Showing posts with label Jeff Bridges. Show all posts
Showing posts with label Jeff Bridges. Show all posts

Monday, November 1, 2021

LOLLY-MADONNA XXX (1973)

Title: LOLLY-MADONNA XXX (Alternate titles: THE LOLLY-MADONNA WAR, FIRE IN THE MEADOW)

Year of Release: 1973

Director: Richard C. Sarafian

Genre: Drama

Synopsis: A long-standing feud between two farming families, the Gutshalls and the Feathers, reaches a tragic head in rural Tennessee.

Within a film history context: Movies about family feuds have been featured on various occasions in cinema history. One of the first was Charles Brabin's THE ADOPTED SON (1917). Concentrating upon the feud between two Tennessee families, along with the romance and drama there were some unexpected surprises. Another documented film dealing with family feuds was ACROSS THE DEADLINE (1922), directed by Jack Conway. In this movie, two brothers are divided along moral lines, and their differences cause untold problems for their families. John G. Blystone and Buster Keaton's OUR HOSPITALITY (1923) was less serious in its execution, being a comedy. Set in the 1830s, a long-running family feud between two clans is reactivated when a man from one side falls for a young woman from the other family, not knowing her identity. A famous film of its time, and a box office success, it was a triumph for actor-director Buster Keaton. A possibly lost silent film, ACE OF ACTION (1926), directed by William Bertram, was about a feud between two families over a waterhole, and how an outsider becomes involved in this dispute, particularly with reference to his romance with a young female family member. Movies about family feuds continued into the sound era from the silent screen.

Alfred Hitchcock's THE SKIN GAME (1931) revolved around the feud between two families, one old money, the other new money, and how conflict over property bring these people nothing but unhappiness and dissension. Young love, and family feuds were the raison d'etre of THE GUILTY GENERATION (1931), directed by Rowland V. Lee. A feud between two Italian-American mobsters reaches a head when their offspring fall in love. Vengeance again played a role in Henry Hathaway's TO THE LAST MAN (1933). Two Kentucky families fight over a murder, and budding love between two members of the warring clans. A more humorous take on family feuds was served by IN OLD KENTUCKY (1935), directed by George Marshall. As with TO THE LAST MAN, the film featured two battling Kentucky families, but differed in that the feud was to be settled by a horse race between both clans. It was mainly notable as the final film of Will Rogers, and released after his death. Much more intense was George Cukor's ROMEO AND JULIET (1936). The oft-told story of two warring aristocratic families, and a romance between two members of these clans, featured Leslie Howard, and Norma Shearer, in the titular roles of the tragic lovers. Into the 1940s, more films employed the feuding family theme in various ways.

Programmer BEYOND THE PECOS (1945), directed by Lambert Hillyer, followed two clans coming to loggerheads over the discovery of oil on ranch land, coupled with two male members of each family seeking the love of a woman. Brian Desmond Hurst's HUNGRY HILL (1947) was of a similar persuasion, this time set in Ireland, with two Irish families battling over a copper mine. In contrast, THE GAL WHO TOOK THE WEST (1949), directed by Frederick De Cordova, set in the Wild West, concerned itself with a feud between two cousins from one family over a woman. This alternated from the many movies on the topic where conflict occurred between members of different families. On the other hand, Irving Reis and Nicholas Ray's ROSEANNA MCCOY (1949) dealt with the infamous Hatfield-McCoy feud, particularly focusing upon the romance of the eponymous character with Johnse Hatfield, which caused further discord between the families. The 1950s and beyond also had several notable movies about family feuds.

VENGEANCE ALLEY (1951), directed by Richard Thorpe, concentrated upon two men from the same Colorado family, one a biological son, the other adopted, and how they cross swords concerning their father's cattle empire. The feud of the Montagues and the Capulets was again brought to the screen in Renato Castellani's ROMEO AND JULIET (1954). The classic love story was shot in Technicolor in this incarnation, and starred Laurence Harvey, and Susan Shentall in the lead roles. As with previous entries such as ACE OF ACTION and HUNGRY HILL, THE BIG COUNTRY (1958), directed by William Wyler, dealt with two families sparring over land, and how a sailor becomes embroiled in this quarrel. Franco Zeffirelli's ROMEO AND JULIET (1968) was yet another telling of the story of two ill-fated lovers, and family feud, but a movie that captured the mood of the times, making its creators a healthy profit. In the 1968 version Romeo was played by Leonard Whiting, with Olivia Hussey as Juliet. A lighter touch could be found in ANGEL IN MY POCKET (1969), directed by Alan Rafkin. A new pastor in a small town church finds that its founders, being two families, have been feuding for years over anything to do with it, the pastor discovering a way to bring the opposing members to unite. LOLLY-MADONNA XXX contained elements of many of the previous films about family feuds, and took these in completely different directions.

As with the vast majority of films with a family feud at their core, the conflict in LOLLY-MADONNA XXX is between two opposing families, similar to THE ADOPTED SON, BEYOND THE PECOS, TO THE LAST MAN, THE BIG COUNTRY, and others with a rural setting. The wounds are deep for both sides, with much heavy emotional torment present for the characters. Generally the sore point is a battle over land, coupled with romantic entanglements between a member from each family, which in most cases boil over dramatically. Disagreements over land propels much of LOLLY-MADONNA XXX, which brings about death and despair to both sides. In terms of romance, where this film differs is that one of the marriages between two members of opposing families ended prematurely with an accidental death. The death of a daughter-in-law is something that weighed down upon a patriarch, and causes him to finally lose his mind, and kill his son. This attention to characters' complex internal psychological motivations takes the film far and away from the more simplistic situations of entries such as IN OLD KENTUCKY, with its cheerier setup, which does not as such delve deeply into why its characters do what they do. Other features of LOLLY-MADONNA XXX are also worthy of analysis.

Another distinguishing factor of many family feud movies is that the smallest of events can cause a meltdown between both families that brings thoughts, and acts of retaliation to the surface. This is what LOLLY-MADONNA XXX has in common with its predecessors, such as OUR HOSPITALITY. In the case of LOLLY-MADONNA XXX, a faux letter sent from the member of one family, to the other family is the impetus for action, and an innocent young woman, mistaken for the party who wrote the letter, is drawn into the fray. Outsiders brought into conflicts without their consent is something the film shares with ANGEL IN THEIR POCKET. In LOLLY-MADONNA XXX one is given access to Roonie Gill's view about the feud, and how she is essentially powerless to be able to do much to bring about a change in this family feud. The positioning of Roonie in the movie is akin to the viewer wishing to intervene in the feud, and bring about peace between both sides, but being unable to despite her/the viewer's best intentions. This is just one of the factors which makes LOLLY-MADONNA XXX such an incisive, powerful experience. A great addition to movies about family feuds, LOLLY-MADONNA XXX stands out for its vigorous, sincere presentation.

Overview: Richard C. Sarafian was an American director with fifteen films to his credit over a twenty-eight year period. He made a mixture of movies with a leaning toward action and adventure films, but with a thoughtful twist which gave them depth. His first motion picture, TERROR AT BLACK FALLS (1962) was a western about a Mexican gunman whose son was lynched for a crime not of his doing, the gunman subsequently jailed, but plotting revenge once free from jail. Mr Sarafian's next film, ANDY (1965) was the touching story of an intellectually challenged man, and the difficulties both he, and his parents experience in life. At the inception of the 1970s came FRAGMENT OF FEAR (1970). This suspense story of a man becoming enmeshed in the murder investigation of his aunt in Italy starred David Hemmings in the lead role, and Flora Robson as his aunt. One of Richard Sarafian's most-remembered works was VANISHING POINT (1971). The story of a drugged, shady ex-policeman who takes to the road in cars, hotly pursued by the police force, and encountering others along the way, it was an action-packed, profitable film whose reputation has grown considerably over the years. Mr Sarafian next tackled a western, MAN IN THE WILDERNESS (1971), which was about a fur-trapper in 1820s United States and his tenuous story of survival, and heartbreak. He followed this with another western, THE MAN WHO LOVED CAT DANCING (1973). A widower in the American West falls for a woman fleeing from her cruel husband, and the film charts their relationship, and the many obstacles they face in being together. 

SUNBURN (1979) was a comedy vehicle for Farrah Fawcett, about a private eye investigating the death of a man in Mexico, and enlisting the assistance of a woman in this mission, but things are not as they seem. THE BEAR (1984) was the biography of real-life football coach Paul Bryant, nicknamed 'Bear', who presided as coach of the University of Alabama's football team, with Gary Busey in the lead role. Completely different in tone was EYE OF THE TIGER (1986). Again starring Gary Busey in the main part, it was about a Vietnam War veteran, just released from jail, who discovers a motorcycle gang wreaking havoc in his town, and decides to do something about this, with violent results. Similarly action-oriented was Richard Sarafian's penultimate film, STREET JUSTICE (1987). A CIA agent, as with the protagonist of EYE OF THE TIGER, returns home to find things different, this time to ensure the safety of his wife from an unscrupulous, power-hungry family who dominate the town. Mr Sarafian's final movie, SOLAR CRISIS (1990) was a foray into science-fiction territory, with an astronaut seeking to avert a solar flare causing untold damage to the earth by planting a bomb on the sun, but encountering many difficulties. LOLLY-MADONNA XXX was Richard Sarafian's seventh motion picture, and one of his best movies.

Mr Sarafian has crafted a captivating, thought-provoking film with LOLLY-MADONNA XXX. The story of two feuding families in rural Tennessee has received potent, sympathetic treatment from its director. While, at first glance, the reason for the reignited feud between the Gutshall, and Feather families, being a faux letter sent from one family to the other, subsequently drawing a stranger into the fray, may seem far-fetched, the director, writers, and his cast make it work beautifully. Viewers are offered an intimate glimpse into the two core families, and one discovers what makes them tick, their idiosyncratic quirks, which make them all the more real. All the little details and events add up over the course of the movie, leading the spectator to feel for the outcome of its characters. Pacing is excellent, unrushed, but never sluggish. In this respect, scenes are fully-formed and satisfying, giving the viewer sufficient information without overkill. In addition to this, further facets of the movie are worthy of discussion.

LOLLY-MADONNA XXX is also pleasingly subtle in its other areas. Promotional material, such as the film's poster, may lead one to believe that LOLLY-MADONNA XXX is a bloodthirsty, 'shoot-em-up' type of story, with a heavy exploitation appeal, but the execution of the narrative is anything but amoral or vindictive. The violent content occurs in a naturalistic manner, informed by character passions and actions, without ever being over the top or gory. It is not the type of film whereby the deaths are treated in a cartoonish manner, and people dropping like flies in an inhumane way. Everything is always backed up by the story and its characters, and the death scenes themselves are not detailed or gratuitous. The camera does not linger in these moments too long, which is a credit to the movie as a whole. This one tendency lifts LOLLY-MADONNA XXX into a more artistic, nuanced realm of motion pictures. 

In a related manner, the mood of LOLLY-MADONNA XXX is somber and pensive, a quietly suspenseful atmosphere which works. There is the keen impression that the participants in the feud, being the two families, are uncomfortable with it, despite the appearance of drawing guns at a moment's notice. The photographs which are featured of both families at the beginning, and end of the movie give the impression that they were somewhat friendly at various stages, but events occurred which soured that relationship. This gives the film a bittersweet, tragic aura that makes its characters all the more intricate, and definitely not gun toting, violent hillbillies. A great film which deftly explores themes of family, loyalty, and honor, LOLLY-MADONNA XXX is a movie that shows off its director's abilities to excellent effect.

Acting: LOLLY-MADONNA XXX has an illustrious cast of veterans and younger actors who all perform admirably. The director has extracted performances from an ensemble who have been utilized excellently, with everyone showcased in a balanced manner. The movie is headlined by Rod Steiger as Laban, patriarch of the Feather family. In another great performance, Mr Steiger makes his Laban a character who is not a cardboard villain, but someone who believes that what he is doing is right. Mr Steiger, especially in his final scenes, makes the viewer feel sympathy toward him, despite a particularly nefarious act. As Laban's foe Pap Gutshall, Robert Ryan shows why he was one of the best-ever actors from Classic Hollywood. With his square jaw, intense gaze, and unflappable demeanor, Mr Ryan is utterly convincing as the determined Pap. As wife Elspeth, Tresa Hughes has many fine moments, especially the revealing scenes with Joan Goodfellow as daughter Sister E, where events are inferred, but powerfully presented. Kiel Martin supercharges passion as Ludie Gutshall, the trigger-happy eldest son in the family. An actor who brought excitement and danger to the movie, the handsome Mr Martin is a performer gone too soon before one could see further excellent interpretations. Jeff Bridges brings another memorable character to life as Zack Feather in the movie. With his distinctive voice and all-out sincerity, Mr Bridges makes his transition from pacifist, to protector of his family, with ease and credibility. As his love interest, Season Hubley makes an auspicious debut as Roonie Gill, the young woman caught in the crossfire between the two warring families. An attractive actress perfectly cast as the foil in the film, she does very well as the empathetic, sensitive Roonie. Six other actors also do marvelous work in LOLLY-MADONNA XXX.

Ed Lauter, as Hawk Feather, with his bald pate and flashing eyes, does wonders as the man with aspirations of being a rock star. A distinctive-looking actor, he is given many opportunities in both comic, and dramatic moments, and pulls all of these off with élan. As Sister E Gutshall, Joan Goodfellow, in her film debut, is another striking actress. An actress who struck gold as Billie in 1974's BUSTER AND BILLIE, here she is equally commanding, as the quiet young woman who seems to attract both attention, and trouble. With her cold-eyed stare and quiet disposition, which say more than any dialogue could, she is excellent in the first of her three screen roles. Scott Wilson, as Thrush Feather, shares some amazing scenes with Rod Steiger which propel the movie in its final stages. An actor with a friendly visage that makes him suitable for villainous roles, he is likewise admirable. As the youngest Feather son Finch, Randy Quaid is masterful. As with Joan Goodfellow, he is given a dearth of dialogue in the film, but his body language, and facial expressions say it all as the quiet, perceptive Finch. Another striking character portrait is by the reliable Gary Busey as Zeb Gutshall. With his trademark smile and singular easy-going ways, Mr Busey creates yet another affecting screen portrayal, making his exit in the movie shocking to witness. The final acting of note in LOLLY-MADONNA XXX was by Paul Koslo as Villum Gutshall. Specialising in playing characters on the edges of society, such as in WELCOME HOME SOLDIER BOYS, Mr Koslo is superlative even though he does not have as much screen time as other performers, his final scenes a tour-de-force.

Soundtrack: The musical theme of LOLLY-MADONNA XXX, composed by Fred Myrow, is a brilliant, moody, quiet piece that formidably complements what is taking place onscreen. Played at both the beginning, and end of the film, it perfectly sums up the contemplative, sad tone which LOLLY-MADONNA XXX expresses so well. Incidental music played at various intervals, such as the thoughtful scenes between Zach and Roonie, is always well-judged, never upstaging the visuals.

Mise-en-scene: LOLLY-MADONNA XXX has meticulous attention to detail in its mise-en-scene. Cinematography by Philip Lathrop is beautiful, with just the right amount of colour without becoming washed out. This is particularly effective in highlighting the landscapes, and homes of the film's core families, lending the movie a subtle touch which is in keeping with the somber tone throughout. Set decoration by James Payne is another striking feature of the film. The homes of the Gutshall, and Feather families are where the majority of the action occurs, and these exude a country atmosphere in their styling. The sets seem as if people lived there in actuality, which is a testament to My Payne's hard work. Aside from this, the use of black and white photographs of both families at the beginning, and conclusion of the movie, is a splendid move. It allows the audience to compare their perceptions of the characters, what has occurred in the film from start to finish, and what they have learned after watching LOLLY-MADONNA XXX unfold.

Notable Acting Performances: Rod Steiger, Robert Ryan, Tresa Hughes, Kiel Martin, Jeff Bridges, Season Hubley, Ed Lauter, Joan Goodfellow, Scott Wilson, Randy Quaid, Gary Busey, Paul Koslo.

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

Overall GradeA

LinkIMDB Page

Friday, February 19, 2021

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.

OverviewFrank 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

LinkIMDB Page

Movie Excerpt

Monday, January 4, 2021

THE LAST PICTURE SHOW (1971)


Title: THE LAST PICTURE SHOW

Year of Release: 1971

Director: Peter Bogdanovich

Genre: Drama

Synopsis: Life in the small Texas town of Anarene over the course of 1951-1952, culminating in the closure of the town's only cinema.

Within a film history context: Portraits of Americana, generally set in small towns, have been a staple of cinema for years since the silent era. In many instances these were nostalgic recollections of American life, but sometimes with more caustic narratives. One of the first major films in this vein was Henry King's TOL'ABLE DAVID (1921). The story of a young man from a farming family seeking to be taken seriously as an adult, and life's events assisting him to achieve his wish, was a showcase for silent screen star Richard Barthelmess, and a popular film of its time. It was later remade as a sound movie in 1930 with Richard Cromwell in the lead role of David Kinemon. Another important film was ALICE ADAMS (1923), directed by Rowland Lee, and starring Florence Vidor as the eponymous protagonist. The story of an ambitious young woman wanting to change her financial status, but coming against hurdles, it was later remade in a better known version with Katharine Hepburn in 1935. Another notable film was Irving Cummings' THE JOHNSTOWN FLOOD (1926). A drama concerned with a love triangle, and the imminent consequences of a flood on a town, it starred action player George O'Brien as the male lead, with Janet Gaynor as one of his romantic interests. The 1930s featured many interesting films on the Americana theme for audiences.

POLITICS (1931), directed by Charles Reisner, was a vehicle for Marie Dressler, where a woman, upset with the political corruption in her small town, decides to become a mayoral candidate. Supported by Polly Moran, Karen Morley, and many others, it was an entertaining movie showcase for the actress. Stephen Roberts' ONE SUNDAY AFTERNOON (1933) was more in a romantic style. A dentist looks back on his life, particularly his lost love, who married his best friend. With a trio of attractive players, Gary Cooper as the dentist, Fay Wray as the object of his desire, and Neil Hamilton as the best friend, it was a sentimental journey for the characters. OUR DAILY BREAD (1934), directed by King Vidor, was a drama about unemployed workers who seek work, making a farm successful after a severe drought. One of the liveliest of Americana films was Richard Boleslawski's THEODORA GOES WILD (1936). Starring Irene Dunne as Theodora, it marked a turning point for Miss Dunne in her portrayals. Usually dignified in action and speech, the film allowed Miss Dunne to act opposite to her usual behaviour, with some wacky antics effortlessly combined with more somber interludes. Several other films were notable in the 1930s for employing the Americana theme.

OF HUMAN HEARTS (1938), directed by Clarence Brown, was a drama that contrasted a father and son's lives. The father was a reverend, and the son studying to be a doctor, with Walter Huston, and James Stewart, respectively, in the lead roles. Norman Taurog's THE ADVENTURES OF TOM SAWYER (1938) was an adaptation of the classic story with Tommy Kelly in the lead role of the adventurous young boy, with support from May Robson as Aunt Polly, and Walter Brennan as Muff Potter. In a similar classical vein was YOUNG MR. LINCOLN (1939), directed by John Ford. The story of a young Abraham Lincoln gearing up for one of his best cases, it starred Henry Fonda in one of his most memorable roles. The 1940s had equally interesting meditations on the Americana theme.

Religion received a workout in ONE FOOT IN HEAVEN (1941), directed by Irving Rapper. The biography of Methodist minister William Spence was given a suitably sympathetic treatment by the director, with Fredric March in the lead, and Martha Scott as his wife Hope. Entirely different in tone was Michael Curtiz's YANKEE DOODLE DANDY (1942). The life of composer and actor, among many talents, of George M. Cohan, was vividly brought to life with the inimitable James Cagney lighting up the screen as Mr Cohan, and earned James Cagney a much-deserved Oscar for best lead actor. Darker in its execution was SHADOW OF A DOUBT (1943), directed by Alfred Hitchcock. Presenting the underside of the Americana theme, it followed a young girl who begins to suspect that her uncle is a psychopathic murderer. A tense film with excellent performances by Teresa Wright as the girl, and Joseph Cotten as her uncle, it was another great film from the director. Irving Rapper's THE ADVENTURES OF MARK TWAIN (1944) was a look into the life of the renowned American novelist, with Fredric March in the titular role. Fondly remembered by both critics and audiences was MEET ME IN ST. LOUIS (1945), directed by Vincente Minnelli. The story of a family at the beginning of the century, its warmth and dignity made it a favourite, and with an excellent cast headlined by Judy Garland, with Margaret O'Brien and Mary Astor in support, fine family fare. Several other films made in the 1940s also explored the Americana theme in an irresistible manner.

Otto Preminger's CENTENNIAL SUMMER (1946) was similar to MEET ME IN ST. LOUIS but in this instance, set in 1870s Philadelphia. It centered around a couple and their family, with the Centennial exposition a key backdrop to the many comic, and romantic incidents. As with MEET ME IN ST. LOUIS, it also gave Dorothy Gish, Constance Bennett, Linda Darnell, Jeanne Crain, and Cornel Wilde plenty of glowing moments. TILL THE END OF TIME (1946), directed by Edward Dmytryk, was a contemporary drama of World War II marines adjusting to civilian life, presented with candor for the time. A finely rendered, sensitive drama with Robert Mitchum and Guy Madison as the brawny former marines, and Dorothy McGuire and Jean Porter as their love interests. Henry King's MARGIE (1946) was a romance about a young woman who falls for her good-looking professor in the 1920s. With Jeanne Crain in the eponymous role, and Glenn Langan as her amour, it was another pleasant trip into nostalgia. One of the most cherished movies about returning soldiers was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. An intensive study of the soldiers and their families, and the affect of serving in the armed forces had on them, it had a wonderful cast consisting of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, and many others. A film that deserved its high box office returns, it was a singular viewing experience, and still carries weight more than seventy years after its first release. With the advent of television films about Americana were not as easily in evidence as they were in the 1930s and 1940s, but there were still quite a few memorable films made after the 1950s.

Abby Berlin and Norman Foster's FATHER IS A BACHELOR (1950), set in the late 1800s, mined comedy and romance territory with success. A young man arrives in a small town to discover five siblings in a cabin, and acts as their uncle in order for them to avoid being separated. He becomes friendly with the local school teacher, but to keep the children, there is a catch; he has to marry. In a much more dramatic vein was I WANT YOU (1951), directed by Mark Robson. An examination of the effect of military conscription on a town's characters, specifically regarding the Korean War, it was another taut film for Mr Robson, with an illustrious cast including Dana Andrews, Dorothy McGuire, Farley Granger, and Mildred Dunnock. Vincente Minnelli's THE LONG, LONG TRAILER (1954) was completely opposite in nature, a comedy about an engaged couple who have a difference of opinion - he wants to buy a house, while she wants a house, on wheels. This was a sprightly film for real life couple Lucille Ball and Dezi Arnaz, with scenic photography and many humorous moments. Rousing was the word for OKLAHOMA! (1956), directed by Fred Zinnemann. Based upon the Rodgers and Hammerstein stage musical, it was a joyous ride filled with action, colour, comedy and music, and the easy-going pairing of Shirley Jones and Gordon MacRae. As the years progressed several more movies employed the Americana theme in diverse ways.

George Stevens' GIANT (1956), based upon Edna Ferber's novel, was a film about a Texas cattle rancher, his wife, and, especially, the iconoclastic handyman, played with passion by James Dean. A great box office success filmed in beautiful colour, it earned Mr Stevens an Oscar for best direction, and plaudits for its many fine performances. At the end of the 1950s SOME CAME RUNNING (1958), directed by Vincente Minnelli, arrived on screens. A drama about a war veteran returning to his home town, and finding much action and intrigue with the locals, gave Frank Sinatra a meaty role, with Dean Martin and Shirley McLaine also coming off well. Into the 1960s came David Swift's POLLYANNA (1960). The tale of a young girl in a 1910s small town, it was previously filmed with Mary Pickford in the lead role in 1920, but this time around with Hayley Mills as the orphan Pollyanna. 1963 brought forth one of the best films with an Americana theme, HUD, directed by the reliable Martin Ritt. The adaptation of Larry McMurty's novel was an excellent showcase for actors Paul Newman, Melvyn Douglas, Patricia Neal, and Brandon de Wilde, in this strong tale of a Texas cattle rancher and his ne-er-do-well son, and their simmering conflict. THE LAST PICTURE SHOW was in keeping with multi-character narratives such as THE BEST YEARS OF OUR LIVES, where the audience can relate to a large number of characters, offering different viewpoints, but also, shared similarities to Americana films with smaller casts, such as HUD.

THE LAST PICTURE SHOW is an excellent example of a film with a large cast, and where all the characters receive equal treatment within the course of the movie. Even though some of the characters do not share as much screen time as others, a prime example being Genevieve, the film is made in such a manner that the viewer never feels cheated that one character appears more than another. The use of dialogue, settings, and body language make the characters' purposes clear and transparent, no matter how brief their time is on screen. This is one of many assets that the film possesses, being how to make the most of very little time in some cases to make the maximum impact. THE BEST YEARS OF OUR LIVES is most akin to THE LAST PICTURE SHOW in this respect, fluidly moving from one character, and one situation to the next with ease. THE LAST PICTURE SHOW is also similar to HUD in several ways. While both films have been adapted from novels written by Larry McMurtry, they share the same lusty good humour, and in-depth attention to details and characters that make them thoroughly three-dimensional figures. THE LAST PICTURE SHOW is also interesting for various other reasons.

The sexual content is another factor that distinguishes THE LAST PICTURE SHOW from its counterparts in the Americana category. The majority of the films before 1960 contained subtle sexual content, more in terms of implying sexuality instead of presenting it head on. There was a more romantic and family oriented slant at play in this era, but THEODORA GOES WILD was the one film that cleverly played with issues of morality, promiscuity, and women's personal rights in both a humorous, and thought-provoking manner. Ten years later, TILL THE END OF TIME had its male actors, particularly Guy Madison, in a state of undress, with a burgeoning sexuality apparent. With THE LAST PICTURE SHOW the seal had been pulled off the wrapper, with a level of sex and nudity not seen in any of the earlier films. Where the film does hark back to the more straight-laced narratives is that none of the illicit or adulterous liaisons lead to anything except despair and unhappiness. This is one of the features that gives the movie a memorable, somber, and realistic tone. Even though the film is secular in its presentation, with hardly no mention of religion in the diegetic world, there is an unspoken nod to morality in light of the characters' hedonistic excesses in many instances, and the consequences of their actions.

The evocation of small town life is something else that THE LAST PICTURE SHOW does differently than the other films Americana films. Where movies such as THEODORA GOES WILD, with its pleasant landscapes and interiors, and others such as MEET ME IN ST. LOUIS and CENTENNIAL SUMMER, had lavish and comfortable family homes, with overt and gossipy characters in the mix, THE LAST PICTURE SHOW works on a more subtle level with its mise-en-scene. The dusty, windy landscapes can be seen as a metaphor for the characters' restless natures, thereby reflecting their bleak and rootless state of mind. In addition, there are no characters prone to conjecture who analyse their fellow residents' lives; this type of information is instead conveyed from one character to another in a more naturalistic way. THE LAST PICTURE SHOW is lacking in stereotypical characters who act a certain predictable way, thereby setting it apart from other Americana movies. These are just some of the reasons why THE LAST PICTURE SHOW is one of the most insightful motion pictures ever made, and an excellent example of film Americana.

Overview: Peter Bogdanovich is a director with seventeen movies to his credit, making his debut in 1968, with a film currently in pre-production. His motion pictures cover a wide range of territory, from nostalgic recollections of Americana, many times with filmic themes, dramas, comedies, romantic comedies, to more escapist fare. His first film, TARGETS (1968) was a drama about a horror movie actor at a drive-in cinema making contact with a psychotic Vietnam veteran on a killing spree. It was an auspicious first film for Mr Bogdanovich, with moments of sheer terror and violence blended with suspense. Next came the science fiction VOYAGE TO THE PLANET OF PREHISTORIC WOMEN (1968) which was largely devoted to female objectification. The 1970s was a decade of artistic expansion for Mr Bogdanovich, with many memorable films directed by him in this era.

WHAT'S UP DOC? (1972) was a high grossing comedy about a farcical situation; four overnight bags cause havoc when they are mixed up, leading to many wacky set pieces. Notable for the teaming of Ryan O'Neal and Barbra Streisand, and as a homage to the comedies of the 1930s, it was very popular with audiences. PAPER MOON (1973) was another film that made money, this time, charting the relationship between a man and a young girl during the Depression. Notable as the first time Mr Bogdanovich directed real-life father and daughter Ryan O'Neal and Tatum O'Neal, it was a pleasant production with nice period touches. The director's 1970s movies after PAPER MOON were less successful at the box office, but still interesting films.

DAISY MILLER (1974) was a period drama about the eponymous title character who charms and mystifies her admirer Frederick Winterbourne. Another of Mr Bogdanovich's pieces set in another age, it starred Cybill Shepherd in the lead role, with Cloris Leachman, Eileen Brennan, and Mildred Natwick in support. A different take on the 1930s musicals, and lushly produced, AT LONG LAST LOVE (1975) was, unfortunately, a critically derided film that again featured Cybill Shepherd, with Burt Reynolds and Madeline Kahn. NICKELODOEN (1976) marked one of the last of Mr Bogdanovich's films with a period background, this time a story of two men, Ryan O'Neal and Burt Reynolds, who become involved in the silent film business. The director's final film of the 1970s, SAINT JACK (1979) was a drama about a shady man who seeks to establish a bordello, with the Vietnam War offering an opportunity to do this. One of Mr Bogdanovich's more adult films in orientation, it neverthless lost money at the box office. The 1980s and beyond allowed the director to exercise his creative muscles in varied productions.

THEY ALL LAUGHED (1981) was a change of pace for Mr Bogdanovich, a comedy about intrigue surrounding a team of private investigators. MASK (1985) was a financially successful drama about a young man with a facial deformity, and his determined mother who does her best to make a life for him. Starring Cher as the mother, and Eric Stoltz as her son, it struck a chord with audiences, and was a fine return to form for the director. ILLEGALLY YOURS (1988) was a comedy about a young man summoned for jury service, but trying his very best to prove his true love innocent, and becoming involved in a complicated chain of events. TEXASVILLE (1990) was the sequel to THE LAST PICTURE SHOW, reuniting many of the characters from the first film, and introducing new ones to the audience. 

Next came NOISES OFF (1992) a comedy about a theatrical group and their zany, haphazard antics. Featuring an illustrious cast including Carol Burnett, Michael Caine and many others, it was a return to comedy for the director. Comedy, though in a less overt form, came in THE THING CALLED LOVE (1993). With a young cast including River Phoenix, Samantha Mathis, Dermot Mulroney and Sandra Bullock, it was an entertaining story about the lives and loves of several aspirants to the country music scene. THE CAT'S MEOW (2001) was a return to period pieces, this time charting the mysterious death of producer Thomas Ince aboard William Randolph Hearst's yacht in 1924. Mr Bogdanovich's final film to date is 2011's SHE'S FUNNY THAT WAY, a comedy about the goings-on surrounding a playwright, his wife, and several others that develops into a love triangle of sorts. His third motion picture, THE LAST PICTURE SHOW, is widely regarded as Peter Bogdanovich's best film, and rightfully so.

The adaptation of Larry McMurtry's novel has been given a vigorous, polished treatment by Mr Bogdanovich, retaining the best qualities of the book, and emphasizing these to great effect in the film version. He has made each and every character, scene, and story element thoroughly memorable, largely doing away with character traits from the novel which would have hampered the film on screen. Examples such as making Sonny a more sympathetic, less promiscuous protagonist than the book offered, and also, giving Duane a more fully-rounded treatment, work exceedingly well in the screen version of THE LAST PICTURE SHOW. While the film has a concentration of sexual content, it is depicted in a downcast manner, differing from the novel somewhat. The novel contained aimless sexuality that did nothing for the characters concerned; the film version toned this down, giving the film both a realistic, and tragic feel in retrospect. Sex is a means to an end that only provides the characters with angst, something they are attempting to escape through it, but it reaps them no discernible benefit. Other features of THE LAST PICTURE SHOW stand out in comparison to Mr Bogdanovich's other movies.

THE LAST PICTURE SHOW also showcases the director's ease with films set in a past age, something also demonstrated in PAPER MOON, DAISY MILLER, THE CAT'S MEOW, NICKELODOEN, and AT LONG LAST LOVE. THE LAST PICTURE SHOW, though, is just so convincing visually in every way that it is easy to become caught up in it, and believe that it may have been a documentary from 1951 Texas. The sense of honesty, sympathy for its milieu and characters, just shine on the screen with such veracity that make it a convincing, emotionally rewarding viewing experience. It is akin to PAPER MOON not only because both films were shot in black and white, but the character relationships are delineated in an equally vibrant manner. The difference is that in THE LAST PICTURE SHOW this is compounded through its multi-character narrative, and one receives a larger number of fascinating viewpoints. One of the best films ever made, and a credit to the director and his team from the movie, THE LAST PICTURE SHOW is a wonderful, thoughtful cinematic experience.

Acting: THE LAST PICTURE SHOW is one movie where the performances are all excellent, befitting the film's reputation as a classic. In the lead role of Sonny Crawford, Timothy Bottoms excels as the quiet yet strong, pensive young man with more scruples than most. A character of a more cerebral nature in the movie, Mr Bottoms does a splendid job, his work giving the film a meditative tone. Jeff Bridges is equally fine as the brash Duane Jackson, Sonny's best friend and polar opposite. The film employs his unabashed charm to advantage, but adding a darker side which Mr Bridges accomplishes well, giving his Duane great depth. Cybill Shepherd is also striking as Jacy Farrow, the object and both Sonny and Duane, and others' desires. What could have been a shallow ingenue is brought to life by Miss Shepherd, giving her both a dramatic edge, but also, a comic side that provides the character with a nerviness that works. Ellen Burstyn is showcased in the film in one of her best parts as Lois Farrow, the restless mother of Jacy. It was a revealing role as Miss Burstyn showed her character as the vulnerable, wistful woman she really was, that played with the initial displays of toughness and bravado. Cloris Leachman is wonderful as Ruth Popper, a woman of many emotional layers. Ruth's climactic scene with Sonny covers a wide spectrum of feelings, from anger, sympathy, understanding, to remorse, and is her shining hour in the film. Several other performances are worthy of analysis here, as they also contribute much to the film.

Ben Johnson's Sam the Lion is another well-drawn, authentic depiction of a man who has seen a lot in his life, and will not tolerate certain things any more. Mr Johnson's Sam is alternately tough, persistent, forgiving and patient, his hard stare filled with meaning. Eileen Brennan is utterly excellent as the world-weary Genevieve, who, apart from Sam the Lion, is one of the only people in town whose head is attached properly, but with a heart of gold. Just listening to Genevieve's dialgoue is a delight, so purely realistic but also, genuinely touching. As Abilene, Clu Galager cut a figure of inviting danger in the film. As with all the performers in the movie his face many times does all the talking without an abundance of dialogue. An actor for whom this greatly applies is Sam Bottoms, as Billy, Sam's ward. Without uttering a word Mr Bottoms makes one feel for Billy, especially during the scenes after his cruel encounter with a prostitute. The final acting of note in THE LAST PICTURE SHOW was by Gary Brockette as the tempting, intriguing Bobby Sheen. Mr Brockette mainly lets his eyes, smile, and soothing voice do all the talking as the attractive Bobby, someone adept at both winning, and breaking hearts in equal measure.

Soundtrack: THE LAST PICTURE SHOW is a film which has a substantial amount of diegetic music from the 1950s which enhances the movie as a whole. It is used to comment on the action taking place in a natural way, obviating the need for background musical accompaniment. Scenes such as Sonny in the car, listening to the radio, the music in the pool hall, the soft, romantic melodies playing in Jacy's bedroom, all provide valuable information about the characters in a subtle, pleasant, easy-going manner. More ironic uses of music are especially evident at the start of the pool party sequence, the record player blaring as Jacy and Lester enter. As with other 1970s movies, there is the playing of a tune at both the beginning, and end of the film. In this case it is Hank Williams' 'Why Don't You Love Me Like You Used To Do'. While at the film's start it is part of the diegesis, playing on his car radio, at the end it is played over the final credits in a non-diegetic manner. There is a contrast inherent between its use at these parts, showing the audience what they have learned from the film, and how expectations may have changed from initial viewings of the movie, to what they gleaned from it when it ended.

Mise-en-scene: The film begins with a black screen containing a font with the film's title in white, and the final credits are of the actors with the actors followed by black screens with the names of personnel working on the movie. This spare approach works as the film both begins, and ends in a parallel fashion, without glossiness. This is indicative of the movie as a whole, with cinematographer Robert Surtees capturing the town, and its locations, without making them glamorous, but instead highlighting their stark, harsh, and sometimes unforgiving flatness.

Notable Acting Performances: Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ellen Burstyn, Cloris Leachman, Ben Johnson, Eileen Brennan, Clu Galager, Sam Bottoms, Gary Brockette.

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

Overall Grade: A

Link: IMDB Page

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