Title: CISCO PIKE
Year of Release: 1971Director: 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.
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.
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
