THE HOLLYWOOD KNIGHTS (1980)

Title: THE HOLLYWOOD KNIGHTS

Year of Release: 1980

Director: Floyd Mutrux

Genre: Comedy, Sex Comedy, Teen Comedy

Synopsis: A night in the life of The Hollywood Knights car club members in 1965 Beverly Hills.

Within a film history context: Teenage sex comedies were highly visible on cinema screens in the 1980s. While sex comedies have been present since the beginning of cinema, the 1980s had a large number of teen-oriented films, of varying degrees of quality. The push to bring younger viewers into the cinema, coupled with a new generation of talented performers and personnel, seeking to 'speak' the language of this audience, was the impetus for this genre. There were many examples of these over the decade, but for the sake of brevity, some main examples which appeared onscreen until 1984 will be highlighted. PRIVATE LESSONS (1981), directed by Alan Myerson, was about a French housekeeper who looks after a businessman's son for the summer, emphasizing sexuality and coming of age themes. It was successful at the box office, which may have been partly attributable to Miss Kristel's reputation from her appearances in the EMMANUELLE erotic comedy franchise. 

Definitely one of the most famous, if bawdy teen comedies was the PORKY'S series, beginning with PORKY's in 1981. Directed by Bob Clark, this first instalment was a hugely profitable movie that spawned two less successful sequels. Its unabashed raunchiness pushed the boundaries of teen sex comedies at the time, and inspired many imitators. 1982 brought the less saucy, but still raucous FAST TIMES AT RIDGEMONT HIGH, directed by Amy Heckerling. With a number of actors in early roles such as Phoebe Cates, Jennifer Jason Leigh, Sean Penn, and Judge Reinhold, it was a blend of comedy and drama, more topical in nature than the other films, but still with teen themes and situations. Further films showcased the teen sex theme in different ways. Robert J. Rosenthal's ZAPPED! (1982), had a young teenager with telekinetic powers use his gift for comical revenge purposes. It was another successful movie which had a later sequel in 1990. 

One of the most fondly remembered sex comedies was RISKY BUSINESS (1983), directed by Paul Brickman. More subtle in manner than the all-out films such as PORKY'S, it made a big star of its lead actor, Tom Cruise, apart from grossing a very healthy profit. Nostalgia received another workout in Rafal Zielinski's SCREWBALLS (1983). Set in the 1960s, it was about high school students and their shenanigans. As with the majority of these films, it also was a financial success, if critically shunned. In the manner of PRIVATE LESSONS, MY TUTOR (1983), directed by George Bowers, was another spicy entry in the genre. The story of two young men vying to lose their virginity, with one becoming involved with his alluring French tutor, was a money-making film for Crown Productions. Equally ribald, but in a broader comic manner, was Chuck Vincent's HOLLYWOOD HOT TUBS (1984). Following a young man who works by repairing the hot tubs of the affluent and wealthy in Hollywood, it had a number of funny sequences alongside the more risqué stretches. THE HOLLYWOOD KNIGHTS was among the first teen sex comedies in 1980, but one of the most inadequate.

All the teen sex comedies had sexual content of varying degrees in their narratives, some more overt than others, with PRIVATE LESSONS and MY TUTOR prime examples. The vast majority of these films were generally centered on one male character, following the course of his life in the film. Those in this vein included PRIVATE LESSONS, RISKY BUSINESS, MY TUTOR, and HOLLYWOOD HOT TUBS. In these instances, young men are brought out of their shell by an experienced female character, who in many cases, was older than them. FAST TIMES AT RIDGEMONT HIGH was an oddity among teen sex comedies as it balanced both male, and female characters within its context. It is also notable as an example of a multi-character film, something shared by THE HOLLYWOOD KNIGHTS, but the similarities with that picture end there. 

FAST TIMES AT RIDGEMONT HIGH defined its characters clearly, and the viewer could easily identify with them. One became acquainted on a micro-level with them, and why they acted as they did. THE HOLLYWOOD KNIGHTS, on the other hand, had a greater quantity of characters, but lacking individuality in this way. They were young men seeking to raise hell, but just for the sake of it. The vast majority of male characters were, in effect, interchangeable as characters, and negligible in the final analysis. At first glance, the closest example to THE HOLLYWOOD KNIGHTS would appear to be PORKY's, with its many male characters, and attention to sexual matters. PORKY's, at the very least, had the grace of making its characters more distinct, and exhibited a more coherent storyline, something which THE HOLLYWOOD KNIGHTS could not accomplish. A low-grade entry in the 1980s teen sex comedy genre, THE HOLLYWOOD KNIGHTS is a lackluster movie.

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. Mr Mutrux's films display a partiality for 1950s and 1960s Americana, and penchant for nostalgia. 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. Floyd Mutrux's second picture, ALOHA, BOBBY AND ROSE (1975), was an uneven, but perceptive account of love between a car mechanic, and a fast-food waitress, which rang the box office bell in its time. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. Mr 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. As his penultimate picture, THE HOLLYWOOD KNIGHTS was another of Floyd Mutrux's box office hits, but, in light of his other movies, not a sterling effort.

Floyd Mutrux has made a disappointing film with THE HOLLYWOOD KNIGHTS. A tale of rebellious car club members on Halloween Night, 1965, and their assorted escapades and pranks, particularly targeting the police force, it is a dispiriting viewing experience. It has nothing in common with Mr Mutrux's other films, which, despite their faults, did have a semblance of a solid storyline, and something to savor in terms of emotional force. ALOHA, BOBBY AND ROSE, and AMERICAN HOT WAX are prime examples of this, both having the courage of their convictions. With THE HOLLWOOD KNIGHTS, the emotional impact is largely not present, and blunted, with the picture's insistence on showcasing unfunny, cruel, and demeaning lowbrow humor. The concentration on sexuality also becomes boring very quickly, as it is antic based, rather than coming from the heart. Explorations of sex, and its humorous angles come part and parcel in teen sex comedies, but here have been delivered in such a frenetic manner, one resorts to headshaking at the pace of it all.

THE HOLLYWOOD KNIGHTS maintains things on a superficial level almost throughout its entire running time, and this saps the film of depth which would have added much-needed pathos to the proceedings. The film, for example, is at pains to present the friction between The Hollywood Knights and the police, but it just adds up to a collection of stunts, without ever delving into why this situation developed in the first place. The adulterous liaison of Jacqueline Freedman and Nevans has its amusing passages, but one never finds out why they are so attracted to each other. The parts of the movie which, on the one hand, seems out of place with the hive of activity, but have emotional strength, are the romantic issues of Duke and Suzie, and Duke's friendships with Jimmy, and mechanic Smitty. These moments are true to life, and stand out for their realism in a film given to being a den of iniquity. Jimmy's upcoming tour of duty in Vietnam is a great scene in the film, leaving one hoping to know what happened to him, but this is never resolved. Unfortunately, these meaty segments are too few and far in between, resulting in a lopsided picture. One of Floyd Mutrux's less accomplished movies, THE HOLLYWOOD KNIGHTS stands out for all the wrong reasons as a dismaying film. 

Acting: There are several performances which are worthy of mention in THE HOLLYWOOD KNIGHTS, these standing out despite the movie's overwhelming push towards vulgarity. As the oversexed Jacqueline Freedman, one of the opponents of The Hollywood Knights, Leigh French is extremely amusing. With her high-pitched voice, and expert comic delivery, Miss French makes whatever she does, or says funny. She recalls comedian Alice Pearce from cinema, and television series Bewitched as the first Mrs Kravitz. The highly put-upon Dudley is made memorable in the capable hands of Stuart Pankin. His penchant for the English language, and participation in various zany escapades, make Mr Pankin another of the film's comic assets. At the opposite end of the spectrum, the owner of Smitty's car repair shop, Smitty, is given depth and realism by James Jeter. A character actor whose presence adds an authenticity to this part of the picture. Mr Jeter is perfect. Three other actors contribute great performances in THE HOLLYWOOD KNIGHTS.

As the former Hollywood Knights member Duke, in love with Suzie Q, Tony Danza turns in a sincere rendition of a young man trying to make the best of his life, and sharing this with the woman he loves. With his enthusiasm and hopefulness, Mr Danza ensures the audience is on his side. The object of his affections, Suzie Q, is also given intensive treatment by Michelle Pfeiffer. Possessing an ethereal presence, Miss Pfeiffer, as with Tony Danza, makes the trials of Duke, and Suzie Q, a great story thread in the movie. The final acting of note was by Gary Graham as Jimmy, Duke's friend headed to Vietnam. Mr Graham makes Jimmy a very real and three-dimensional person with his incisive acting, and reactions, convincing the viewer of his predicament, being that he may not return after his tour of duty.

Soundtrack: The soundtrack of THE HOLLYWOOD KNIGHTS is dotted with many rock and pop hits of the 1960s in both a diegetic, and non-diegetic sense. These are often played in brief as background noise, but are evocative of the 1960s. Tunes include 'California Dreamin', by the Mamas and the Papas, 'Big Girls Don't Cry', by The Four Seasons, and 'In the Midnight Hour', by Wilson Pickett, to name a few. The closing credits are accompanied by 'Hollywood Knights', sung by Brooklyn Dreams, summing up the adventures of the characters as witnessed by spectators in THE HOLLYWOOD KNIGHTS.

Mise-en-scene: THE HOLLYWOOD KNIGHTS has certain virtues on a visual level which cannot be disputed. Cinematography by William A. Fraker is well-measured for a movie which is set in the 1960s, with a nostalgic feel for the era, and, thankfully, without being overly colorful or bright. Art direction by Lee Fischer deftly creates a world that the characters inhabit, with the drive-in, and Smitty's repair shop some of his best set pieces. Darryl Levine's costume design is sound, especially notable are the jackets worn by the Hollywood Knights, seeming of the 1960s.

Notable Acting Performances: Leigh French, Stuart Pankin, James Jeter, Tony Danza, Michelle Pfeiffer, Gary Graham.

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

Overall Grade: D

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

Trailer

COVER ME BABE (1970)

Title: COVER ME BABE

Year of Release: 1970

Director: Noel Black

Genre: Drama

Synopsis: A university student filmmaker battles his professor and colleagues to produce his vision of the perfect movie, but finds himself alone when he alienates everyone around him with his quest.

Within a film history context: Films about characters who are voyeurs, sometimes in the most perverse manner, utilizing technology or instruments to capture or view various scenarios, have been featured many times throughout cinema history. Michael Powell's PEEPING TOM (1960) was one of the first to present a character, a psychopath who photographs the expression on his unsuspecting victim's faces when they realise they are about to die. Alfred Hitchcock's REAR WINDOW (1954) presented a character peering at the apartment block opposite his, the film detailing what he saw, and how his life was affected thereafter. Looking forward more than thirty years, Brian De Palma's BODY DOUBLE (1984) presented a different scenario, where an actor witnesses the murder of a young woman through his telescope, similar to REAR WINDOW, but in an exceedingly more violent fashion. COVER ME BABE shares elements of these films, the contrast being that the protagonist never becomes involved in murders or other crimes. While COVER ME BABE's main character indulges in voyeuristic behaviour through his filmmaking, he is never depicted as being psychopathic, but, instead, obsessive about producing the film of his dreams.

Apart from the voyeuristic elements of the film, COVER ME BABE also belongs to a genre of movies which deal with filmmakers, their lives and foibles presented to the audience to consider. Vincente Minnelli's THE BAD AND THE BEAUTIFUL (1952) and Federico Fellini's 81/2 (1963) are amongst the most notable to deal with filmmakers. The main difference between THE BAD AND THE BEAUTIFUL and COVER ME BABE is that THE BAD AND THE BEAUTIFUL revolves around a  ruthless producer, unlike COVER ME BABE's director character. On the other hand, 81/2, like COVER ME BABE, has a filmmaker lead character, but the protagonist of 81/2 is decidedly more sympathetic, the audience given insights into his psyche. In the case of COVER ME BABE, the viewer never finds out exactly why Tony Hall acts the way he does, his motivations never disclosed to the audience.

Overview: Noel Black directed seven feature films in his career, mostly notably his debut with PRETTY POISON (1968), to JENNIFER ON MY MIND (1971), and ending with PRIVATE SCHOOL (1983). COVER ME BABE was released in 1970, and followed a student filmmaker's quest to make the ultimate film of his liking, despite the opposition he encounters from his university professor and fellow colleagues. Mr Black has made a striking, well-balanced movie with a dramatic flair and style that can be witnessed not only visually but also, thematically. The imagery in COVER ME BABE is arresting from the first shots of a man walking, his shadow on the ground, to a character painting a model, the use of light on her body, and, as another example, filmmaker Tony Hall viewing shots of his film in the processing lab. COVER ME BABE, though, is not just about visuals and nothing further.

Mr Black has directed a story which touches upon a man, Tony Hall's, obsession with reality, and how he wants to move away from standard fictional narratives to produce a film based upon real-life scenarios, and mould these unrelated occurrences into a film. In his quest to make the movie of his dreams, the lead character indulges in voyeuristic and sadistic practices which largely demean the participants. These situations cast him in a negative light, despite his undaunted and stubborn self-righteousness. Mr Black's use of vignettes is quite powerful, with Tony Hall encountering a transvestite, an alcoholic, a child needing resuscitation on the beach, to name a few examples, and these add up over the course of the film as fascinating scenes of reality within a film. These also function to show that lead character Tony Hall sees humanity as just a tool to titillate and exploit through his filmmaking. Noel Black, in essence, has fashioned a movie that was provocative in the time of its release but is still relevant today with the use of technology, especially in the internet age, and how in many instances it can be utilized in inhumane, sadistic ways.

Acting: In the lead role Robert Forster displays just the correct amount of toughness and cynicism through his character of good-looking filmmaker Tony Hall. The viewer expects him to crack at some point, to show some more humanity than usual, but this never occurs. The only times he displays some semblance of vulnerability are through his relationships with two women, but even these just serve to further his filmmaking aspirations. The character of Tony Hall functions as a motivation for the film's other characters to carry through with his wishes, and as a sounding board against his ideals. In the end, though, the other characters reject his notions of filmmaking without humanity. The supporting characters are furnished with great performances from skilled thespians who infuse their roles with sensitivity.

Sondra Locke is a standout as the woman Tony Hall uses and abuses before finally breaking away from his filmmaking obsession. Her character, Melisse, operates as the film's conscience, and someone who tries to humanize Tony but, to no avail. Many of the film's most powerful, telling moments involve Miss Locke, in combat with Tony Hall. Apart from Sondra Locke, Robert Fields is also striking as Tony Hall's supervisor who is alternately taunted by Tony Hall, but finally retaliates at the film's conclusion. Mr Fields is a very versatile actor who can play any role, as witnessed by his victimized man on the bus in Larry Peerce's THE INCIDENT (1967). In COVER ME BABE he is offered much more leverage, and scope in his role, and carries it out beautifully. The final excellent performance in the film is by Floyd Mutrux as Tony Hall's gay filmmaking colleague Ronnie. In an economy of words Mr Mutrux expresses pain, confusion, and reticence with his facial expressions and body language, especially in the final scenes. The character of Ronnie is a telling contrast to the cocky, self-confident body language, mannerisms, and voice of Tony Hall.

Soundtrack: The music and songs featured in COVER ME BABE have a typical late 1960s/early 1970s vibe, with philosophical, introspective lyrics and a pleasing beat. These perfectly reflect what the film wishes to achieve in its subtle, thoughtful style, and greatly complements the visuals as well.

Mise-en-scene: COVER ME BABE is visually beautiful without being garish, colour carefully utilized in both indoor, and outdoor scenes. The scenes of Tony Hall filming people either with, or without their consent are well judged in terms of the settings, which give these scenes authenticity. The parts of the movie where film colleagues are conferring about film, or viewing footage on the screen also add credibility and realism to the narrative, as does the office of Tony Hall's university professor.

Award-worthy performances in my opinion: Sondra Locke, Robert Fields, Floyd Mutrux.

Addendum: I feel that the film's title COVER ME BABE, while the name of a song used in the movie, does not properly epitomize the film. The alternative title RUN SHADOW RUN would have been much more appropriate, in light of scenes in the film which actually depict this. If I could have named this movie as I wished I would have called it THE FILMMAKER or something of this nature, as COVER ME BABE misrepresents the movie as something frivolous and faddish which it is not.

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

Overall Grade: B

Link: IMDB Page

Movie Excerpt