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

CISCO PIKE (1971)

Title: CISCO PIKE

Year of Release: 1971

Director: Bill Norton

Genre: Drama

Synopsis: A musician, and former drug addict, is coerced by a crooked policeman to sell drugs again.

Within a film history context: Movies about characters who deal in drugs have been spotlighted many times in cinema. One of the first to deal with the issue was Leslie Pearce's THE FALL GUY (1930). In this film, a pharmacist becomes involved with the underworld, and is set up by a gangster who gives him a suitcase containing alcohol, actually being narcotics, with interesting repercussions. In BEHIND THE MASK (1932), directed by John Francis Dillon, the kingpin of a drug smuggling outfit is behind the scenes, carrying out many insidious deeds, and sought out by a federal officer played by stalwart Jack Holt. With William A. Connor's THE COCAINE FIENDS (1935) matters were of a different nature. The film explored the consequences of drug addiction, with a drug dealer meeting two siblings, and through him become hooked on drugs. More exploitation fare than a serious examination of drug addiction and its attendant issues, it nonetheless contained enough melodrama to hold the attention. Drug pushers are again highlighted in ASSASSIN OF YOUTH (1938), directed by Elmer Clifton. In this movie, a young woman becomes involved with drug dealers, a gang which a newspaper reporter attempts to break to help save the young woman from further harm. Unlike THE COCAINE FIENDS, there is more of a positive spin to ASSASSIN OF YOUTH, with less violence, and a more upbeat ending. Later films also looked at the drug dealer theme in varying ways.

An adventure-filled take on drug dealers was provided by Julien Duvivier's CAPTAIN BLACKJACK (1950). In the title role of the drug smuggling villain, George Sanders mixed devilish deeds, romance and action, alternately being pursued by a drug trafficker, and a police officer. With the action occurring in the Mediterranean, a point of difference was provided by its exotic locale. FINGER MAN (1955), directed by Harold D. Schuster, was concerned with revenge in its narrative. A man sought to identify the drug lord responsible for his sister's downfall, a theme also evident in later films such as HIT! (1973). In Otto Preminger's THE MAN WITH THE GOLDEN ARM (1955) former addict Frankie, played by Frank Sinatra, released from jail, battles to stay away from drugs, but finds himself pulled back into narcotics by various characters, including a drug dealer from his past. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, also featured a drug dealer who supplies a Korean War returning soldier with morphine, which causes mayhem in his marriage. In Irvin Kershner's STAKEOUT ON DOPE STREET (1958) intrigue and murder follow two teens who become involved in drug dealing, with an unscrupulous dealer on their trail. A more heart-stopping view of a drug dealer was served by CITY OF FEAR (1959), directed by Irving Lerner. A drug dealer escapes from jail, believing that he is carrying heroin in a canister, which is actually a radioactive substance. A complicated chain of events ensues, with the race to avoid the release of this substance on the public. The 1960s had equally varied depictions of drug dealers.

More in an exploitation vein was Joseph Mawra's OLGA'S GIRLS (1964). An odious woman deals in drugs and white slavery, and keeps young women on a string by feeding them drugs, but they learn to fight back. SOL MADRID (1968), directed by Brian G. Hutton, was similar in style to OLGA'S GIRLS. This time the drug dealer was a man, pursued by both an agent, and a prostitute, with a number of hairy incidents occurring. Much more open about drug dealing was Dennis Hopper's EASY RIDER (1969). A pair of bikers go cross country in their quest to find freedom, but things do not quite go as planned for them. Their involvement in both drug dealing, and drug use is captured by the movie, probably the most detailed in its depictions up until that time. Revenge was the main focus in THE WILD PUSYCAT (1969), directed by Dimis Dadiras. In this film, a woman unleashes her fury on the drug dealer who led her sister into narcotics, and subsequently suicide. Into the 1970s, further movies highlighted the drug dealer theme for audiences.

Jerry Schatzberg's THE PANIC IN NEEDLE PARK (1971) was an unsparing movie about addicts and drug dealers in New York City. Notable for its honest, close up presentation of the subject, and sympathy for its characters and their plights, it gave Al Pacino and Kitty Winn, as well as its supporting actors, substantial roles. More in an investigative light was CLAY PIGEON (1971), directed by Lane Slate and Tom Stern. This time around, a former addict is assigned by a Federal agent to break up a drug dealing racket which other Vietnam veterans such as himself have been involved. One of the best, and most famous films with drug dealing as its main topic was William Friedkin's THE FRENCH CONNECTION (1971). Two New York City police officers pursue a French drug lord, leading them on an odyssey which takes up the majority of the screen time in this suspenseful, action-packed movie that still packs a punch today. A more romantic take on the drug dealer theme was found in HONKY (1971), directed by William A. Graham. A young black woman, dealing in drugs, becomes involved with a young white man, in this tale of interracial love and narcotics. Ivan Passer's BORN TO WIN (1971) was akin to THE PANIC IN NEEDLE PARK, with a drug addict and dealer's life exposed for viewers to contemplate. What distinguished BORN TO WIN from other films on the drug dealer theme, particularly THE PANIC IN NEEDLE PARK, was in its black comedy aspect, something which provided the film some oomph between heated stretches. CISCO PIKE contained elements of many anti-drug movies, but also added some of its own original touches to the drug dealer genre.

In a small way, CISCO PIKE harks back to the anti-drug movies such as THE COCAINE FIENDS, later films such as THE MAN WITH THE GOLDEN ARM, A HATFUL OF RAIN, and THE PANIC IN NEEDLE PARK, in depicting the effect drugs has on the main protagonist, and associated characters. While CISCO PIKE is more concerned with the drug dealing segment than the effects of narcotics on its characters, it is still present in an affecting manner. The scene of an overdose in the movie is well-handled, with emotions running high as a result of this event. It leads to a number of consequences for the main character, particularly to do with his live-in relationship. The film, though, does not go as far as THE PANIC IN NEEDLE PARK. It does not present scene after scene of drug addicts and needles being inserted, or physical, and emotional aftereffects. CISCO PIKE has a less edifying view of the effect of drugs, in line with late 1960s, and early 1970s more relaxed depictions of drugs, such as in EASY RIDER. Other facets of the movie also deserve examination.

As in the vast majority of films, the drug dealer is shown as a real person in CISCO PIKE, and not a shadowy figure of mystery as in BEHIND THE MASK. Where CISCO PIKE diverts from these films is that the drug dealer is a policeman, which is a twist on the other movies where the dealer is from the underworld. In addition, it is implied that the policeman has become corrupt due to a lack of financial and prestigious standing as an officer, and has resorted to drug dealing to supplement a meagre income. This is in complete contrast to the other films where the drug dealer was a wanton individual whose only motivation was to lead others to destruction. In CISCO PIKE, frustration had led a police officer to a way of life that is contrary to his position as protector of society. Making character motivations clear in this film for the police drug dealer, and subsequently more of a three-dimensional, realistic figure, puts CISCO PIKE on a par in this respect with BORN TO WIN's somewhat sympathetic, but misguided, main character. For these reasons, CISCO PIKE stands out as a diverting take on the drug dealer theme.

Overview: Bill Norton directed four features in his film career, being more active in television helming telemovies and episodic television. His second film, MORE AMERICAN GRAFFITI (1979) was the sequel to 1973's AMERICAN GRAFFITI, picking up with many of the same characters several years after the first movie. Not as warmly remembered as the 1973 mega-hit, it still made money, though not in the same league as its seminal predecessor. His third film, BABY: SECRET OF THE LOST LEGEND (1985) was a family oriented adventure about a paleontologist and her husband's adventures, specifically involving dinosaurs in Africa. Mr Norton's final movie, THREE FOR THE ROAD (1987) was a comedy-drama of a liberal daughter and her conservative senator father clashing over their beliefs, and his attempt to have her committed to a mental health facility. CISCO PIKE was Bill Norton's directorial debut, and an interesting film for a number of reasons.

The director has succeeded in capturing the life of the protagonist over the course of the film, with a number of events happening to him, and his involvement with various characters who bring out different sides to him. CISCO PIKE has a documentary feel, akin to reality television, charting the life of a talented musician who becomes enmeshed in drug dealing through a crooked police officer. One gets a feel for his live-in life with his girlfriend, their relationship presented clearly to the audience in the space of just a few scenes. Cisco's musical career is also delineated well, with his gigs, stints in the recording studio, and interactions with the personnel of these charted in detail. The character's other relationships, such as with groupies and his best friend, are also examined in pithy scenes. CISCO PIKE, while providing a close up view of drug dealing and the consequences of drug use on its characters, does not as such glamorize this social issue, which is one of the film's best aspects. Where the film is lacking, though, is in certain details which would have made an average film much better.

The film admittedly has an agreeable freewheeling mood, but the casual treatment of many of its plot points leaves much to be desired. The central relationship between Cisco and Sue could have benefitted from much more showcasing in the movie. As it is, one can discern their chemistry, but how, and why they came together as a couple is not divulged. While their teaming does serve a purpose in the narrative, one does not feel for them greatly as a couple, apart from several important scenes. Some elements would have assisted in making their pairing more moving. If Sue found out about Cisco's two-timing ways this would have created more friction between them, but this is never explored. On the one hand, having too much going on can detract from a movie, making it top heavy. On the other hand, certain dramatic possibilities could have added richness to the proceedings that is lacking. Not having key scenes thus robs the characters of depth that would have made them even more realistic, and the actors of scenes they could portray to the hilt. Another lost opportunity is the character of Officer Leo Holland, one of the film's strongest points. 

Leo Holland is a mixed bag of emotions, a disaster waiting to happen who should have provided some dynamite moments, but his infrequent appearances blunt the dramatic potential in CISCO PIKE. Leo Holland is blackmailing Cisco, and some drama is wrung out of their scenes together, but not having more of Leo in the film makes it dramatically too placid. Having Leo threaten Cisco on a more regular basis, not only physically but also, verbally, would have added much-needed tension to the film. As it is, Leo Holland is just a character who drops by to make his presence felt, then disappears. Similarly, the movie could have made much more of Jesse Dupre, Cisco's best friend. Whenever the character is present the film contains touching segments, especially to do with Jesse's insecurities and Cisco's reaction to these. Limited scenes, though, means less of characters who could have provided the movie with further edges and scope. If the film tightened certain scenes, and gave greater coverage to the emotions of its characters, it would have been a much more compelling viewing experience. As it is, CISCO PIKE contains both very good and average elements, but, with some tweaking, could have been a much better final product.

Acting: The director has assembled a talented cast of actors for CISCO PIKE who help make it an entertaining experience. In the lead role of Cisco Pike, and in his acting debut, Kris Kristofferson does a great job as the musician with a penchant for attracting trouble. His warmth and unaffected nature lends much to the movie. As Cisco's girlfriend Sue, Karen Black provided authority and sparkle in the few scenes in which she appears, and is well matched with Kris Kristofferson. Viva, as Cisco's fling Merna, furnishes some of the comic moments in the film with her deadpan dialogue delivery, making her world-weary character lovable. 

Harry Dean Stanton, as Jesse Dupre, Cisco's best friend, supplies the film's most heartfelt performance. A man who lays bare all his anxieties in such a stirring manner, but cannot control his fatalistic urges, Mr Stanton shines in his small role. The final acting of note is by Gene Hackman as Leo Holland, the bent police officer hot on Cisco's trail. This is one of Mr Hackman's great performances, even though he is not on screen for a long period. Here he displays a delicate sensuality not evident in his other movies, and a sympathy that makes him difficult to dislike, despite the character's rough edges. Mr Hackman here has created one of the most well-rounded, fascinating villains ever shown on film.

Soundtrack: The movie has an easy-going soundtrack that is in keeping with its laid back, casual mood. Most notably, the piece 'Lovin' Her Was Easier' is played during the film's credits, in the opening few minutes, and 'The Pilgrim' at the movie's end. Both tunes provide a useful non-diegetic commentary on what is taking place on screen. Several other tunes performed by Kris Kristofferson are featured throughout the picture, especially during the concert sequences, and some incidental music is scattered through the film.

Mise-en-scene: CISCO PIKE offers a vivid background for its characters which says much about them in a low-key manner. Cisco and Sue's small house is slightly scruffy and disheveled, which speaks volumes of their seesawing relationship, and bohemian way of life. The places Cisco visits, such as the recording studio, the outdoor locations such as the car yard, and the sleazy bar, suggest different sides of the character and his activities. There is also a view of Los Angeles, with urban decay, graffiti on display, also adding a non-verbal view of the story world. Vilis Lapenieks' cinematography is naturalistic, emphasizing the unglamorous, tumultuous life of the film's protagonist.

Notable Acting Performances: Kris Kristofferson, Karen Black, Gene Hackman, Viva, Harry Dean Stanton.

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

Overall Grade: C

Link: IMDB Page

Trailer