CAN SHE BAKE A CHERRY PIE? (1983)

Title: CAN SHE BAKE A CHERRY PIE?

Year of Release: 1983

Director: Henry Jaglom

Genre: Comedy, Drama, Romance

Synopsis: A woman is abandoned by her husband, and finds love with a man she meets at a café. 

Within a film history context: While there have been many films dealing with wives who leave their husbands, or unhappy marriages, movies which focus upon husbands leaving their wives have been much fewer in number. One of the most notable examples was James Whale's SHOW BOAT (1936). In this film, a woman is left by her husband due to his gambling losses, with another woman also abandoned by her husband, and falling into alcoholism. There is, though, a happy ending for the first woman who reconciles with her husband at the story's conclusion. THE MOON AND SIXPENCE (1942), directed by Albert Lewin, had a man leaving his wife at the film's start, becoming a painter, and involved in a complex series of events which lead to his downfall. In utter contrast, an exploitation tone was employed in Ken Kennedy's THE VELVET TRAP (1966). In this movie, a waitress is raped by the cook at the diner where she works, and later marries a man who frequents the diner, only to abandon her the morning after the wedding. A tale of a woman's road to ruin, it is notable for the woman's moral descent, and that the male characters were largely unsavory without any redeeming facets. 

Matters were of an entirely contrary nature in BED AND BOARD (1970), directed by Francois Truffaut. This time around, a married man with a young child embarks on an affair with a woman. His wife discovers his indiscretion, and will not share a bedroom with him, this leading to him moving out of their apartment, and leaving his wife. In a more domestic, realistic vein than the previous entries, it was another of the director's explorations of male-female relationships. Roman Polanski's TESS (1979) charted a young woman's life odyssey, with her husband deserting her upon discovering her past relationship with an insidious man who left her pregnant. Set in the late 1800s, it was an artistic triumph for the director, and a box office success. HEAD ON (1980), directed by Michael Grant, was the tale of a married woman and her lover, and their kinky sexual exploits. Her shenanigans with her lover are discovered by her husband in a most unexpected manner, leaving her as a result. CAN SHE BAKE A CHERRY PIE? was in its own league in terms of its treatment of the husband leaves wife theme, with original touches not evident in the other movies previously mentioned.

It is very slightly comparable to THE VELVET TRAP with consideration to its irreverent narrative, but diverts greatly with its lighter, comical atmosphere. THE VELVET TRAP is closer to melodrama and tragedy than CAN SHE BAKE A CHERRY PIE?, which, while having dramatic segments, does not become bogged down in heavy scenes. The abandonment of Zee is depicted in a scene at the beginning of the film, outlining how her marriage has gone awry, and that her husband is leaving her. The viewer follows her as she learns to move on, and meets Eli, who changes her life. While their love affair is humorous and screwy, it lacks the furtiveness of the characters in HEAD ON who play dangerous games which not only have an impact on themselves but also, others. Other aspects of the movie are also noteworthy in hindsight.

In CAN SHE BAKE A CHERRY PIE? Zee and Eli are only out to become closer to each other, and their blossoming union, warts and all, is what the picture concentrates on. They have more than enough problems and issues to deal with than having extra participants, or third parties, intrude on their relationship. While there is the introduction of a third parties for a small time in the movie, this is only to reaffirm their union to one another, instead of causing more heartache. With its domestic milieu it shares elements with BED AND BOARD in the backwards and forwards style of storytelling which resembles real life. People fight, make up, fight, and make up again which makes for insightful viewing. A film that explores the husband leaving wife theme in an interesting manner, CAN SHE BAKE A CHERRY PIE? is an entertaining movie with many thoughtful moments.

Overview: Henry Jaglom has directed twenty-one films in his career over forty-five years, and helming an extra segment in a multi-story movie. His movies are character-driven stories that explore various situations in depth, mainly with reference to the characters and their feelings. Mr Jaglom's first film, A SAFE PLACE (1971), was a fantastical film that centered around a young woman, and her vision of the world. Starring Tuesday Weld in the lead role with Jack Nicholson in support, it was a surreal, original viewing experience. Next came TRACKS (1976) with Dennis Hopper. A view of life seen through the eyes of a Vietnam veteran, and his relationship with a young woman, were clearly delineated by the director in this intense, disturbing movie. ALWAYS (1985) followed a married couple's plans to divorce, but a family 4th of July celebration makes them question their decision. With Mr Jaglom both directing and starring in the lead role, it was a revealing, thoughtful movie. Mr Jaglom worked with an all-female cast in EATING (1990) with an ensemble including Frances Bergen, Mary Crosby and many others, in a story about women talking about their lives at a birthday party. DEJA VU (1997) charted the love story between a store proprietress and an Englishman, with a mostly British cast including Vanessa Redgrave, Anna Massey, and Rachel Kempson in her final film role. OVATION (2015) centred around a theatre actress who falls in love with a smooth television star. Mr Jaglom's most recent film, TRAIN TO ZAKOPANE (2017) was an adaptation of his own stage play, dealing with racism and anti-semitism in Europe of the 1920s and beyond. CAN SHE BAKE A CHERRY PIE? was Henry Jaglom's fourth full-length movie, and a sound example of his character-based narratives.

CAN SHE BAKE A CHERRY PIE? is a movie that takes its time in making clear to the audience the feelings and emotions of its characters. One gets to know the protagonists on an intimate level, the dialogue and action, and of course, the performers, assisting in this. CAN SHE BAKE A CHERRY PIE? is not a movie where there are mysteries about the characters and their motives. The suspense level in this arena is very low, and meant to be this way, as it is not that kind of movie. This is a feature of Mr Jaglom's other efforts such as EATING, where people talk about themselves, their lives, what they like, what they dislike, which gives the movie a genial, friendly atmosphere. While the characters in the film admittedly talk a lot, it is never boring, with the viewer gaining valuable information into what makes the people in the movie tick. This, though, is the double-edged sword of CAN SHE BAKE A CHERRY PIE? On the one hand, the unrestricted nature of the film works well, but it also exposes certain deficiencies that could have improved the final product if present.

In the opening scenes we see that Zee's husband is leaving her, but we are not given much information as to exactly why they drifted apart, and why he elected to separate from her. It would have been helpful to have had some flashbacks possibly showing them in happier times, contrasting with their marital undoing. While small scenes showing Eli's ex-wife and child were good, it is the only time we see them, as with Zee's husband. It is admirable that CAN SHE BAKE A CHERRY PIE? showcases Zee and Eli greatly, but adding scenes with her husband returning to their apartment to pick up something he forgot, or Eli's wife ringing him at an inopportune moment for him, would have provided further emotional depth to the characters and their plights. What is missing from the film is the material that would have given it a further ring of truth.

An associated issue with the movie is that is lacks an aura of tragedy in its proceedings. Zee and Eli are likable together, but there is not a sense of all or nothing to them. Having Zee being tempted by Larry, though, was interesting as it provided a counterpoint to Zee and Eli together all the time, but nothing much came out of this. If the film contained more misery for them, splitting their union again during the course of the narrative, it would have been more emotionally striking. As it is, the picture is more in a jokey vein, without greatly compelling events to make the audience feel more for its characters. Despite these ellipses, CAN SHE BAKE A CHERRY PIE? should be recognized as a satisfactory movie for director Henry Jaglom, and one of his most appealing motion pictures.

Acting: The acting in CAN SHE BAKE A CHERRY PIE? is one of its strongest assets. As Zee, the woman whose husband leaves her at the film's start, Karen Black is in one of her best roles. She makes the beleaguered but humorous Zee hers, despite the film sometimes being too talky, and ensures that her character is believable at all times. As Eli, Zee's new love, Michael Emil is a perfect match for Miss Black, their odd couple pairing appearing unlikely on the surface, but their acting making it all work. In the case of Larry, the pigeon-handler, Michael Margotta shows another string in his acting bow. Generally cast in intense roles, here things are of a different nature. In CAN SHE BAKE A CHERRY PIE? Mr Margotta exhibits a quieter aura as the man whose charm causes relationships to become shaky all of a sudden. Just seeing Mr Margotta bring out the insecurities of another man without doing much, except show off his pet pigeon to the other man's girlfriend is one of the movie's highlights. The final player of note is Frances Fisher as Larry's girlfriend Louise. With very little dialogue spoken during the movie and mainly using her face to express emotion, Miss Fisher's Louise was a subtle surprise in the film, and, likewise with Mr Margotta, it would have been great to have seen more of her in CAN SHE BAKE A CHERRY PIE?

Soundtrack: CAN SHE BAKE A CHERRY PIE? has an eclectic soundtrack. The opening credits feature diegetic use of the tune 'Can She Bake A Cherry Pie?' performed by a band in the park as Zee passes by, and continues in a non-diegetic basis until the end of the scene. The song is also used at the end of the movie during the closing credits with Zee and Emil walking on the street. In addition to this, the closing credits also utilize the Jerome Kern song 'The Way You Look Tonight' with home movies of Emil's family playing as the movie concludes. Other uses of music in CAN SHE BAKE A CHERRY PIE? are also interesting. There are segments of Zee singing at home and in the club, watched by Emil, which reveal information about her character. The concert which Zee and Emil attend, where the New York Philharmonic Orchestra perform 'Scheherazade', is an example of diegetic music which continues into the next scene, and is an allegorical comment on the characters, and their non-traditional romance.

Mise-en-scene: CAN SHE BAKE A CHERRY PIE? contains a vast amount of outdoor location filming, which gives the movie freshness and realism. Zee and Emil's café chats, walking together in the street, deep in conversation, and Larry's pigeon-handling sequences work well in the New York City streets. Indoor locations such as Zee's apartment, with its assortment of knick knacks and paraphernalia, is evocative of her state of mind, and turbulent personal life.

Notable Acting Performances: Karen Black, Michael Emil, Michael Margotta, Frances Fisher.

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

Overall Grade: C

Link: IMDB Page

Trailer

CISCO PIKE (1971)

Title: CISCO PIKE

Year of Release: 1971

Director: Bill Norton

Genre: Drama

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: C

Link: IMDB Page

Trailer

DRIVE, HE SAID (1971)

Title: DRIVE, HE SAID

Year of Release: 1971

Director: Jack Nicholson

Genre: Drama

Synopsis: Basketball champion and university student Hector Bloom carries on an affair with his professor's girlfriend, while Hector's friend Gabriel suffers a nervous breakdown attempting to avoid the draft for Vietnam.

Within a film history context: Character studies of sports stars have often been featured throughout cinema history. Comparable films from around the late 1960s and early 1970s come to mind, such as a professional skier in DOWNHILL RACER (1969), a tennis pro in THE CHRISTIAN LICORICE STORE (1971), and a stock car champion in THE LAST AMERICAN HERO (1973). These movies explored different sporting personalities, their drive to the top of their game, with the concurrent effect that their personal lives clashed with their competitive spirit, and were polar opposites in nature. DRIVE, HE SAID was no different, examining the professional and personal life of a basketball player, but unlike the other two films, was much freer in highlighting the protagonist's sexual, and other extracurricular activities. It was also notable for its dialogue which was sprinkled with four-letter words, and inclusion of both male, and female frontal nudity. This frank content set it apart from other movies around this era which were more restrained in these areas.

In addition to being a character study, DRIVE, HE SAID was also among a group of films with a university campus theme produced in the early 1970s. These included movies such as Richard Rush's GETTING STRAIGHT (1970), Michelangelo Antonioni's ZABRISKIE POINT (1970), Stuart Hagmann's THE STRAWBERRY STATEMENT (1970), and Stanley Kramer's R.P.M (1970). While these films covered thematic territory similar to DRIVE, HE SAID in terms of alienation and disillusionment, the movie differed from these in how it moved away from the depiction of lecture theatres and other university locales. The closest the film was to spotlighting university rooms was the basketball auditorium, the outside grounds of the establishment, and, most notably, the science laboratory at the film's conclusion.

Overview: DRIVE, HE SAID was actor Jack Nicholson's directorial debut, followed by GOIN' SOUTH (1978) and THE TWO JAKES (1990). DRIVE, HE SAID explores the life of ace basketball player, and university student, Hector Bloom. While the movie's events follow Hector's life and loves, the impression is that the protagonist plays, in retrospect, more of a secondary role in the narrative, which shifts the emphasis to the supporting characters. This may not always be detrimental in cinema, but in the case of DRIVE, HE SAID it makes Hector seem like a dullard, and just a viewer in his life more than an active participant. It also renders his relationship with Olive, and their various ups and downs, as rather boring, instead of being the film's primary focus. Despite these deficiencies, there are some very good aspects to the movie.

The filming of the basketball sequences are exciting, the camerawork capturing the action as if the audience was there in the stadium witnessing it first hand. The behind the scenes shower room frolics give the characters a depth and identity away from their public image as basketball champions. Apart from the basketball scenes the supermarket segments are entertaining, and takes some steam away from the movie by giving it a lighter air. Gabriel's draft dodging, shameless behaviour, and eventual breakdown, though, are the best part of the film. These are handled in an eye-opening but sympathetic manner, particularly the science laboratory scene, without making the character seem like a caricature. In all, DRIVE, HE SAID is an insightful, thoughtful film with some very interesting elements, but, is not coherent as a whole.

Acting: This is a movie where the acting is sound, with some miscasting in pivotal roles which hampers the film somewhat, but several very striking performances abound. In the lead role William Tepper does a passable job, and is watchable, but, unfortunately, lacks the charisma which would entirely convince the viewer of his plight. This has the effect of him passing the baton to other performers in the film to shine, and also, functioning more as a plot device than as a real character. The role would have been much better suited to Jeff Bridges, who, after playing basketball in HALLS OF ANGER (1970) would have brought more drama and full-blooded emotion to the part. The lead role notwithstanding, Bruce Dern, on the other hand, turns in a brilliant, finely tuned performance as Hector's coach who does his best to keep Mr Tepper's character on an even keel professionally, but finding difficulty due to Hector Bloom's excesses. Presenting Bruce Dern onscreen without his usual moustache was an inspired idea, and works beautifully in DRIVE, HE SAID. The camera feasted upon Mr Dern's face, particularly his eyes, which expressed so many different emotions, and also afforded him an even more authoritative aura than other films in which he had appeared with his facial hair.

Apart from Bruce Dern, Michael Margotta also offers a standout performance as Hector's troubled, drug-addicted friend Gabriel in the film. He has by far the most challenging role in DRIVE, HE SAID, given the character's mood swings and extreme behaviour throughout the film. It is a credit to Mr Margotta that he maintained audience interest in his character who could be thoroughly resistible at times. The pity felt towards the character at the film's end is justified, and Mr Margotta plays these scenes to maximum effect, often without uttering a single word during his most manic moments. Additionally, there were several other performances in the film which merit discussion.

Karen Black, a performer who generally shines in her roles, was given a part as Hector Bloom's secret dalliance Olive that severely undercut her energy. The role did not allow her to display the range and sensitivity that was so apparent in films such as FIVE EASY PIECES (1970), and BORN TO WIN (1971) to give a few examples. On the other hand, June Fairchild was lively as Gabriel's girlfriend Sylvie who also takes a shine to Hector Bloom. There was the feeling, though, that she could have been further utilized in a better capacity in DRIVE, HE SAID instead of just having her giggling in her scenes, and running around naked. She had an energy and sass that was contagious, and deserved more coverage in the film than she received.

Soundtrack: The music used during the opening basketball scenes adds a pulsating, thumping rhythm to the proceedings, perfectly matching, and enhancing, the action. This music is employed at various other points in the movie, and works just as well, emphasising the nervy, jazzy energy of DRIVE, HE SAID.

Mise-en-scene: The sets and spaces used in the film are naturalistic and appropriate to the characters and the action taking place. The scenes of hijinks between the basketball players in the shower stalls are realistic, and add dimension to the characters. It is as if the audience is afforded an uncensored, revealing look at what happens behind the scenes between athletes, with the shower faucets running, and uninhibited displays of male nudity. On the other hand, the supermarket scenes between Hector and Olive have a certain flair about them due to their location. This location provides an authentic backdrop to the argument that is taking place between them, adding an everyday feel to it, with the restrictions of the store used to full effect.

Apart from the public areas in the film, the characters' places of living are also well designed. The abode that Hector and Gabriel share is messy, which parallels their stormy private lives, in particular Gabriel's shattered state of mind. In complete contrast to this, the house that Olive lives in with her boyfriend, university professor Richard, is homey and well-appointed. With a comfortable kitchen and living room that have wide windows, offering a view of the outside world from this vantage point, the living room exuding a graceful air, Richard and Olive's home is the most attractive of the settings featured in DRIVE, HE SAID.

Award-worthy performances in my opinion: Bruce Dern, Michael Margotta, June Fairchild.

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

Overall Grade: C

Link: IMDB Page

Trailer