CAPTAIN MILKSHAKE (1970)

Title: CAPTAIN MILKSHAKE

Year of Release: 1970

Director: Richard Crawford

Genre: Drama, War

Synopsis: A young Marine on leave from the Vietnam War falls for a young woman, and is caught up in a number of antiwar, and counterculture events at this time.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s, which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967), was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with psychological problems played out in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

A most infamous depiction of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Burt Topper's THE HARD RIDE (1971), featured bikers similar to others in the genre, but this time around, the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions between them spill over. On the other hand, Gunther Collins' JUD (1971), was an independent film which followed a Vietnam veteran, and charted his return to society in a most thoughtful manner. Different in scope and character, SKYJACKED (1972), directed by John Guillermin, showcased a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, CAPTAIN MILKSHAKE again surveyed a Vietnam veteran, but diverted in many ways from previous entries.

In surveying the other movies in the genre, it is refreshing that CAPTAIN MILKSHAKE has a Vietnam veteran who is basically well-adjusted psychologically. This was evident also in THE BORN LOSERS, with its mentally-sound lead character, and in JUD, where he managed to maintain a sense of himself, despite being in some stressful situations. Many of the other movies capitalized on the respective veteran's mental instability, such as in MOTORPSYCHO!, ODDO, THE RAVAGER, and WELCOME HOME SOLDIER BOYS. This was mainly employed for visual purposes, whereby violent passages occur with a veteran losing his grip on reality, and turning against those who he feels have wronged him, with innocent people in the firing line in some instances. This was particularly evident in WELCOME HOME SOLDIER BOYS, but the difference with the former films is that it had a well-developed storyline which explored why the veterans wreaked havoc on a small town and its inhabitants. None of this appears in CAPTAIN MILKSHAKE, which gives it a point of difference from the other slam-bang movies.

In CAPTAIN MILKSHAKE, Paul silently ponders his life while having flashbacks of his tour of duty in Vietnam. Viewers are given first-hand knowledge of Paul's thought processes, instead of him exploding for inexplicable reasons, which does stifle the realism of MOTORPSYCHO!, ODDO, and THE RAVAGER. Paul actually enunciates his experiences in Vietnam to other people, setting up a debate on the issue in which the audience can participate. In addition, CAPTAIN MILKSHAKE is also notable for its anti-war sequences featured throughout the movie. This is something that the other movies did not contain as they were straight narratives in comparison to CAPTAIN MILKSHAKE. The segments are slanted toward peace, and anti-Vietnam war sentiments, but, nevertheless, are important as a movie which takes a strong position on war and its aftermath. The scene with the mother of a Vietnam soldier who died in conflict is one of the best scenes in the film, moving in its execution. One of the best of the pictures about Vietnam war veterans, CAPTAIN MILKSHAKE is a candid movie.

Overview: Richard Crawford is an American director with only CAPTAIN MILKSHAKE to his credit. In addition to helming the movie, he also was responsible for the writing, and producing capacities. As he only made a single movie in his career, naturally the overview will concentrate on Mr Crawford's contribution to CAPTAIN MILKSHAKE.

With CAPTAIN MILKSHAKE, Richard Crawford has crafted a thought-provoking and daring motion picture. Taking as its subject a Vietnam veteran who has returned to his hometown on leave, and the many challenges he faces, it is both entertaining but also, an emotional movie experience. Mr Crawford has successfully juxtaposed a number of elements in his film, with the exploration of the lead character and his psychological makeup, late 1960s/early 1970s counterculture, romance, and anti-war sentiments. In general, these mesh well during the course of the movie, and keep things fresh and always evolving. The film is at its height particularly when examining the leisurely romance between carefree, hippy Melissa, and pensive returning veteran Paul, their family interactions, and the various anti-war set pieces the picture features. Story events unfold in a manner which is pleasing to witness, in keeping with the film's measured tone. There are, though, a number of aspects which unfortunately do go against the movie's grain as a whole.

While CAPTAIN MILKSHAKE is observant as a movie in terms of its milieu and characters, it does feel sometimes that it is too keen-eyed in certain instances. These do take up time which could have been better served in more emotional set pieces, a strength of the movie. Several examples come to mind. Paul and his friend visiting the bar with the topless waitress does nothing to further the story, only providing the film with a cheesy, exploitative feel. The scene where Melissa skinny dips in the pool with her friends, likewise where she and Paul do the same in the ocean, are needless, and only offer superficial titillation, but nothing more. Sequences where drugs are featured also seem to drag the film's pace. It could be said that these were representative of the picture's time period, but in retrospect, feel dated. CAPTAIN MILKSHAKE would have done well by looking at Melissa's relationship with her mother, and Paul's with his mother. This would have given them even more background, and a useful back story. In spite of these weaknesses, some things can be said about CAPTAIN MILKSHAKE. It is a sincere movie which convinces viewers of its anti-war stance with style, and in an edifying manner.

Acting: There are six performances in CAPTAIN MILKSHAKE which deserve praise. In the lead role of Marine Paul Fredericks, on leave from Vietnam, Geoff Gage is excellent. With his clean-cut looks and thoughtful manner, Mr Gage leaves one to ponder the absence of a talented actor to cinema. Paul's ladylove, the restless but sensitive Melissa, is played with jazzy appeal by Andrea Cagan. Her subtle anti-establishment leaning, and dislike for niceties, makes Melissa a nice match for Paul. As Paul's mother Mrs Fredericks, Belle Greer is another understated acting interpretation. Her comforting ways, and lack of pretension, steer her to the role of best mother in the movie. Three other actors contribute great work in CAPTAIN MILKSHAKE.

As Thesp, one of Melissa and Paul's friends, and a major instigator of the anti-war movement, David Korn offers yet another distinctive portrayal to CAPTAIN MILKSHAKE. Mr Korn's unique presence lends a visual counterpart to Paul and the other male characters, as a warrior in the picture. Melissa's upwardly mobile mother, Mrs Hamilton, is a small but telling role for Darlene Conley. Her singular presence is rewarding to witness, as it assists in explaining Melissa's reticence for refinement, and is entertaining in and of itself. The final acting of note was by Joanne Moore Jordan as Mrs Randolph, a woman in the anti-war peace rally who has lost her son in Vietnam. Miss Jordan makes clear her stance for the audience, appearing to become emotional at any time, but keeping her composure, ensuring that Mrs Randolph is one of the most telling characters in CAPTAIN MILKSHAKE.

Soundtrack: Despite being a picture of the early 1970s, CAPTAIN MILKSHAKE is pleasingly light-handed in its approach to its soundtrack. The movie could have been weighed down by a frenetic soundtrack, but thankfully is not of this orientation. There are a number of songs played at various moments in the narrative, with some diegetic uses of these. The most prominent is 'Untitled Protest', performed by Country Joe and the Fish. With its clear but no-nonsense take on the topic of war, it is a perfect summing up of the futility of war, adding a foreboding atmosphere to the film's end.

Mise-en-scene: Visually, CAPTAIN MILKSHAKE has much to recommend it. Cinematography by Robert Sherry is beautiful, particularly the beach scenes which the picture utilizes throughout its running time. The contrast between black and white, and colour photography also works well, and provides the film with a stimulating bridge between different scenes. The visual effects by Reggie Hager, Joe Purcell, and Harry Woolman, especially at the movie's conclusion, are also effective, lending it a pathos, and starkness, which haunts the senses.

Notable Acting Performances: Geoff Gage, Andrea Cagan, Belle Greer, David Korn, Darlene Conley, Joanne Moore Jordan.

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

Overall Grade: B

Link: IMDB Page

Trailer

I DISMEMBER MAMA (1972)

Title: I DISMEMBER MAMA (Alternate title POOR ALBERT AND LITTLE ANNIE)

Year of Release: 1972

Director: Paul Leder

Genre: Horror, Crime

Synopsis: A mentally unbalanced young man escapes from a mental health facility, intent on committing matricide, and begins a killing spree.

Within a film history context: Psychotic characters have been part and parcel of cinema for a very long time. One of the first films to present a serial killer was Robert Wiene's THE CABINET OF DR CALIGARI (1921). A German film of the silent era, it had an evil hypnotist using another man to murder people. The sound age also brought with it further depictions of sadistic and psychotic characters. Victor Halperin's 1933 SUPERNATURAL, starring Carole Lombard, featured her as a reincarnated murderess seeking revenge on a man who did her wrong. From the 1940s, THE STRANGE CASE OF DR RX (1942), directed by William Nigh, was a mystery of serial mobster murders, and how a criminal defense lawyer brought the culprit to justice. More blatant in its themes was Edgar G. Ulmer's BLACKBEARD (1946) where a Parisian artist kills his models after painting their portraits. Director Douglas Sirk's LURED (1947) was another mystery where police hunt a serial killer who finds his victims via newspaper personals. 

The 1950s was also a decade where the serial killer theme received another workout, many times in exploitation films. The films became increasingly violent in context, but not explicitly onscreen, in keeping with post-war pessimism in cinema. 1952's WITHOUT WARNING, an Arnold Laven production, centred around a man killing women resembling his wife with garden shears. More subtle was Edward Dmytryk's SNIPER (1952), with police trying to find the killer of young women. More overt in its sinister themes was VIOLATED (1953), directed by Walter Strate. A dark exploitation film, it had a man who scalped his hapless victims. JACK THE RIPPER (1959), a film co-directed by Robert S. Baker and Monty Berman, was another film retelling of this real life incident, with an American assisting in the case. The early 1960s produced what are now some of the most well-known, and influential, serial killer/psychopath feature films.

Alfred Hitchcock's PYSCHO (1960) was a seminal film that featured a psychopathic protagonist who dealt variously in murder and mayhem. The same year, Michael Powell's PEEPING TOM was unleashed to audiences. The story of a man who photographs the reactions of women as they realize their impending deaths, it was seen as tasteless upon first release, but has gained a cult reputation with the years. FOG FOR A KILLER (1962), directed by Montgomery Tully, was about a man believed to kill young blonde women. Frank Tashlin's THE ALPHABET MURDERS (1965) presented Tony Randall as Hercule Poirot, hunting for a killer choosing his victims by their initials. Later in the decade, Herschell Gordon Lewis' THE GRUESOME TWOSOME (1967) was about a man who scalped women for his family's wig store, similar to VIOLATED. As evidenced by the above synopses, films began to showcase increasingly bizarre, and violent examinations of psychotic characters, the loosening of censorship facilitating this. 

Stuart E. McGowan's THE ICE HOUSE (1970) revolved around a man who murders women and stores them in the ice house, and commits more heinous crimes. 10 RILLINGTON PLACE (1971), directed by Richard Fleischer, with Richard Attenborough in an excellent performance as real-life serial killer John Christie. Mario Bava's A BAY OF BLOOD (1971) was a bloodthirsty film about the death of a countess, and how it led to murders. In turn, Roger Vadim's PRETTY MAIDS ALL IN A ROW (1971) was another film of young women being dispatched, and all attending a Californian high school. These are just several examples of what audiences were seeing in cinemas at the time, with many studio, and exploitation features being produced. I DISMEMBER MAMA was both similar to the content of these films but also, diverged from them in several ways.

The first similarity is that the lead character of I DISMEMBER MAMA was a psychotic character who craved sadistic and inhumane methods of treating his victims. Albert Robertson has much in common with Norman Bates from PSYCHO in terms of having a mother complex, and PEEPING TOM with how his victims die. There is also the woman-hating theme that pervades pretty much all the films in the genre, but in I DISMEMBER MAMA it stems from an intense dislike of a mother figure that colours the character's perception of women. While this is explicitly stated in the film, it is never explained as to why this is so, but it appears that this has also skewed Albert's views of women's sexuality. Underneath this is a closeted fear of women, and a concurrent view of female sexuality as dangerous. I DISMEMBER MAMA, though, diverts from other films in certain important ways.

While the film has several hair-raising moments, particularly with regards to the killing scenes, it is much more restrained than films of its era in terms of depicting these events. The film is more a psychological exploration of a diseased mind, and its effect on other people, than an all-out slasher movie. The director has carefully mapped a series of narrative events with an emphasis on the acting, rather than the overt spectacle of gore. While the film does contain a minute amount of gore, the action, by and large, cuts away from the actual incidents, preferring to show the aftermath of the act rather than when it was taking place. In comparison to other films of the genre, there is also a low body count, which is attributable to the director's tight focus that eliminates unnecessary characters, and action, from the movie. It utilizes its small cast to maximum advantage, with one main exception. The mother figure is fleetingly shown which is disappointing, but possibly to keep the focus more on Albert, and the other characters. Nevertheless, all of these qualities raise I DISMEMBER MAMA several notches above in stature from other exploitation films, to being more of an actors' piece.

Overview: Paul Leder was known predominately for his quirky exploitation movies, many times revolving around psychopaths, and their murderous intent over his twenty-five year directorial career. His first feature film, MARIGOLD MAN (1970) was a comedy about two roommates who yearn to plant a huge garden of marigold flowers. Other offbeat films were APE (1976) about a ghorilla who kidnaps an actress, and the mayhem that ensues. RED LIGHT IN THE WHITE HOUSE (1977) was a drama about a reporter investigating someone running for the Senate, and finding much fodder in the process. Murder was on the menu in SKETCHES OF A STRANGLER (1978) with a man strangling women, with one of his victims seeking him out for revenge. Mr Leder's final film, THE KILLERS WITHIN (1995), was a mystery about a man delving into the details of his brother's death, and finding more than he bargained for. I DISMEMBER MAMA, released in 1972, was Mr Leder's second film, and one of his most well-known efforts.

The movie is a horror drama of a disturbed young man who escapes from a mental health facility, intent on killing his mother, but kills other women in his path, with the exception of a young girl, daughter of his mother's housekeeper. Mr Leder had directed a tightly made, well-cast movie, produced on a small budget, but containing much suspense. Unlike other movies in the genre, he has made a movie that is spare on the gore, preferring instead to focus upon the psychological whims of its main character, and those with whom he comes into contact. It is an appropriately lit, moody film, that could be characterized as being misogynistic in nature, but, there is, in fact, one male victim in the film. These qualities, though, are not to say that the film is without its flaws.

While the film is technically well-made, otherwise, it has certain lapses which do hinder its impact. Its title, first of all, misrepresents the film to a great degree. I DISMEMBER MAMA gives the impression that this is an explicit slasher movie, but, this could not be further from the truth. The film is in fact more of a psychological thriller than a full-on serial killer movie, the acting more paramount than overt spectacles of killing or maiming. The original title, POOR ALBERT AND LITTLE ANNIE would have been more appropriate under the circumstances, or something to the effect of ALBERT ROBERTSON, PSYCHOPATH may have worked better. Apart from this, the story also has some omissions which deserve discussion.

While the main character, Albert Robertson, has an intense hatred of his mother, it is not explained as to why he feels this way. The film poses several questions that it does not answer in an adequate manner. Is this because Mrs Robertson is delusional, not taking him and his issues seriously? Was there another reason for disliking her so much? The film is hampered in this respect as the two actors do not even share a scene together, and there is no fallout on the mother's side with what happens to Albert. This raises another issue in the movie - why was Mrs Robertson made to largely seem catatonic throughout the film? This does not take advantage of drama that could have played out to a great degree by making her more active and cognizant. Having the doctor not inform her of Albert's actions takes the edge slightly away from the film, but possibly this occurred to have the remainder of the movie play out as it did. 

Another matter is that Albert's father is never mentioned in the film, and this leads to hypotheses - did he hate Albert's mother as much as he does, and carried this over to his son? Were Albert's actions the direct effect of not having a male father figure in the movie? I DISMEMBER MAMA also makes other convenient choices that work to further the plot, but, could have been tested somewhat. Why was Albert in a low-security facility? The police ushered Mrs Robertson out of the mansion, but why not Alice and Annie? Both of these scenarios made the medical profession, and the police, seem foolish. Despite these plot inconsistencies, the film does follow a linear fashion, keeping true to the main character and his actions. While I DISMEMBER MAMA is not a perfect movie, it is one of the best-acted, tightly made films in the genre to ever appear onscreen.

Acting: The performances of the players in I DISMEMBER MAMA give the film an edge over other films in the horror genre. As the movie's protagonist Albert Robertson, David Zooey Hall offers an excellent interpretation of the cunning, psychotic Albert. With Mr Hall the viewer always receives a fully-fleshed portrait of a complex person, and this film is no exception. His Albert is a character who is murderous and evil, but Mr Hall is such a great actor that he gets under the skin of his role, and gives him a depth and vulnerability that make Albert Robertson a compelling, multi-faceted villain. Mr Hall shows the audience, with utter precision, that Albert has severe psychological problems, and that while he tries to fight his urges to harm and kill, his will is not strong enough to repress these impulses. While one does not agree with what Albert does, Mr Hall makes you understand why he commits these crimes. His acting takes the typical role of a psychotic killer into another sphere, without the need for masks, or scenery-chewing. David Zooey Hall receives great backing from the other actors in I DISMEMBER MAMA, the supporting actors also bringing realism to the film.

Marlene Tracy, as Albert's victim Alice, is chilling in her reactions to Albert, realizing her fate with open-eyed horror. The scene with Albert covers many emotions, and is delivered in a moving, compelling fashion. Joanne Moore Jordan, as Albert's mother, does well in a role which, unfortunately, limits her scope. While it is interesting that she acts in a calm manner to Albert's actions, and there is the quiet realization on her part that her son is not well, she is not showcased enough in the movie, which is disappointing. It would have added further to the movie to have her character's emotions displayed more to the viewer, and given an even better picture of Albert and his mother's relationship. Nevertheless, two other actors make up for this with their well-defined parts.

Greg Mullavey, as the policeman sent to bring Albert to justice, performs his role as the seasoned detective with a sympathy and relaxed candour that works. His final scenes with Annie wrap up the film's action in a satisfying manner. As the young Annie in the film, Geri Reischl exhibits a freshness and youthful appeal without making her too sunny or hokey. Also, she ably presents Annie as a young girl who is not only genial but also, intuitive, and clever. Just seeing her in the final few scenes with Albert, taking him on in his own game, shows what a capable young actress Miss Reischl was.

Soundtrack: The film has much background music during its running time, especially at key moments in the narrative such as Albert's quiet scenes with Annie. It is eerie and gothic by turns, but also has the habit of sometimes punctuating the action in an unsubtle manner, where little or no music would have been more effective. There is also the unusual use of a song with lyrics, being 'Poor Albert' at the time of Albert and Annie's seaside outing, but, this is no ordinary film, the song highlighting the main character's state of mind.

Mise-en-scene: I DISMEMBER MAMA uses its locations sparingly, and these are all well-chosen, and appropriate for their purposes. From the mental health facility, to the Robertson family mansion, to the hazy pool hall where Albert picks up one of his victims, the employment of settings is one of the strongest elements of the film. Probably the best set piece is the dark mannequin warehouse where Albert seeks another victim; the collection of mannequins is suitably spooky, and this provides a fitting, memorable ending to the movie. The opening credits are also good, setting the tone for Albert's mood, and the film as a whole, with Albert watching a movie, only the light from the projector illuminating his face.

Award-worthy performances in my opinion: David Zooey Hall, Marlene Tracy, Joanne Moore Jordan, Greg Mullavey, Geri Reischl.

Suitability for young viewers: No. Female nudity, adult themes, high-level violence.

Overall Grade: C

Link: IMDB Page