOHA, BOBBY AND ROSE is a film that could have been so much better with firmer handling.

Acting: ALOHA BOBBY AND ROSE has a triad of terrific performances which boost the movie despite its inadequacies. As the restless Bobby, Paul Le Mat gives another of his distinctive portrayals. An actor who was one of the shining lights in AMERICAN GRAFFITI, here he also does likewise, but adds a further element of danger and romance that were not present in the other movie, nicely delivered by Mr Le Mat. His ladylove Rose, played by Dianne Hull, is another standout performance. Getting deep into the core of her character, Miss Hull makes Rose someone who could really exist, and her acting provides the movie with its second authentic role. Martine Bartlett, Rose's mother in the film, rounds out the singular acting in the movie. An actress whose presence alone oozes realism, saying much without dialogue in many instances, along with Dianne Hull, makes the mother-daughter relationship one of the best aspects of ALOHA BOBBY AND ROSE.

Soundtrack: ALOHA BOBBY AND ROSE has a great rock soundtrack, with a varied number of songs which pleasingly pepper the movie at just the right moments. The best use of a tune is Elton John's 'Bennie and the Jets' which is played at both the beginning and end of the film, and throughout on sporadic intervals. It nicely sums up the relationship between Bobby and Rose, and is especially memorable at the picture's end.

Mise-en-scene: ALOHA BOBBY AND ROSE offers viewers an evocative on screen experience. Cinematographer William A. Fraker captures both the interior, and exterior Los Angeles locations in a beautiful manner. Daytime locales such as the diner where Rose works, and the garage where Bobby is employed all exude verisimilitude, and casual comfort. Nighttime photography is where the movie is at its height, with images of the freeways, Bobby and Rose riding in the car, the convenience store scene, to name some examples, all perfect.

Notable Acting Performances: Paul Le Mat, Dianne Hull, Martine Bartlett.

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

Overall Grade: C

Link: IMDB Page

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