PLAY IT AS IT LAYS (1972)

Title: PLAY IT AS IT LAYS

Year of Release: 1972

Director: Frank Perry

Genre: Drama

Synopsis: An actress reflects upon her rollercoaster life while living in a sanitarium.

Within a film history context: Films with a film actress character as a lead protagonist have been featured from the silent era. One of the earliest examples was Maurice Tourneur's A GIRL'S FOLLY (1917). A young woman from the country wants to escape her surroundings, and one day finds a film crew shooting a western in her hometown. She becomes acquainted with the lead actor, who suggests she pursue acting, but dreams clash with reality for her in this comedy. Another silent, SOULS FOR SALE (1923), directed by Rupert Hughes, followed a young woman who decides she wants to be a star, but her husband's reputation may put the brakes on this ambition. A silent considered lost, William C. de Mille's THE RUNAWAY (1926), starred Clara Bow as a young actress who believes she might be indicted for a man's murder, and runs away. She is then taken in by a man from the country, but several surprising events ensure life does not weary her. BROKEN HEARTS OF HOLLYWOOD (1926), directed by Lloyd Bacon, is another rare movie. In this instance, contrasts are drawn between two women, one a former actress returning to the screen, the other her daughter, a newcomer seeking fame. Both mother and daughter are cast in the same film, but backstage fracas threaten their union. King Vidor's silent SHOW PEOPLE (1928), was a Marion Davies property, with a young woman from Georgia yearning for stardom, but getting involved in wacky antics, and romantic escapades. The 1930s also had varied views of film actresses.

The sound SHOW GIRL IN HOLLYWOOD (1930), directed by Mervyn LeRoy, was about a Broadway actress whose show closes, and aspires to go to Hollywood. but finds the path to stardom very difficult. A mood of mystery permeated Hamilton MacFadden's THE BLACK CAMEL (1931). A film actress is murdered, and detective Charlie Chan investigates this crime, finding the actress enmeshed in a tangled chain of events. One of the most notable movies about a film actress was WHAT PRICE HOLLYWOOD? (1932), directed by George Cukor. A waitress makes a career change, becoming a Hollywood actress, meanwhile the career of the director who discovered her is tarnished by his alcoholism. In contrast, the tone was comic in William Beaudine's MAKE ME A STAR (1932). A Hollywood actress assists a young man to work in a western, with many amusing passages as a result. TWENTIETH CENTURY (1934), directed by Howard Hawks, centered around a stage director, and his protege, a young woman, telegraphing their fraught, but funny relationship. As his career nosedives, hers soars in this comedy with John Barrymore, and Carole Lombard in the lead roles. Another famous movie about a film actress was William Wellman's A STAR IS BORN (1937). A young woman finds Hollywood fame, and meets her idol, a film actor. After a courtship the couple marry, but his alcoholism plunges their marriage, and lives, into turmoil. 

Less serious was EXPENSIVE HUSBANDS (1937), directed by Bobby Connolly. A Hollywood actress finding difficulty in getting parts travels to Europe, where a Prince becomes an important part of her life, but all is not what it seems. Reinhold Schunzel's THE ICE FOLLIES OF 1939 (1939), was about a budding impresario wanting to produce a skating extravaganza, casting a woman in the show, later his wife, but their venture is unsuccessful. When the woman is signed by a film studio, her husband's dream takes a backseat, but all is well by the end as the show is a smash. HOLLYWOOD CAVALCADE (1939), directed by Irving Cummings, followed a young silent film star, and her platonic relationship with a director, which continues into the sound era. Walter Lang's STAR DUST (1940), was more comic in tone. The journey of a young woman to stardom was charmingly captured, with Linda Darnell in the main role of a starry-eyed acting aspirant. THE MIRACLE OF THE BELLS (1948), directed by Irving Pichel, was an intricate picture about a movie star who dies before her first film is released, and is brought back to her hometown for her burial, in accordance with her final wishes. The film charts not only what happened to this point, but also, how the movie will be released in light of the death of its leading actress, with a number of perspectives featured. 

One of the leading motion pictures about film actresses was Billy Wilder's SUNSET BOULEVARD (1950). A silent film actress dreaming of returning to the screen, and her dalliance with a screenwriter, was vividly brought to the screen, with Gloria Swanson as the star, and William Holden as the hapless writer. Another film which examined a silent screen actress, albeit in a breezier vein, was SINGIN' IN THE RAIN (1952), directed by Stanley Donen, and Gene Kelly. The difficult transition to sound for a silent film actress was one of the tales of this fondly remembered musical. George Cukor's THE ACTRESS (1953), was a retelling of the early life of noted actress and writer Ruth Gordon, the screenplay by Miss Gordon herself. Another George Cukor film, A STAR IS BORN (1954), was a remake of the 1937 movie with Janet Gaynor. The story has been altered slightly, with the main female character, played by Judy Garland, now a singer who becomes a successful actress. The real-life story of Hollywood and Broadway actress Lillian Roth was the focus of Daniel Mann's I'LL CRY TOMORROW (1955). With Susan Hayward as Miss Roth, it followed her rise to fame, and subsequent issues with alcohol, which considerably curtailed her career. 

Mirth was the main function of WILL SUCCESS SPOIL ROCK HUNTER? (1957), directed by Frank Tashlin. In this satire of television and advertising, an ad man requests an actress to be the spokeswoman for a lipstick company, which she accepts. The catch is that the actress wants him to act as her other half, a concept which does not go down well with the ad man's girlfriend. George Sidney's JEANNE EAGELS (1957), was a biopic of the early 1900s stage and screen actress who fell into addiction, and personal tragedy. Liberties were taken with true events which blunted the impact of the movie. In utter contrast, THE FEMALE ANIMAL (1958), directed by Harry Keller, spotlighted a love triangle between an aging actress, her nubile daughter, and a film extra who has a thing for both of them. Most notable as the final picture of Hedy Lamarr, it also included Jane Powell as her daughter, George Nader as the object of their affections, Jan Sterling, and Mabel Albertson. Much more insightful was John Cromwell's THE GODDESS (1958). A young woman's life change from poverty, to international fame as a movie star, with all her insecurities laid bare, was a showcase for Kim Stanley in the lead as the unfortunate film goddess. The biopic of Diana Barrymore, daughter of John Barrymore, thespian extraordinaire, was the crux of TOO MUCH, TOO SOON (1958), directed by Art Napoleon. Miss Barrymore's drug and alcohol addiction, and strained family, and personal relationships, made up the content in this drama. 

The 1960s brought Richard Brooks' SWEET BIRD OF YOUTH (1962), to the screen. The study of a drifter, and his relationship with a movie star whose career is on a downward spiral, gave Paul Newman, and Geraldine Page pithy lead roles. Off-the-wall in terms of its content was WHAT EVER HAPPENED TO BABY JANE? (1962), directed by Robert Aldrich. The uneasy relationship between two sisters, one a former silent screen star, the other her sister, was what dominated the picture, with Bette Davis, and Joan Crawford in the lead roles. Two films about movie legend Jean Harlow were released in 1965, the first being Alex Segal's HARLOW (1965). With Carol Lynley as Miss Harlow, it was critically derided, and a box office flop. The second HARLOW (1965) movie, directed by Gordon Douglas, was better received, and a moderate financial success. Carroll Baker starred as the ill-fated Jean Harlow, also with Ginger Rogers in her final film role as Miss Harlow's mother. Robert Mulligan's INSIDE DAISY CLOVER (1965), was about the life, and loves of a young woman who becomes a top Hollywood star in the 1930s, with Natalie Wood as Daisy. VALLEY OF THE DOLLS (1967), directed by Mark Robson, featured three young women striving for success in Hollywood, but finding that their private lives unraveled in a unseemly fashion. Critically ravaged but a huge box office success, it was based upon the best seller by Jacqueline Susann. Robert Aldrich's THE LEGEND OF LYLAH CLARE (1968), starred Kim Novak as an actress who is cast in the role of a late, famous star, and the troubles she encounters in this odyssey. PLAY IT AS IT LAYS was a movie that intimately outlined the life of its main character, actress Maria.

PLAY IT AS IT LAYS shared affinities with the more serious-minded movies about a film actress, such as SOULS FOR SALE, WHAT PRICE HOLLYWOOD?, A STAR IS BORN, SUNSET BOULEVARD, THE ACTRESS, I'LL CRY TOMORROW, JEANNE EAGELS, THE GODDESS, TOO MUCH, TOO SOON, SWEET BIRD OF YOUTH, INSIDE DAISY CLOVER, both HARLOW titles, and THE LEGEND OF LYLAH CLARE. There is an intense focus upon a single protagonist, and the audience comes to understand her passions, flaws, her good side; in essence, complete portraits are drawn of the respective character. The post-war examples after 1950, beginning with SUNSET BOULEVARD, are darker in tone, and execution, than those from beforehand. These also offered more full-blooded portrayals than the uplifting sketches of actresses which SHOW PEOPLE, ICE FOLLIES OF 1939, and STAR DUST presented. The genteel tone of the 1940s pictures, and previous movies, was largely abandoned, with the exception of THE ACTRESS. Other aspects of PLAY IT AS IT LAYS also warrant discussion. 

With its concentration on a single character, PLAY IT AS IT LAYS did not contrast Maria with other female characters, something which BROKEN HEARTS OF HOLLYWOOD, SINGIN' IN THE RAIN, and VALLEY OF THE DOLLS successfully executed within their narrative structures. The first two movies pitted two women against another, one a mother and a daughter, the other two actresses. VALLEY OF THE DOLLS was of interest as the lives of three actresses are actively compared, and contrasted throughout the course of the picture. Their relationships with men, mental stability, and how they personally handle the various issues which occur to them are also something which PLAY IT AS IT LAYS relays, albeit with a single character instead of three. Additionally, the earlier movies such as WHAT PRICE HOLLYWOOD? and both A STAR IS BORN films, give an impression of a monogamous, conservative heroine, something which is shattered after SUNSET BOULEVARD. Norma Desmond's liaison with a screenwriter in that film, the characters of THE FEMALE ANIMAL, THE GODDESS, and Neely in VALLEY OF THE DOLLS, to name but a few examples, of more liberated female personal behaviour. This also fits with the messy life of PLAY IT AS IT LAYS' Maria, and her various dalliances with the opposite sex. A deep look into the existence of a troubled movie actress, PLAY IT AS IT LAYS is one of the most complicated examples of this captured on film.

 

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 intensely 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 on students, and personnel, of a school of a possible nuclear attack. 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 their divorce 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, RANCHO DELUXE (1975), was not a high point for Mr Perry. The story of two cattle rustlers in Montana suffered from a lackadaisical script and unemotional presentation, but some good performances could not save it. The remainder of Mr Perry's output was varied, ranging from the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her problematic 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. PLAY IT AS IT LAYS was Frank Perry's eighth film, and a sound, if overwrought, picture.

With PLAY IT AS IT LAYS, Frank Perry has made a challenging movie experience for viewers. It is the story of a film actress, depicting the collision of her professional, and personal lives, which lead her to mental illness. The director closely follows the trials and travails of his protagonist Maria, her shaky relationships with men, and clearly explains the reasons she becomes ill. The movie is the less-sweeping, more intense version of THE SWIMMER, showing the lead character's personal downward spiral. This movie had a beauty, and philosophy in its structure which is missing from PLAY IT AS IT LAYS, which has a negative tinge about it. In addition, PLAY IT AS IT LAYS is also much less positive in tone than DAVID AND LISA, with no romantic ideals, or happy endings present. In this way, it could be seen as reflecting the rawness of life rather than an aspirational view. PLAY IT AS IT LAYS, though, is the cinematic personification of the double-edged sword. On the one hand, PLAY IT AS IT LAYS is daring in its scope with its cut and dry presentation, on the other hand, this is one of the things which make it hard to watch.

In examining the relentlessly tortured life of Maria, Frank Perry has juxtaposed long scenes with short ones which function in an informative manner to highlight her unsettled life. This does work to a degree, but it can become jarring over the film's running time to witness the range of different sound effects which often introduce new scenes. The intention may have been artistic, to shock the audience to maintain attention on Maria's life, but it has the opposite effect in many cases. Aside from this, and in an associated way, PLAY IT AS IT LAYS is presented in a bloodless, apathetic manner. Despite convincing performances, the overall lack of tangible emotion works against the movie. Not having relatable emotions played out during the course of the film does pigeonhole the characters, making them seem more like pawns in the full scope of things. Identification with the plight of Maria, and those with whom she comes into contact, is more on the level of curiosity than real involvement. While the movie may be watchable as a whole, it is more on the basis of the performances holding it together than what occurs to the characters. An original but exacting movie, PLAY IT AS IT LAYS is not one of Frank Perry's best achievements in looking over his oeuvre.

Acting: PLAY IT AS IT LAYS contains fine acting from a quartet of performers. In the lead role of Maria, Tuesday Weld is in one of her best screen performances. An engaging actress with a quivering voice, and steely presence, here does excellent work as the troubled actress. As B.Z., Maria's film director, Anthony Perkins is likewise in one of his formidable acting interpretations. An actor who after PYSCHO seemed to be typecast in sociopathic roles, in the film melds well with Tuesday Weld, feeding off each other, which is one of the picture's best assets. Maria's husband Carter is likewise given thorough treatment by Adam Roarke. While many times playing villains and bikers on screen, here Mr Roarke has the opportunity to display his more complex, passionate side as Carter. The last acting of note was by Roger Ewing as Nelson, B.Z.'s lover. A tall, blonde actor with a relaxed, humorous charm, he makes his presence felt in a short scene at the beach house. Unfortunately, this was Mr Ewing's final film role, and it would have been interesting to have seen more of Nelson, given his strong, inimitable aura.

Soundtrack: One of the distinguishing features of PLAY IT AS IT LAYS is its lack of a musical soundtrack. There is no music played during either the opening or closing credits, the visuals stand alone in this respect. There are some isolated uses of diegetic music, such as Maria's car ride with Johnny Waters, but these are few and far between. Voice-overs by Maria are one of the film's main non-diegetic features where she expands upon her life for the viewer. The overall effect of a dearth of musical accompaniment, though, is one of starkness, reflecting the movie's somber, serious tone.

Mise-en-scene: There is a careful use of locales within the narrative which lend PLAY IT AS IT LAYS authenticity. The movie vividly paints Maria's life as one of revealing contrasts. From her calming beach house, riding in the sportscar, incoherent by the side of the road, to her movie location shooting in the rugged Mojave Desert, to name but a few examples, one can readily discern the tumultuous life of Maria on a subtle, non-verbal plane.

Notable Acting Performances: Tuesday Weld, Anthony Perkins, Adam Roarke, Roger Ewing.

Suitability for young viewers: No. Infrequent coarse language, adult themes.

Overall Grade: C

Link: IMDB Page

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

Movie Excerpt

1960s AND 1970s FILMS WHICH DESERVE A CONTEMPORARY DVD RELEASE

I have been perusing through a list of movies I have seen over the years, and finds myself referring back to LAST SUMMER and THE MARRIAGE OF A YOUNG STOCKBROKER time and again. The films are two of the most striking examples of late 1960s, and early 1970s filmmaking. Made with style by all involved, and also, unflinching honesty, I believe these movies deserve a DVD release, with a fresh copies for viewers to enjoy, as they are both currently unavailable.

*LAST SUMMER (1969) Directed by Frank Perry, IMDb entry

*THE MARRIAGE OF A YOUNG STOCKBROKER (1971) Directed by Lawrence Turman, IMDb entry

THE SWIMMER (1968)

Title: THE SWIMMER

Year of Release: 1968

Director: Frank Perry (with some assistance from Sydney Pollack)

Genre: Drama, Mystery

Synopsis: A man aims to swim in as many swimming pools as he can in a suburban town to reach his home, finding either acceptance, or antagonism, with each stop.

Within a film history context: Movies about characters reflecting upon their lives, many times searching for reasons as to why they went wrong, have been produced sporadically throughout cinematic history. The 1930s had two major examples which have held up well as motion pictures over more than eighty years since their initial release. One of the most famous was Edmund Goulding's DARK VICTORY (1939). Starring Bette Davis as a spoiled heiress whose life takes an unexpected turn, changing perceptions of herself, it was a master vehicle for Miss Davis. One of the most charming variations of this theme was GOODBYE, MR CHIPS (1939). Directed by Sam Wood, the film featured Robert Donat as a headmaster looking back on his life, and many achievements. It focused in detail on Mr Chips' teaching career and eventual marriage, and the events leading to his passing with great dignity. It is one of the most heart-warming, sentimental films of its type, providing Robert Donat and Greer Garson with excellent roles. Looking to the 1940s, further explorations of the theme were presented in cinema.

King Vidor's H.M. PULHAM, ESQ. (1941) was about a married man who reminisced about the young woman with whom he had fallen in love many years ago. An excellent example of filmmaking in a more adult, mature vein, it gave Robert Young, Ruth Hussey and, in particular, Hedy Lamarr, meaty roles. That same year, CITIZEN KANE, directed by Orson Welles, was unleashed to audiences. The magnificent tale of a man seeking love and acceptance, finding fortune, but always yearning for something he could not have, was possibly the most famous, knowing cinematic interpretation of loss ever captured on celluloid. While Mr Welles made other notable movies, nothing could ever really match his innovative, perceptive work on CITIZEN KANE. More films made in the 1940s also investigated how a protagonist's life had taken a path not desirable to them, with different results.

One of the most uplifting films about characters reflecting upon their lives, Frank Capra's IT'S A WONDERFUL LIFE (1946), a failure when first released, is now seen in a much kinder light. A man on the brink of suicide is brought to his senses by a guardian angel, making him realise certain truths about his life, and what his absence would have caused to the lives of those he loved. One of the director's best films, it is a revered Christmas classic. The British film THE PASSIONATE FRIENDS (1949), directed by David Lean, followed a similar, but contrasting narrative track. A married woman recalls the love affair she had with a man many years ago, aided by flashbacks to the past from the present for viewers to understand her feelings. An intricate, entertaining tale of romance, second chances, marriage and loyalty, Ann Todd and Trevor Howard thoroughly convincing as the ill-fated pair, with Claude Rains powerful as Miss Todd's husband. After the 1940s, several more examples of the theme appeared on film, some with increasingly downbeat endings.

Douglas Sirk's MAGNIFICENT OBSESSION (1955) was the character study of a playboy who causes angst in the life a woman, and changes his ways when he realizes what he has done through his actions. A success upon release, this story of loss, romance and redemption went down well with audiences at the time, and sealed the reputation of star Rock Hudson, and its talented director. THE GRADUATE (1967), directed by Mike Nichols, was a box-office smash of a young man whose life is seemingly set out for him, but whose dissatisfaction with this manifests itself in his relationship with a young woman. One of the first films of the 1960s to deal with youth disenchantment, it made a star of Dustin Hoffman, and gave its director leverage to make further movies. 

Jerry Schatzberg's PUZZLE OF A DOWNFALL CHILD (1970) starred Faye Dunaway as a confused fashion model looking back on her life and the many mistakes she made during its course. A slightly convoluted tale, it nevertheless gave Miss Dunaway many moments to display her considerable skill, making the implausible, and sometimes lurid, ring true. THE SWIMMER had elements in common with CITIZEN KANE in the way it exhaustively analysed its central character's triumphs, and failures with panache. Where it diverted, though, was in the lack of flashbacks explaining Ned Merrill's life, preferring to follow a more episodic narrative progression.

THE SWIMMER was the emotional, heart-rending story of a man searching for his life which appears to have become awry by his own hand. Unlike PUZZLE OF A DOWNFALL CHILD, it was never heavy-handed in nature, with the fragments of Ned Merrill's life presented by the director a mixture of humorous, but also, serious moments. It is reminiscent of GOODBYE, MR CHIPS in this manner, with a jovial, charismatic tone. Where THE SWIMMER moved away from the other films in the category of reflection was that the main character, while cognizant of people and certain situations in the movie, did not seem to have an awareness of some events that had occurred. This is where the film has an intriguing sub-text missing from the other movies of its genre.

The first images of Ned Merrill appearing out of nowhere to begin his mission of swimming in the pools of his friends, and foes, bring many tantalizing thoughts to bear. Where did Ned come from at the beginning of the film? Does he remember the negative consequences of his actions that caused anger in many people when he approached them? Is he suffering from a form of memory loss, or is he consciously deluding himself? To some viewers these might appear as unanswerable questions that make the film inscrutable, and dissatisfying. The film leaves these questions open to interpretation, and these enigmas provide THE SWIMMER with an allure that only makes it more fascinating as a motion picture. A beautiful movie that makes the viewer examine their own life, and life in general, THE SWIMMER is a revelation of a film that deserves acclaim for its polished delivery, and is as relevant today as it was in 1968.

Overview: Frank Perry directed fourteen feature films between 1962 and his final being released in 1987. He made films which were character-driven in nature, peering deep into the psychology of his protagonists, making audiences understand situations on a more profound, fluid 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 centred 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. 

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 an lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, it 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 a western-comedy in RANCHO DELUXE (1975), to the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her difficult relationship with adopted mother, actress Joan Crawford. Mr Perry's final film, HELLO AGAIN (1987), was a comedy-fantasy of a woman who dies, but is reincarnated by her sister. THE SWIMMER had more in common with Frank Perry's earlier films such as LAST SUMMER than his later efforts, and is one of his best movies.

The character study of a man who aims to swim in every pool to reach his family home, at first glance, seems a strange concept for a motion picture, and something that would work on paper but not on screen. Preconceptions, though, are quickly dispelled by the director, and entire crew's, handling of the story. Based upon John Cheever's short story of the same name, THE SWIMMER is an emotional, triumphant film that hits all its targets, and where there is never a false note from beginning to end in all aspects, from acting to directing, writing, music, to cinematography. The film's linear structure could be said to contribute to its overall success as a convincing story. While some could say, though, that this structure limits the movie's scope, it neatly orders the film's events, making it easy to follow without being predictable in any manner. 

THE SWIMMER flows gracefully from one set of situations to the next, without staginess, thoroughly exploring the protagonist's life through the various characters he encounters at each home, or location, he visits. With each visit the viewer gains more and more information about lead character Ned Merrill, building a profile for him, while also intriguing the viewer at the same time with the leisurely accounts of these details. There is a deft mix of humorous scenes which delve into Ned's life, and also, more heated sequences that are as telling. The viewer feels for his pain in these parts as his life mistakes are aired for him to consider and ponder, which gain momentum as the movie progresses, and point to the film's shattering climax. THE SWIMMER, in some ways, is related to Mr Perry's own movie, LAST SUMMER, in one key manner.

What makes both of these movies interesting is their metaphoric use of water. While in LAST SUMMER the youngsters play love games and cavort on the beach, and their summer of love turns into an horrific, revealing experience, exposure to the water has the effect of bringing certain truths about themselves, and their worst traits, to the forefront. THE SWIMMER is similar in that less-than-desirable truths about Ned Merrill are divulged the more he makes contact with the water, but the water here is more about discovering what went awry, trying to make compensation for acts committed, aiming to achieve a cathartic effect for Ned. Here, though, is where THE SWIMMER diverges from LAST SUMMER. 

It could be said that THE SWIMMER has more of a spiritual, religious slant than LAST SUMMER, but this makes the film only the more moving, and never preachy. Realizations take place for Ned, and many of the people he encounters along his journey, which give the film a resonance, and truth that makes it all the more potent. For reasons such as these, THE SWIMMER could be said to be Frank Perry's greatest achievement, and a thoroughly powerful, memorable motion picture.

Acting: THE SWIMMER is a film where the performances raise it onto a special level. In the lead role of Ned Merrill, Burt Lancaster gives a sublime rendition of the multi-faceted Ned. Mr Lancaster's ardent and genial personality works well here, making Ned Merrill a very real, three-dimensional character. The viewer feels happiness at the friendly interactions Ned has with selected close acquaintances, and sadness at his most difficult moments. Mr Lancaster is the heart and soul of THE SWIMMER, so convincing is his acting that one begins to believe in the reality of the scenario. As Julie, a young woman who admires Ned, Janet Landgard, on the other hand, is the film's incarnation of youth, freshness, with an easygoing appeal. Julie could have been a mousy ingenue, but Miss Landgard gives her an edge which makes her more psychologically complex than first imagined. The other female performers add extra fire and sparkle to THE SWIMMER which gives depth to the proceedings.

Helen, one of the first women Ned encounters in his journey, is played with biting wit and glee by Diana Van der Vlis. Her dialogue delivery is akin to a self-satisfied Cheshire Cat which makes her small role all the more delicious, and one of the most revealing of the cameo parts in the film. Miss Van der Vlis had a resemblance to fellow actress Juliet Mills, and even sounded the same in some scenes. A more solemn, reserved female performance, that speaks volumes of Ned Merrill and his love life, is by Janice Rule as Shirley, one of the line of ladies in his life. Miss Rule always has a field day with bitchy dialogue and unrepressed emotions in her other films, but here she has that, coupled with a vulnerability that make her riveting.

In addition to the other female actresses, Diana Muldaur adds spice in a very brief role as Cynthia, another of Ned's conquests. A unique actress of beautiful appearance, she does well in the film, displaying a range of emotions from happiness, to seething rage at Ned. Another memorable, distinctive contribution is that of Cornelia Otis Skinner as Mrs Hammar. Hardly ever raising her voice, but whose icy, hard expression ensures that viewers know that she detests Ned Merrill, Miss Skinner delivers a performance that provides great insight into Ned Merrill for the viewer.

Soundtrack: Marvin Hamlisch's sweeping instrumental score is superb, and the ideal accompaniment to what is taking place onscreen. Rousing when necessary in the livelier segments, and quieter in the more thoughtful scenes, it is one of the most beautiful scores ever featured in a motion picture. It also adds an emotional tone to the movie in keeping with the film's thoughtful presentation.

Mise-en-scene: The locations utilized in THE SWIMMER provide an excellent backdrop for the film, and a stunning visual experience for the viewer. The homes, backyards, and swimming pools which Burt Lancaster and the movie's cast inhabit during its running time are not only beautiful but functional, with one different from the other. In addition to this, THE SWIMMER also showcases other locations such as the public swimming pool near the film's conclusion, and scenes where Ned is in the woods with Julie. While several of these appear to have been shot in a studio, thankfully, they do not seem too artificial in retrospect, and blend in well with the other location sequences. The Technicolor stock, also, is carefully employed by cinematographer David L. Quaid, always being measured, never gaudy, but exquisite to witness.

Award-worthy performances in my opinion: Burt Lancaster, Janet Landgard, Janice Rule, Diana Van Der Vlis, Diana Muldaur, Cornelia Otis Skinner.

Suitability for young viewers: Parental discretion advised. Adult themes, brief male nudity.

Overall Grade: A

Link: IMDB Page

Trailer