Showing posts with label Don Stroud. Show all posts
Showing posts with label Don Stroud. Show all posts

Thursday, February 1, 2024

EXPLOSION (1969)

Title: EXPLOSION

Year of Release: 1969

Director: Jules Bricken

Genre: Drama

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: B

LinkIMDB Page

Trailer



Friday, December 1, 2023

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 GradeD

LinkIMDB Page