THE MARRIAGE OF A YOUNG STOCKBROKER (1971)

Title: THE MARRIAGE OF A YOUNG STOCKBROKER

Year of Release: 1971

Director: Lawrence Turman

Genre: Comedy, Drama

Synopsis: A stockbroker's voyeuristic tendencies cause a wedge between him and his wife, his vocal sister in law another of the thorns in their relationship.

Within a film history context: Films which explore voyeurs, and voyeurism, can be found in cinema over the years. While many films feature fleeting voyeurism within their structures, movies that focus more intensely on the topic were present from the 1950s. One of the first to deal with voyeurism was Alfred Hitchcock's REAR WINDOW (1954). A man with a broken leg watches his neighbors through a telescope, and witnesses many and varied events. VIOLENT SATURDAY (1955), directed by Richard Fleischer, among its various stories, had a bank employee watching a woman undressing by the window in the evening. More blatant in the treatment of its themes was Michael Powell's PEEPING TOM (1960). In this movie, a psychopathic man lures women in front of a camera, and records their reactions to the impending deaths. Somewhat violent for its time, and accused of tastelessness by many, it nevertheless set a precedent for cinematic explorations of voyeurism, obsession, and murder. In a similar style, but with less of a concentration on voyeurism than PEEPING TOM, PSYCHO (1960), directed by Alfred Hitchcock, featured a scene in which Norman Bates spies on Marion Crane while she is undressing. A much more comical take on voyeurism was on show in H. Haile Chace's PARADISIO (1962). In this bawdy comedy, a professor owns sunglasses which allow him to see through the clothes of other people, with a number of consequences for the lascivious professor.  Several other films of the 1960s, and early 1970s looked at voyeurism in different ways.

BLOW-UP (1966), directed by Michelangelo Antonioni, was about a photographer who takes images of two lovers in a park, only to discover that he has inadvertently photographed a murder. Similar to REAR WINDOW in that a voyeuristic protagonist utilizes equipment to spy, and discovers something more sinister than he ever expected, BLOW-UP is one of Mr Antonioni's best-regarded films. Brian de Palma's GREETINGS (1968) had a main character, a filmmaker, Jon Rubin, with a penchant for peeping on women. This was continued by the director in his follow-up, HI, MOM! (1970), charting the further furtive adventures of his character Jon Rubin. An entirely contrasting tone was employed in CARRY ON CAMPING (1969), directed by Gerald Thomas. A small voyeuristic component was evident in the peeping by the male characters into the female changing rooms at the camping site, with hilarious results. It was the one film in the list where matters were more of a comical nature. Milton Moses Ginsberg's COMING APART (1969) had more in common with PEEPING TOM in the treatment of technology for voyeuristic purposes. A psychiatrist has a hidden camera in his home, and thus films his unsuspecting patients, capturing their innermost thoughts, and encounters with him, for his own sexual obsessions. COVER ME BABE (1970), directed by Noel Black, again uses technology, this time with a filmmaker whose voyeuristic eye films incidents such as a couple making love in a car, and others, for a film he wishes to make. THE MARRIAGE OF A YOUNG STOCKBROKER had an openly voyeuristic character as its lead, but deviated from the above examples in terms of its story.

The film, of all the above movies, is the most telling, thoughtful, and realistic of the voyeur genre. It is closest to real life, relationships, and emotions than other examples such as COMING APART and GREETINGS. In these films, the voyeurism is something that drives the narrative, but is not examined in terms of being particularly destructive to relationships, an arena in which THE MARRIAGE OF A YOUNG STOCKBROKER thrives. In THE MARRIAGE OF A YOUNG STOCKBROKER, voyeurism is treated as a problem for the characters concerned, but the film's unique handling of the matter, intermixing humorous and serious moments, gives the film both an edifying, but also, a lighter feel. It has not been intended as being a social problem picture, nor a comedy, but balances a fine line between the two in maintaining both entertainment value, and a sense of social conscience. Other features of the movie merit discussion.

In the case of THE MARRIAGE OF A YOUNG STOCKBROKER there is a nod to other films, such as the employment of a telescope in REAR WINDOW, and a camera in COMING APART, where the main characters use apparatus to view unsuspecting people. With THE MARRIAGE OF A YOUNG STOCKBROKER, though, William peers through binoculars to look at women, but, in the majority of other sequences, with just his eyes. It is a voyeurism that is out in the open for all to see, such as the bank employee's actions in VIOLENT SATURDAY, and largely not hidden from view. In addition, there is less of a sleazy subtext to William's actions than in films such as HI, MOM!, GREETINGS, PYSCHO, and COVER ME BABE. It is not voyeurism for the sake of voyeurism in THE MARRIAGE OF A YOUNG STOCKBROKER. There is more of an examination as to why William is peeping at other women, even though he is married. 

The reasons why William peeps are psychological in nature, and linked to deep-seated insecurities. Even though he is married to a sympathetic woman and has a high-paying job, he feels that something is missing, and thus indulges in this behavior. It is also revealed that this tendency began before he was married, which gives William's situation extra dimension. It is something acknowledged as occurring for some time, but William is unable to control it. Going beneath the surface of a situation is something the film does exceptionally well, and not treating the voyeurism as a gimmick. While it could be stated that the film ties up William's predicament too neatly at the end, one can witness events that make him change his view on life, such as his extramarital affair, and verbal sparring with the psychiatrist. The film's backwards and forwards plot movements provide unexpected twists and turns that make sense for the characters, giving it a true-to-life feel. The best of the movies dealing with voyeurism, THE MARRIAGE OF A YOUNG STOCKBROKER is a picture with depth, and one that justifies a higher reputation than what it has, and for its director.

Overview: Lawrence Turman is a prolific movie producer with many notable films to his credit, such as PRETTY POISON (1968) with Tuesday Weld and Anthony Perkins, I COULD GO ON SINGING (1963), starring Judy Garland, THE FLIM-FLAM MAN (1967) with George C. Scott, THE GREAT WHITE HOPE (1970), a showcase for James Earl Jones and Jane Alexander, and the box office success THE GRADUATE (1967). This film launched Dustin Hoffman's career, and was one of the pivotal movies of New Hollywood for its fresh approach to its subject of youth disenchantment. As director Mr Turman helmed two movies in his career, the second being SECOND THOUGHTS (1983), a comedy drama starring Lucie Arnaz as a woman involved in a complicated love triangle with two men. His first film, THE MARRIAGE OF A YOUNG STOCKBROKER, is the best of his two motion pictures for various reasons.

On first impression, THE MARRIAGE OF A YOUNG STOCKBROKER would appear to be a light romantic comedy, without a deep level of insight into its subject, but this is quickly dispelled once the entire movie has been seen. An adaptation of Charles Webb's novel to the screen by Lorenzo Semple Jr., it is a film that deftly balances comedic and dramatic elements with assurance, never becoming boring, but always real. The director has ensured that the action takes place in a rapid manner, but always with an attention to the feelings of his protagonists, making them understandable at all times. Mr Turman has also wisely steered away from making his main character into someone unrelatable and villainous. The viewer is with William throughout the whole film, and the best part of the film is seeing his feelings towards his life, wife, and voyeurism alter during the course of the movie. The film offers a message of hope to people whose marriages are in jeopardy that things can change for them, only if they change, will their lives improve. There are other features of the movie which warrant examination.

In an era when there was a loosening of on screen content in American movies, Mr Turman has succeeded in keeping THE MARRIAGE OF A YOUNG STOCKBROKER away from prurient and lurid aspects, which would have resulted in a much lesser movie. There is frank talk of sex, and life, which have a place in the movie, never seeming as if they are there for shock value, or the titillation factor. It is natural to the characters and their function in the narrative. The scene of adultery is handled excellently, without resorting to nudity and other tactics to draw in the viewer. In addition, the sequence at the adult film theatre is also well orchestrated and logical. While a scene from an adult movie is shown, much of it is obscured, mainly concentrating upon William's reaction to it, and what it means to him. The film does not have to go down the slippery slope of sex and nudity to make its points as it has a story, and involvement in the characters' journey takes precedence over everything else. The film is psychological in intent, and the spare, candid approach taken by the director makes it a winner. The best examination of voyeurism in film, THE MARRIAGE OF A YOUNG STOCKBROKER makes one wish that Lawrence Turman had directed further films in his career.

Acting: The trio of lead actors in THE MARRIAGE OF A YOUNG STOCKBROKER help to make it a thoroughly convincing film. In the lead role of William Alren, the stockbroker of the title, Richard Benjamin gives a mutli-faceted performance. Whether William is peeping, collecting his emotions, or battling his demons, Mr Benjamin is excellent no matter what the situation. As his wife Lisa, Joanna Shimkus provides the movie's most understated acting. This works as she is often a pawn between liberated older sister Nan and husband William, and her quiet contemplations and protests is a real contrast in the sparring and warring of Nan and William. As always, Elizabeth Ashley creates another full-blooded character in Nan, whose machinations and schemes give the film its spice and allure. An actress who knows how to make an indelible impression with her strong personality, this is a great showcase for Miss Ashley. Three supporting actors also contribute to THE MARRIAGE OF A YOUNG STOCKBROKER with their roles.

Adam West, as Nan's husband Chester, exhibits an ease and charm which makes him a delightful foil to the intrigues of Elizabeth Ashley's Nan. It would have been great to have seen even more of him in the film, but his limited appearance nevertheless has appeal. Tiffany Bolling, as the mysterious, monosyllabic woman who lures William into her apartment, is a distinctive performance that makes a definite mark. Hardly stringing together a single sentence in the time she is on screen, Miss Bolling is striking as the woman who makes William change his tune on his life, and wife. The final acting of note was by Patricia Barry as psychiatrist Dr Sadler. An actress who has a great facility with words, Miss Barry scores as the smarmy, emotionally manipulative doctor in her cameo role.

Soundtrack: Fred Karlin's pleasant score is typical of late 1960s and early 1970s filmmaking in its thoughtful, somber tone. An instrumental version of the tune 'Can It Be True' is played during the opening credits of THE MARRIAGE OF A YOUNG STOCKBROKER, and a version with lyrics performed by Linda Ronstadt at the film's conclusion. Incidental music as with many films is scattered through the movie, in scenes such as William being harangued by another driver in his car, and preparing for a peeping session on the beach some of the more prominent examples. 

Mise-en-scene: Laszlo Kovacs' cinematography is beautiful, especially highlighting the locations which the film spotlights, such as the pretty California beaches, and coastal town environs. Interior sets reflect the high socio-economic profile of its characters, with Nan and Chester's elegant mansion the standout. Costuming is naturalistic but elegant, in keeping with the characters and their distinctive personalities. Lisa's clothes are more demure than Nan's, whose apparel is more revealing, with short dresses and skimpy swimwear some of the outfits she sports, befitting her individualistic, headstrong persona.

Notable Acting Performances: Richard Benjamin, Joanna Shimkus, Elizabeth Ashley, Adam West, Tiffany Bolling, Patricia Barry.

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

Overall Grade: A

Link: IMDB Page

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RANCHO DELUXE (1975)

Title: RANCHO DELUXE

Year of Release: 1975

Director: Frank Perry

Genre: Comedy, Contemporary Western

Synopsis: The exploits of two cattle rustlers, and associated characters, in Montana.

Within a film history context: Contemporary, or neo-westerns, have often been featured in cinema history before RANCHO DELUXE. One of the first with a contemporary setting was Lew Landers' ADVENTURES OF GALLANT BESS (1948). The story of a man whose love for a wild horse gives him both great joy, and heartache, it also contained a romance component along with the drama. THE WALKING HILLS (1949), directed by John Sturges, was about a group of men searching for treasure in California, starring iconic western actor Randolph Scott in the lead role. One of the most famous of contemporary westerns was John Sturges' BAD DAY AT BLACK ROCK (1955). The tale of a man who comes to a small town in search of another man, loaded with secrets, gave lead actor Spencer Tracy a splendid role, with support from Robert Ryan, Anne Francis, Dean Jagger, and others. More modern in its execution was THE MISFITS (1961), directed by John Huston. The story of an over-aged cowboy, and his relationship with a divorcee, and his cowboy friend, was a triumph for Mr Huston, and cast Clark Gable, Marilyn Monroe, and Montgomery Clift. Despite being a box-office failure at the time of its release, it is now seen in a much better light for its direction, and performances. 

David Miller's LONELY ARE THE BRAVE (1962) was a character study of a cowboy, and Korean War veteran, who tries to aid the escape of his old friend by being arrested, and himself landing in jail. The surprise is that his friend is not willing to leave jail, which leads to a number of consequences for the cowboy. An excellent example of a contemporary western was HUD (1963), directed by Martin Ritt. In this movie, a reckless cowboy rubs everyone the wrong way in his pursuit of control over the family farm in Texas. A wonderful showcase for a cast including Paul Newman in the lead role, Melvyn Douglas as his harried father, Patricia Neal as their domestic assistant, and Brandon de Wilde as Mr Douglas' grandson, it is a well-regarded cinematic jewel. Several other movies were of note in the contemporary western genre.

Serge Bourguignon's THE REWARD (1965) was about a man who discovers that his friend is a wanted man, and wants his share of the money for his capture, but things become complicated as money people being involved in this situation, all seeking a share of the reward money. Interesting cowboy character portraits were provided by THE ROUNDERS (1965), directed by Burt Kennedy. Charting the rollicking adventures of two cowboys in Arizona, it gave leads Glenn Ford and Henry Fonda plenty of fun moments on screen. Peter Tewksbury's STAY AWAY, JOE (1968) was entirely different in outlook. Starring Elvis Presley as an American Indian rodeo rider, and his hijinks at the reservation, it included music and comedy elements, giving the film spice and fun. In a similar, but more irreverent vein, ZACHARIAH (1971), directed by George Englund, again combined music and comedy, but with a rock music background. The journey of two young men through the American west was handled with grace and good humor by the director, with philosophical interludes that gelled perfectly. 

Stuart Rosenberg's POCKET MONEY (1972) was similar to THE ROUNDERS in content, but, in its case, focused upon a cowboy becoming involved with an unscrupulous rancher, and cattle herding. JUNIOR BONNER (1972), directed by Sam Peckinpah, was among the more soft-pedalled of the contemporary westerns. This exploration of a rodeo cowboy, and his family and romantic conflicts, was a departure for its director from his heavier works. The fluid escapades of the main character, and supporting cast, were captured by Mr Peckinpah with grace and good humor. RANCHO DELUXE had more in common with ZACHARIAH in terms of its original approach to the contemporary western genre, but did not share that film's delivery of a solid storyline.

RANCHO DELUXE was eclectic with its story, having many characters and concepts, but, unfortunately, did not follow through with their execution in a decisive manner. Where examples such as HUD, JUNIOR BONNER,  and ZACHARIAH concentrated upon a central protagonist, the action flowing from them and their actions, in RANCHO DELUXE there were a number of characters, but, with its multi-character narrative, things became muddled in the lack of a clear point of view. Events occur, but impact is lost as the movie jumps from one incident to another in quick succession. This has the effect of making the film jarring, and convoluted in retrospect, lacking the necessary elements to make transitions smoother.

One never really gets to know characters such as Jack, despite the one scene which explains a little as to why he does what he does. The best scene that explored a relationship was the one where Henry Beige stops daughter Laura from singing at the dinner table, but such insightful views into characters are few and far between in RANCHO DELUXE. It feels as if the movie does not wish to spare the time to let viewers become more intimate with its characters, and feel for their journey. This is something that ZACHARIAH achieved with its philosophical leanings over the course of that movie, likewise with JUNIOR BONNER's exploration of his family woes. RANCHO DELUXE tries to be novel and offbeat, but barely succeeds with this ambition. If it reined in its excesses, such as the antics and forced humor, making the characters more understandable, and relatable, it would be a much better experience. Regrettably, the film is one of Frank Perry's lesser motion pictures, and a letdown when held up against his excellent early films.

Overview: Frank Perry directed fourteen feature films between 1962 and his final one being released in 1987. He generally made films which were character-driven in nature, peering deep into the psychology of his protagonists, making audiences understand situations on a more profound emotional level. His first motion picture, DAVID AND LISA (1962) was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963) which was centered around the effect of a possible nuclear attack on the students and personnel of a school. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964) and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). 

One of Frank Perry's most beautiful, thoughtful films was THE SWIMMER (1968). With Burt Lancaster in the lead role, it was a powerful, touching story of a man whose life had faltered, the viewer sharing his many past triumphs but also, his failures. Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969) made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on a lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before they divorced in 1971, but they made one more together which was notable in film history.

DIARY OF A MAD HOUSEWIFE (1970) told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, Mr Perry took on another story of emotional torment, PLAY IT AS IT LAYS (1972). In the intense style of DAVID AND LISA and LAST SUMMER, this movie showcased Tuesday Weld as an actress who has a nervous breakdown, and surveyed for the audience what led to her stay in a mental health facility. The remainder of Mr Perry's output was varied, ranging from the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford, to Mr Perry's final film, HELLO AGAIN (1987), a comedy-fantasy of a woman who dies, but is reincarnated by her sister. RANCHO DELUXE was not one of Frank Perry's best films, for a number of reasons.

It lacked that compelling emotional appeal that made his films such as THE SWIMMER, LAST SUMMER, and LADYBUG LADYBUG, to name a few examples, so memorable. The movie was intended to be more of an irreverent western with comic asides, but this consequently brought forth a number of issues. The lack of palpable human emotion, with the exception of several scenes, made the film hollow, and largely an exercise in tedium. There is a leaning towards comedy antics and while this can work in many cases, in RANCHO DELUXE it has the opposite effect. Events occur which should be amusing or funny to the spectator just fall flat. Certain plot points, such as Jack's sex romp with Betty, do not spin out as would be expected, or provide any further understanding of the characters. These mainly serve as cheap thrills for the moment without any regard for their impact on characters, and story. 

On the surface, RANCHO DELUXE seems to be hip and all over the place, busy and filling the screen with noise and activity, but, going nowhere special. This is due to having too many characters, and not properly spotlighting these in a measured manner. While other multi-character narratives, such as BAD DAY AT BLACK ROCK work, by offering audiences opportunities to get under the skin of their many characters, here matters are of a more slapdash, casual nature. If the film pruned back a number of characters, and consequently eliminated unnecessary scenes, thereby tightening the movie, RANCHO DELUXE would have been a much better viewing experience. It felt as if someone else had directed the movie instead of Frank Perry, making it unrecognizable as one of his films. Unfortunately one of Frank Perry's most disappointing movies, and a motion picture with little to recommend it, RANCHO DELUXE could have been better with a much firmer hand.

Acting: RANCHO DELUXE offers some of its performers excellent opportunities to shine, despite the film's lackadaisical presentation. Jeff Bridges, as Jack McKee, delivers a good performance in the film, but the role is a disservice to his considerable talents. He tries his very best to make the part better than what it is, but cannot overcome the inadequate writing of his character. Patti D'Arbanville, as Betty Fargo, also tries hard in the movie, but it seems more interested in showcasing her naked than getting to the heart of who she is, and why Betty is with Jack in the first place. Likewise, Sam Waterston is an interesting performer, but he also suffers from a lack of development in his character's actions. He could have been given meatier material to display his talent, but this never occurs. There are three actors, though, whose roles are more fleshed out in the movie, thereby assisting their performances.

Harry Dean Stanton, as Curt, gives another wonderful performance. As the lust-struck Curt, Mr Stanton puts his emotions on view for the audience to witness, as with his other movies, with excellent results. As Cora, wife of cattle man John Brown, Elizabeth Ashley commands the screen with her characteristic flair and timing. Whenever she is on it is akin to a breath of fresh air, and Miss Ashley adds intrigue and sass to the film that without her presence would have been even more turgid. The last performance of note was by Charlene Dallas in RANCHO DELUXE. As the seemingly prim Laura Beige, with a delicious name that speaks volumes of her character, Miss Dallas projects passion and conviction in her small role, this rounding out the prominent acting contributions in the film.

Soundtrack: The majority of tunes in RANCHO DELUXE are performed by Jimmy Buffett, most notably the theme 'Rancho Deluxe' at both the film's beginning, and end. 'Livingston Saturday Night' is featured in the bar dance scene, with Jimmy Buffett himself performing in this diegetic sequence. The remainder of the songs are played in a non-diegetic basis in the film which gives the film a western aura, with some unrelated incidental music scattered throughout the movie's run time.

Mise-en-scene: William A. Fraker's cinematography is beautiful, especially highlighting the vast landscapes featured in many scenes of RANCHO DELUXE. The color stock is natural, neither being washed out, nor too bright. One of the film's other authentic aspects is its mise-en-scene. Locations such as the interiors, and exteriors, of John and Cora Brown's farm, the western bar, and the town diner, for example, all work to give the viewer a clear visual canvas, and appropriate settings for the action.

Notable Acting Performances: Elizabeth Ashley, Charlene Dallas, Harry Dean Stanton.

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

Overall Grade: D

Link: IMDB Page

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