Showing posts with label Elliott Street. Show all posts
Showing posts with label Elliott Street. Show all posts

Thursday, July 2, 2020

INTERVIEW WITH ACTOR ELLIOTT STREET

Today I have the great pleasure of welcoming a very special guest, actor Elliott Street, to CINEMATIC REVELATIONS for an interview. Elliott has acted in various motion pictures over the years such as THE GRISSOM GANG, HONKY, WELCOME HOME SOLDIER BOYS [my review of the film can be found here] THE HARRAD EXPERIMENT, and, most recently, in 2013’s LAST VEGAS, to name a few examples. Elliott will be discussing his role in WELCOME HOME SOLDIER BOYS, acting, and his participation in the Rails to Reels Film Festival. Welcome to CINEMATIC REVELATIONS Elliott!


Athan: When did you first realize that you wanted to be an actor?

Elliott: When I vomited backstage in primary school. I was so nervous I barfed into a cup that I found backstage. I was determined never to do that again.

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Athan: Where did you study acting?


Elliott: I was always involved in theater to a degree, I have a book for my mom on several shows that she did for the Meridian room theater. My actual first performance was in reading and writing the school kind of a primary for the primary school, they thought I was slow. When I was 10 years old I was Dopey in 'Snow White and the Seven Dwarves'. In the ninth grade I was cast with my dad in 'Life with Father'. My senior year I did two players and won an acting award, but when I went to college I decided to be a real student and try to be scholarly, finally I transferred to the Pasadena Playhouse and got a bachelor of theater arts and was working on a masters degree when the school closed for good. I was working at a small theater arts school when I got my break for acting.

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Athan: I greatly enjoyed your performance in WELCOME HOME SOLDIER BOYS as Fatback, the most talkative, and lively, of the quartet of male characters. How did you become involved in this project?


Elliott: My first professional role was on room 222, produced by 20th century Fox. I was fortunate that several of them took a liking to me at Fox and I was cast, at that time I had the best agent in the business. George Maurice. I sure wish he had lived.

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Athan: Much of WELCOME HOME SOLDIER BOYS was shot on location, providing the film with many beautiful cinematographic moments. What was the experience of shooting these scenes in your opinion?


Elliott: Most of those shots were second or third camera. Probably the most memorable setting would've been at the swimming pool not swimming pool I'm sorry the the haunted lake scene. They shot us with antibiotics after that, we were sick.

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Athan: What did you most enjoy about the experience of filming WELCOME HOME SOLDIER BOYS?

Elliott: Joe Don. I guess he was the principal part that I related to not only as a friend but as a comrade in arms to a degree. We kept in touch for a little while. Showbiz is such an ephemeral business.


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Athan: Yourself and Joe Don Baker, Alan Vint, and Paul Koslo were a memorable team in WELCOME HOME SOLDIER BOYS. I could feel the palpable chemistry between the actors when I was viewing the film, which is one of my favourites. What was it like being part of this acting ensemble?


Elliott: My problem as the character was that I wanted to be accepted as part of the squad. I was probably the most foolish one in the bunch, I had a girlfriend at home, probably had a job waiting, but I wanted to be part of the squad, just kind of want to strike it rich.


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Athan: After acting in the film, were your thoughts about the Vietnam War, which was a key element in the movie, different to what they were before you acted in WELCOME HOME SOLDIER BOYS?

Elliott: I was a blooming flower in the flower children generation. I had done a pilot with Sandy Duncan, and when I saw her again she called me a hippie, I didn't get the part and I originated it. I voted for McGovern, remember him anybody? In fact it probably played a part and some shows that were too pro war, in the story we were doing was about a squad gone berserk, what they did, it was their profession.

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Athan: Have you kept in contact with any cast members and crew from WELCOME HOME SOLDIER BOYS?

Elliott: Joe Don and I went to the James Stacey benefit. And I left LA for Atlanta so I would not even have been in the same state. But I was forced to admit that my eyes have it. I needed surgery and the experts were in Atlanta. So I moved there but the eye clinic in Emery was the important factor in my life. I live in Mississippi now with my son, my friends are all theater folks.

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Athan: Are you still recognized today for your role in WELCOME HOME SOLDIER BOYS?


Elliott: No. Most recognition comes from Hawaii Five-0 I did two rolls for them. One was a psychopath and one was slow witted. Most Americans want to forget about Vietnam. Of course the film came out in 72, and the peace accord came out that same year, so this movie was banned by Nixon. Was dated to a degrees.

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Athan: What for you was the scene(s) in WELCOME HOME SOLDIER BOYS you are most proud?

Elliott: Dog gone it I don't think it was in the movie. I think they cut out the part when I was telling the dog “ goodbye,” and I wanted him to take a message to Mary for me, kind of a touching scene, the only thing only scene in the show that had any kind of empathy for these guys, only comments I had after the preview was that I was the only person that they cared for — everybody else’s characters was too antihero.


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Athan: You also coach students in acting, and on the craft of directing and editing, to name but a few examples. What are the most personally rewarding aspects of teaching these to students?


Elliott: I came to Mississippi to start the restoration of an 1890 grand opera house in my hometown. In time I became an instructor of film theater and public speaking. I went on to receive my masters and I am now retired from the school systems, but I have dabbled in historic preservation and film festivals.


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Athan: You are involved in the Rails to Reels Film Festival. How did you become involved in this, and what is the most satisfying aspect of participating in this film festival?

Elliott: We initiated a few years ago our flash fest. We hired three directors to direct a 10 minute show. Not for competition, but for experience and craft. Right now the audience is restricted because of the pandemic. So we don't know what is happening with the rails to reel's.


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Thank you so much today for your time Elliott, and for the insight you have provided into the art of acting, film, and WELCOME HOME SOLDIER BOYS. It has been fantastic having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

Elliott Street links


Friday, October 25, 2019

WELCOME HOME SOLDIER BOYS (1971)


Title: WELCOME HOME SOLDIER BOYS

Year of Release: 1971

Director: Richard Compton

Genre: Drama, Psychological Suspense

Synopsis: Four veterans just returned from Vietnam take a cross country journey across an unsympathetic and corrupt America, ending in an explosion of emotions.

Within a film history context: There were a number of films released in the 1970s, including WELCOME HOME SOLDIER BOYS, which dealt with the difficulties Vietnam veterans faced on their return home, and overall sense of displacement and disillusionment. Films such as TO KILL A CLOWN (1972), TRACKS (1976), COMING HOME (1978) and THE DEER HUNTER (1978) dealt with the theme in different but equally eye-opening ways. WELCOME HOME SOLDIER BOYS was one of the first to deal with the issue of Vietnam veterans in such an honest, unsparing manner.

Overview: Richard Compton directed seven features in his career, beginning with THE GUN RUNNER (1969), originally rated X in 1969, and, most notably, action drama MACON COUNTY LINE (1974) and its sequel RETURN TO MACON COUNTY (1975). Over the course of his career director Richard Compton dealt with people caught in extreme situations, and how this could lead to explosive reactions from his protagonists. His films could be characterized as drive-in fare with exploitation elements, but WELCOME HOME SOLDIER BOYS, his third motion picture, was by far the best of his cinematic oeuvre. An incisive examination of discrimination, alienation, and the effects of war on its four central characters, WELCOME HOME SOLDIER BOYS is a carefully structured narrative that builds slowly but gradually over the course of its running time. The events depicted may seen slight when taken into account individually, but add up when the film is reflected upon in retrospect.

Scenes such as Danny coming home to his parents and checking out his bedroom, the basketball game where he receives a frosty reception, and others such as Danny's talk with a prostitute give depth and credence to the narrative. There is also the subtle theme of outsiders living on the fringes of society who find solace with each other as hardly anyone else can understand them. The four soldier boys become a 'family' of sorts, supporting each other when others fail to come to the plate to assist them. They remain a close unit despite many hardships, and stay together to the end, a touching but also tragic scene.

There has been much discussion about the violence in the last few minutes of the film, and I will offer my thoughts on this. The violent content is more artistic and restrained compared to other films dealing with outpourings of emotion, eschewing gore and other unnecessary elements by keeping these to a minimum. WELCOME HOME SOLDIER BOYS' distance from cheap exploitation elements, thereby exploring the realm of human emotions in a heightened manner projects the film into a more symbolic, thoughtful sphere than its counterparts.

Acting: All of the acting is naturalistic with the film's performers in great form. The four soldier boys headed by Joe Don Baker as Danny, with Paul Koslo as Shooter, Elliott Street as Fatback, and Alan Vint as Kid, the youngest of the foursome, do an admirable job, with the actors distinctive in their portrayals. Danny is the leader, and the eldest of them, Shooter is the strong laconic type, more comfortable silent than speaking. The third member, Fatback, is the most gregarious, humorous of the team, while Kid is the good-looking member who holds faith dear to him more than the other three. Apart from the central foursome Florence MacMichael is thoroughly effective in a small role as Danny's mother, while Francine York has a few good moments as a prostitute Danny meets at the sleazy motel.

Soundtrack: The soundtrack in this film is very spare, largely sprinkled with several songs by country music singer Ronee Blakely at key moments in the narrative. The lack of music in this film serves a definite purpose as scenes largely stand on their own for their emotional power without the necessity for background music.

Mise-en-scene: The cinematography highlights the many places which the soldier boys encounter on their journey, the countryside depicted in an expansive, rugged, but sometimes desolate manner. It serves as a metaphor for their experiences during the course of the movie, some beautiful, others terrible, with others simply horrendous. Sets such as the pool hall where the soldier boys are targeted by some Korean War veterans, the motel, the Foley family home, and the basketball auditorium, all work in a functional and intrinsic manner, complementing the narrative world, and giving dimension to the characters, and the world they inhabit.

Award-worthy performances in my opinion: Joe Don Baker, Paul Koslo, Elliott Street, Alan Vint, Florence MacMichael.

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

Overall Grade: A

Link: IMDB Page

Movie Excerpt