DREAMER (1979)

Title: DREAMER

Year of Release: 1979

Director: Noel Nosseck

Genre: Drama, Sport, Romance

Synopsis: An ambitious young man dreams of becoming a ten-pin bowling champion.

Within a film history context: In film history there have been a number of films which feature a bowling alley as part of the story, but generally as a supporting thread, or where a major scene occurs in the narrative. Generally, these did not present a character who bowled professionally, rather for leisure. One of the first to showcase a bowling alley as an important part of the story was Howard Hawks' SCARFACE (1932). In this movie, there is a pivotal scene in the bowling alley in this classic crime picture. With comedy THE DARING YOUNG MAN (1942), directed by Frank Strayer, a professional bowler unknowingly becomes mixed up in intrigue and espionage. Jean Negulesco's ROAD HOUSE (1948), had a night club owner falling for a singer, with the film's key setting, a roadhouse, including a bowling alley inside. A much darker movie, Stuart Heisler's STORM WARNING (1951) had Ginger Rogers and Doris Day as sisters in this tale of racism, where Miss Day's character worked in a bowling alley, an integral set piece in the film. 

Film noir MAN IN THE VAULT (1956), directed by Andrew V. McLaglen, also had a bowling alley as a central setting in the narrative where a number of events take place. In a much lighter vein was Bob Rafelson's FIVE EASY PIECES (1970). The main character and his friends play ten-pin bowling in this strong examination of a talented, volatile man with definite edges. The well-regarded Canadian film GOIN' DOWN THE ROAD (1970), directed by Donald Shebib, had one of the two main characters work in a bowling alley in this movie of two friends, portraying their lives and dreams. Of a more frivolous nature was Larry Hagman's BEWARE! THE BLOB (1972). This science fiction horror picture had a major scene take place in a bowling alley, as was the case with previous films. Disaster comedy THE BIG BUS (1976), directed by James Frawley, also had a bowling alley within its narrative structure, this time, being a section of the bus, which was the movie's main milieu. DREAMER was a film in which ten-pin bowling, and an aspiring bowler, were its dominant subjects, and where much of its action takes place.

The film was entirely in comparison to other entries where the bowling alley was a small component of the overall movie. With examples such as SCARFACE, ROAD HOUSE, STORM WARNING, BEWARE! THE BLOB, THE BIG BUS, FIVE EASY PIECES, and GOIN' DOWN THE ROAD, important plot events took place in a bowling alley, but lesser in stature with the fourth and fifth examples. These two films highlighted the leisure component of bowling, and employment aspect respectively, which gave these a point of difference. Working in a bowling alley, though, was also a part of STORM WARNING and THE DARING YOUNG MAN. THE DARING YOUNG MAN, in particular, could be seen as being closest in its themes to DREAMER, although the former was a light-hearted take on the latter. 

DREAMER had many serious moments but was not too heavy-handed with its dramatic content. It lacked the spine-tingling suspense scenes in STORM WARNING, but DREAMER was not that type of movie. There was not a sense of danger, peril, or trumped-up melodrama present in DREAMER, being of a more realistic, down-to-earth orientation. DREAMER, instead, closely followed a young man dreaming of becoming a bowling champion, and both his professional, and romantic endeavours. The romantic facets were also in THE DARING YOUNG MAN, if in a more overtly comic manner. Dreamer's relationship with girlfriend Karen had some comical moments, but not of the superficial, slapstick kind. Difference of opinion on matters both drew them apart, but also, their mutual agreement on others brought them together. A sound film about ten-pin bowling and the people who inhabit this world, DREAMER is a sweet movie.

Overview: Noel Nosseck is an American director who has helmed five motion pictures, generally light fare with a concentration on action. Mr Nosseck has, though, been much more prolific on television, directing many telemovies, and series episodes. His first film, BEST FRIENDS (1975), followed two best friends and their amours, with one of the two men less than impressed on the other's impending marriage, and consequently trying to ruin his friend's happiness. His second effort, LAS VEGAS LADY (1975) was a crime movie with action aplenty. The difference in this film is that a woman plans to rob a casino with assistance from two other women, but matters may not be a clear-cut as they first envisioned. YOUNGBLOOD (1978) was about a young black man in Los Angeles involved in gang wars, and fighting against drug dealers, unknowing that his brother is the leader of this outfit. Noel Nosseck's final film, KING OF THE MOUNTAIN (1981), centered around several people who speed drive their cars on Mulholland Drive for fame and monetary gain. Noel Nosseck's fourth movie, DREAMER, was one of his most agreeable, if insubstantial pictures.

In the case of DREAMER, Noel Nosseck has made a likable, innocuous film. The movie is the softest centered of Mr Nosseck's output, his other works being stronger in tone, such as BEST FRIENDS, YOUNGBLOOD, and KING OF THE MOUNTAIN. There is the theme of competition between people for a goal which permeates his films in general, but in the case of DREAMER, it is of a man's struggles in achieving success, without open rivalry from second parties. Taking as its main focus a young man seeking to become a ten-pin bowling champion, it is an enjoyable movie experience. It ably follows the young man in question, Harold 'Dreamer' Nuttingham through his trials, travails, love difficulties, and eventual triumph as a bowling star. It is observant not only of its characters but also, the sport of ten-pin bowling itself. There is a sweetness about the movie which raises many a smile while viewing it, something not to be discounted. Its breezy nature and lack of heaviness is pleasing to witness, but as a film, does work against it somewhat.

To be fair, DREAMER does have a solid storyline, and does not make outrageous plot choices which are out of sync with its characters. Its feel of everyday life gives it a warmth which is becoming. In saying this, though, the movie is dramatically flat at times, when it should have been more forceful and vigorous. It does possess a trio of well-drawn characters, with Dreamer, his manager Harry, and Dreamer's girlfriend Karen, who are all three-dimensional, but the events which occur to them are not overly compelling. The exceptions are when Dreamer and Karen argue, and there is some conflict there. The film's most heated moment is when Karen confronts Harry, and his reaction, and subsequent fate. The aftermath of this, with Karen's emotions overflowing, and guilt coming to the fore, is the best segment in DREAMER. It works as a device to bring Dreamer and Karen back together, and gives credence to the movie's final scenes. If DREAMER only had a sharper pace, and more riveting scenes, it would have been more memorable as a film. A pleasant if too leisurely movie, DREAMER is notable as an entry about the world of ten-pin bowling from director Noel Nosseck. 

Acting: DREAMER has three excellent main performances which greatly assist in its watchability. In the lead role of Dreamer, Tim Matheson is wonderful. An actor who infuses life into his characters, making them real, and motivations clear to the viewer, Mr Matheson does a fantastic job as the ambitious bowling champion. As Karen, Dreamer's girlfriend, Susan Blakely shows why she is a most thoughtful actress. Miss Blakely always takes an in-depth approach to her characters, her Karen a young woman who knows what she wants, being a life with Dreamer but also, on her terms. Susan Blakely's Karen has a spunkiness and fire which are amiable but also, is psychologically complex. Karen's confrontation scene with Harry is the most compelling moment in the movie which has palpable repercussions for Karen, and Dreamer. The final acting of note in DREAMER is by Jack Warden. Jack Warden gives Harry, Dreamer's manager and father figure, his unique personality and irrepressible sense of fun. An actor who made his larger-than-life characters human and real, he gives his Harry not only this but also, a sense of tragedy which is relatable, his absence from the film in the final reels confronting.

Soundtrack: DREAMER has a spare soundtrack which is to its advantage. Bill Conti's jazz theme during the opening credits evokes a classic aura, reflecting the rich history of ten-pin bowling itself. The most notable tune played in the film is 'Reach For The Top', performed by Pablo Cruise. It is utilized at various points, mainly after the opening credits, and closing credits. The song provides a nice inspirational ambience, which is the central aim of the picture itself.

Mise-en-scene: DREAMER has a very good attention to detail in what appears onscreen for spectators. Cinematographer Bruce Surtees employs a naturalistic use of colour without it ever being too bright or pretty. This works well as the movie itself has a homely feeling, and is not glamorous in context. Outdoor locations are all well-selected, and pleasant to witness, such as Harry's home, and outside the bowling alley. Interiors such as the bowling alleys depicted in the movie, Harry's office, and the bar, to name several examples, all ooze authenticity, making it clear that thought and care has gone into these.

Notable Acting Performances: Tim Matheson, Susan Blakely, Jack Warden.

Suitability for young viewers: Parental discretion advised. Slight adult themes.

Overall Grade: C

Link: IMDB Page

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THE SPORTING CLUB (1971)

Title: THE SPORTING CLUB

Year of Release: 1971

Director: Larry Peerce

Genre: Comedy, Drama, Black Comedy

Synopsis: The chaotic, facetious goings-on of a Michigan shooting club, as seen through the eyes of one of its members, businessman James Quinn.

Within a film history context: Movies which have the activities of a sports club at their core have not been a common occurrence on cinema screens. One of the first documented was James Tinling's CHANGE OF HEART (1938). Charting the relationship between a married couple, the wife being a golf player, who lures her husband into the sport, it was a film which was filmed at an actual country club, giving it authenticity. PAT AND MIKE (1952), directed by George Cukor, afforded the audience some peeks at several sporting clubs in California, including golf, and tennis clubs, with several colorful characters among the comedy and romance. In total contrast, Ron Winston's BANNING (1967) was in a dramatic vein. A professional golf player assumes the job of instructor at a ritzy golf club, his financial problems forcing him into situations he never expected, with an eye on the ladies at the same time. THE SPORTING CLUB was the one film in the genre where viewers were shown a sporting club in detail, in its case, a shooting club.

While the other movies, particularly CHANGE OF HEART, and PAT AND MIKE, were casual with regards to the depictions of the inner workings of a sports club, with THE SPORTING CLUB, the personalities who inhabited this club were front, left and center. With the afore-mentioned movies, romance and comedy were the motivators of the narrative. In THE SPORTING CLUB, the irreverent, violent, eccentric, and anti-social behaviour, and tendencies, of club members were highlighted, the other movies conventional in comparison to the free-for-all of the shooting club members. BANNING had an increased concentration on country club comings and goings, similar in a small way to THE SPORTING CLUB, but BANNING's glossy presentation, and emphasis on romance, was nothing like THE SPORTING CLUB's farcical, over the top narrative. One of the most curious, strange movies about a sporting club ever made, THE SPORTING CLUB is mainly of interest due to its vast differences from the small number of films on the subject before its release in 1971.

Overview: Larry Peerce is an American director of fifteen motion pictures, an all-rounder who has tackled different types of movies with generally above-average results. Mr Peerce's first film, ONE POTATO, TWO POTATO (1964) was a realistic study of a woman who divorces her husband, and marries an African-American man, her former husband suing for custody of their child, motivated by racism. The next of Mr Peerce's important films was THE INCIDENT (1967). A tightly-directed, tense account of two thugs terrorizing passengers on a New York subway train, it offered its diverse cast excellent acting opportunities. More prominent was GOODBYE, COLUMBUS (1969). The tale of a young man who falls for an upper-class young woman, with all their difficulties and obstacles presented to humorous, yet maximum effect, it was one of the most popular films of the year. A SEPARATE PEACE (1972) was the introspective story of two roommates at a private boarding school in 1940s New Hampshire, starring John Heyl, and Parker Stevenson in the lead roles. 

Entirely different in tone was ASH WEDNESDAY (1973). A woman embarks on plastic surgery to save her rocky marriage, but her choice leads to more than a few surprises along the way. Next came THE OTHER SIDE OF THE MOUNTAIN (1975), one of Mr Peerce's most commercially-successful movies. A young skiing champion ends up paralyzed after a tragic accident, and finds her way back to another kind of normalcy for herself, and her family. Based upon the real-life story of skier Jill Kinmont, it was popular enough to lead to a sequel, THE OTHER SIDE OF THE MOUNTAIN (1978), also directed by Larry Peerce. Thoroughly contrasting, and violent in nature was TWO-MINUTE WARNING (1976). A crazed sniper causes mayhem at a football game, with much derring-do and heroics captured by the movie. At the end of the 1970s arrived THE BELL JAR (1979). Based upon Sylvia Plath's 1963 novel set in the 1950s, which focused upon a young woman's mental breakdown in New England, it was one of Larry Peerce's most artistic, serious movies.

Larry Peerce directed four movies in the 1980s, concentrating more on television after this era. WHY WOULD I LIE? (1980) was the character study of a self-deceiving, dishonest man who becomes a social worker. His involvement in the life of a young boy, though, leads to romance with the boy's mother. LOVE CHILD (1982) was based upon the real-life of Terry Jean Moore, a woman in trouble with the law who does time in jail. Falling pregnant to a prison guard, there is a struggle to keep the baby, in light of these extraordinary circumstances. Mr Peerce's penultimate movie was HARD TO HOLD (1984). A musical which was a vehicle for singer Rick Springfield, it was also a romance, with a pop star falling for a child psychologist, but finding opposition from his former flame. Larry Peerce's final film, WIRED (1989) delved again into real-life territory, this time the life of John Belushi, but with low box office returns, and mixed critical reaction. As Larry Peerce's fifth movie, THE SPORTING CLUB holds the distinction of being his most disappointing motion picture for a number of reasons.

When seeing Mr Peerce's films such as THE BELL JAR, THE INCIDENT, THE OTHER SIDE OF THE MOUNTAIN and its sequel, and GOODBYE, COLUMBUS, to name several examples, one is struck by their strong structure and presentation, and attention to narrative events and continuity. With THE SPORTING CLUB, unfortunately, this is not the case. The story of a shooting club, and its wayward members could have been much better than what transpired on screen, but what is presented is unsatisfactory. To be fair to the director and screenwriter, the source novel was one which would have remained better unfilmed, and something that could not be adapted in a proper manner. They may have tried to be as faithful to the book as possible, but this does not wash away the sentiment that the final result is a mishmash of details and execution. Many examples of this abound in THE SPORTING CLUB.

Scenes that seem promising at the outset go nowhere fast, plot points are introduced only to be discarded and rejected, without any regard for events moving from point a to point b. There is a feeling that all the running around by the characters may have been seen as amounting to comedy, but, it never gels. The sexual content, while slight, is also out of place, and not only absurd but also, tasteless. For example, the movie begins with a character in a compromising position, but one never finds out who she is, and why it occurred. The climactic orgy is similarly low on the appropriateness scale, emerging out of nowhere. For these reasons, THE SPORTING CLUB is an incredibly frustrating experience as a film to witness, as one of the only things it is adept at is not providing a satisfying, fluent time for the spectator. 

It is difficult to believe that a director such as Larry Peerce, and screenwriter Lorenzo Semple Jr., could have come up with such a hodgepodge of a film. It begs questions; maybe there was the view at the time that this might have been the next big thing, in light of its jitteriness and irreverence, but, it is a lamentable failure. Notable as one of the most convoluted films ever made, and not a high point on the filmographies of both its director and screenwriter, THE SPORTING CLUB is a movie which makes the viewer grateful for their other work, but also, shaking one's head at how such talented people could be involved in such a dire production in the first place.

Acting: THE SPORTING CLUB has several meaningful performances which are of note. In the lead role of mixed-up, sociopathic Vernur Stanton, Robert Fields contributes another striking acting portrayal to cinema. A dynamic actor who excels no matter the part or movie in which he appears, Mr Fields' Vernur is one of the film's strongest assets. As his friend James, Nicolas Coster does a good job, but the movie does not display his strength as a player. An actor who added zest to his work in film and, particularly, in soap opera Santa Barbara, here his intelligence has not been properly utilized. It does not wash that Vernur would push James around and get away with it, something which would not have occurred elsewhere. In contrast, William Roerick as Fortesque adds his inimitable persona to the movie. While his role is small, he makes an impact with his authority, and the charming way he trails off when delivering dialogue is always fun. The last acting of note was by Jack Warden as Earl, the sporting club gardener. As with Mr Roerick his appearance is too limited, but Mr Warden makes his presence felt in the dramatic, and especially, the comic sequences.

Soundtrack: THE SPORTING CLUB has a lean soundtrack with a minimum of music featured, but the tunes appropriately reflect what is taking place onscreen, in an ironic manner. The song 'For the Dear Old Flag I Die' is most notably showcased during the movie's opening credits sequence, after the explosion segment, and also, its closing credits. 'Great Balls of Fire' is played in the campfire scenes with Earl Olive and his entourage, an allegory for a number of outrageous sexual hijinks occurring alongside him.

Mise-en-scene: THE SPORTING CLUB has a very good grasp of mise-en-scene, with particular attention to the woodsy sporting club, which seems real, and the many outdoor segments set in the forest, and lakeside. The explosion of the sporting club is well-done, and effective as a set piece. For a film in such a frivolous vein, the colour is subdued, never garish, and easy on the eyes, a credit to cinematographer John Courtland.

Notable Acting Performances: Robert Fields, William Roerick, Jack Warden.

Suitability for young viewers: No. Male nudity, female nudity, adult themes, medium-level violence.

Overall Grade: E

Link: IMDB Page