THE BELL JAR (1979)

Title: THE BELL JAR

Year of Release: 1979

Director: Larry Peerce

Genre: Drama

Synopsis: The emotional issues, and life of a talented young female writer from 1950s New England.

Within a film history context: Movies about mental illness plaguing female protagonists have been featured many times in cinema history. One of the first in a major motion picture can be found in Harold S. Bucquet's YOUNG DR. KILDARE (1938). In this first entry of the multi-part series, Dr Kildare assists a young woman who has attempted suicide, and almost ends up out of his position at the hospital for this, but all ends well for the young woman, and Dr Kildare. ALL THIS, AND HEAVEN TOO (1940), directed by Anatole Litvak, featured a paranoid, selfish woman jealous of her children's kindly governess, going to great lengths to defame her. Based upon a true story of French aristocracy, it starred Bette Davis as the governess, and Charles Boyer as the Duc in love with her. Another Bette Davis vehicle, Irving Rapper's NOW, VOYAGER (1942), featured Miss Davis as an emotionally distraught young woman dominated by her unyielding mother. After spending time in a mental health facility, and going on a cruise, romance comes knocking at her door. LEAVE HER TO HEAVEN (1945), directed by John Stahl, was about an unbalanced young woman who causes much heartache to her family, particularly her husband and sister. A lushly photographed technicolor film, something unusual at the time for melodramas, which were generally shot in black in white, it showcased an amazing performance by Gene Tierney as the beautiful, acidic Ellen Berent. 

John Brahm's THE LOCKET (1946) charted the life of a young woman in flashback, from her childhood until she was an adult, and how she developed anti-social tendencies which led to her mental collapse. With DISHONORED LADY (1947), directed by Robert Stevenson, a magazine editor has a nervous breakdown, and leaves her position, thus changing her life. Ghosts of the past continue to haunt her, though, and she becomes involved in murder. Mental illness was also at the core of Curtis Bernhardt's POSSESSED (1947). An incoherent woman found roaming the streets of Los Angeles is admitted to hospital. She begins to recount what occurred to bring her to this point, in this strong drama with Joan Crawford in one of her best roles. Equally challenging was THE SNAKE PIT (1948), directed by Anatole Litvak. In this film, a young woman's stay in a mental health facility is explored as she battles many demons, along with staff members and patients, in this potent movie. Into the 1950s many other films looked at mental illness, and how they bedeviled female protagonists.

Billy Wilder's SUNSET BOULEVARD (1951) featured a silent film star who wanted to make a comeback into the movies, drawing a screenwriter into her world, which was filled with fantasy, and delusional behavior. Another disturbing view of mental illness was in A STREETCAR NAMED DESIRE (1951), directed by Elia Kazan. A woman with mental issues moves in with her sister, and brother-in-law in a New Orleans apartment, clashing dynamically with both of them in this memorable movie. Roy Ward Baker's DON'T BOTHER TO KNOCK (1952) was notable in that Marilyn Monroe played against type as a psychotic babysitter, in complete contrast to her roles as an innocent, sensual young woman. One of the most famous films about mental illness afflicting a female character was in THE THREE FACES OF EVE (1957), directed by Nunnally Johnson. A young woman suffers mightily from having multiple personality disorder, assuming the identity of three very different women. An extremely well-acted movie, particularly by Joanne Woodward in the lead role, it was one of the toughest, but sympathetic views of mental illness captured on film. 

Another take on the topic was offered by John Cromwell's THE GODDESS (1958). A young woman becomes a movie sex symbol, but her inner demons spill out into her life, irrevocably affecting it. A definitively more exploitative take on mental illness was served up by SCREAMING MIMI (1958), directed by Gerd Oswald. A dancer witnesses a murder and is psychologically tormented by this event, subsequently admitted to hospital. She is suspected of a series of murders, but all the while pursued by a madman, who wants to kill her. Joseph Mankiewicz's SUDDENLY, LAST SUMMER (1959) was a compelling drama about a young woman shattered by seeing her cousin murdered, who afterwards falls ill. Her imperious aunt wants her to have a lobotomy to cover up what happened, but the young woman is assisted by her psychiatrist in getting to the truth. As with the 1950s, the 1960s had many varied depictions of female mental illness in cinema.

SPLENDOR IN THE GRASS (1961), directed by Elia Kazan, was a lush drama about a young woman in 1920s Kansas, and how her love for a handsome man drives her to emotional instability. One of the early 1960s films which dealt with sex and relationships in an adult manner, it was another motion picture which pushed the boundaries of the slowly eroding Hays Code. Frank Perry's DAVID AND LISA (1962) was also sensitive, this time following the blossoming relationship between two young people in a mental facility, with both male, and female mental illness spotlighted. On the other hand, bizarre was the word for WHATEVER HAPPENED TO BABY JANE? (1962), directed by Robert Aldrich. The story of two sisters, one a former child star with mental problems, the other physically challenged, also an actress, had many memorable moments. This horror-thriller was financially successful, and also lauded for the performances of its two lead actresses, Bette Davis, and Joan Crawford. Even more extreme was William Castle's STRAIT-JACKET (1964). A woman who killed her husband, and lover many years ago is released from a sanatorium, and suspected when a murder spree begins, but her emotionally distraught daughter may have more to do with this than first meets the eye. LILITH (1964) directed by Robert Rossen, was the tale of a young woman in a mental hospital, and her relationship with a war veteran with psychological issues, which is curtailed by the woman's unsavory sexual appetites.

Another way-out vehicle for Bette Davis was Robert Aldrich's HUSH...HUSH, SWEET CHARLOTTE (1964). This time around, Miss Davis was an aging Southern belle with a checkered past, specifically how a murder committed years ago has an enormous impact on her many years later. Also creepy was REPULSION (1965), directed by Roman Polanski. A young woman who has issues with sex is subjected to horrendous experiences, and commits unspeakable crimes of her own, in this spine-tingling movie. Into the later 1960s, Noel Black's PRETTY POISON (1968), in contrast, was of a more irreverent tone. A young woman with sociopathic tendencies hooks up with a young man just released from a mental hospital, lying that he is a secret agent. She believes him, and later enmeshes him in two acts of murder. A Gothic take on mental illness was obvious in SECRET CEREMONY (1968), directed by Joseph Losey. In this film, a woman, Leonora, mourning her daughter's death meets Cenci, an odd young woman at the cemetery. Resemblances to Leonora's late daughter can be found in Cenci, with the young woman's mother likewise with Leonora, with Leonora becoming involved in Cenci's turbulent life. Robert Altman's THAT COLD DAY IN THE PARK (1969) also had a woman suffering from mental issues. A lonely woman finds a young man in the park one day, and takes him in, little does he know she will take over his life in a most chilling manner. As with the 1960s, the 1970s also had many distinctive views of female mental illness on screen.

PUZZLE OF A DOWNFALL CHILD (1970), directed by Jerry Schatzberg, was the story of the rise, and fall of a high fashion model, particularly detailing how her relationships with men contributed to her fragile psychology. While a slightly tedious film, it was a great showcase for Faye Dunaway in one of her earlier roles. Murky could well describe Robert Altman's IMAGES (1972). A children's author who has lost sight of what is reality, and fantasy, may, or may not have committed crimes, which dog her sense of self in this engrossing movie. PLAY IT AS IT LAYS (1972), directed by Frank Perry, was about an actress whose life was spiraling out of control, and looked back at the events which led her to a mental hospital. Similarly, Bob Rafelson's THE KING OF MARVIN GARDENS (1972), featured a mentally-ill former beauty queen who causes much angst between two brothers before committing a shocking crime, changing lives forever in the process. SISTERS (1972), directed by Brian de Palma, was about the wrought relationship between two sisters, and how this was soured further by treachery, deceit, and murder. 

Harry Thomason's SO SAD ABOUT GLORIA (1973) revolved around a young woman freshly released from a mental institution, who believes she may be responsible for a spate of murders. A WOMAN UNDER THE INFLUENCE (1974), directed by John Cassavetes, concerned itself with a married woman whose marriage to her husband is on shaky ground, and how her unstable behavior led her to be institutionalized. Much more unrelenting was Brian de Palma's CARRIE (1976). The story of a young woman humiliated at every turn in high school, with a domineering mother, unleashing her fury at the senior prom, was filled with visual gymnastics and violence, but provided an excellent lead role for Sissy Spacek. In I NEVER PROMISED YOU A ROSE GARDEN (1977), directed by Anthony Page, a teenage girl veers between fantasy and reality, attempting suicide before being admitted to a mental hospital, eventually becoming better. THE BELL JAR was reminiscent of many of the films revolving around a female lead with mental illness, but carved its own niche in the genre.

THE BELL JAR was unlike WHAT EVER HAPPENED TO BABY JANE?, HUSH...HUSH, SWEET CHARLOTTE, CARRIE, and SISTERS, with their eye-popping, off the wall views of mental illness. There are no cartoonish, larger than life villains in THE BELL JAR who revel in their meanness against the main character as with the above films. THE BELL JAR has more in common with efforts such as POSSESSED, THE SNAKE PIT, DAVID AND LISA, and PLAY IT AS IT LAYS, where the lead character battled her demons, without the film needing visually arresting set pieces to punctuate the woman's difficulties. It is a lower-key, more perceptive portrait of mental illness in THE BELL JAR which does not typecast its character in an unflattering light. The obstacles Esther faces are all portrayed in a full-blooded, realistic manner that only elicit sympathy for her plight. There are further differences which set THE BELL JAR apart from other entries in the genre.

It is interesting how in the older films a man often assisted the woman in gaining a sense of herself, and becoming more grounded mentally. Examples such as YOUNG DR. KILDARE, POSSESSED and NOW, VOYAGER had a man taking a particular interest in the mental well-being of a woman, either in a romantic, or non-romantic vein, and assisted her to blossom. With DAVID AND LISA, a young mentally-ill man helps a young woman in a similar predicament to overcome their problems, which stands out in comparison to the other films. In LEAVE HER TO HEAVEN, on the other hand, an innocent man attempts to make his marriage to a venomous woman work, but is unsuccessful in his mission. THE BELL JAR takes a leaf out of films such as SUNSET BOULEVARD, A STREETCAR NAMED DESIRE, and THAT COLD DAY IN THE PARK, where embarking on a relationship with a man makes matters worse for the woman involved. Male desire for a woman only exacerbates female mental issues in both A STREETCAR NAMED DESIRE and THE BELL JAR. Esther in THE BELL JAR, though, has more of a sense of self than Blanche in A STREETCAR NAMED DESIRE with reference to her sexual identity, and what she does, and does not want.

As with male characters not making matters better, THE BELL JAR also does likewise with its other female protagonists, who clash with Esther. In THE BELL JAR, Esther has to contend not only with her confused mother, who does not know how to treat her but also, a pushy magazine editor, and a close friend who reveals herself as a lesbian. This is a throwback to entries such as NOW, VOYAGER with its domineering mother, SUDDENLY, LAST SUMMER's high-handed aunt, and CARRIE's religious zealot mother figure, who are of no valuable assistance to the lead. The presence of a lesbian friend in THE BELL JAR only throws a wrench in the works, further complicating Esther's view of herself, and her sexuality, which gives the movie unexpected emotional undercurrents the other films did not possess. An exacting but rewarding work about female mental illness, THE BELL JAR is a great motion picture.

Overview: Larry Peerce is an American director of fifteen motion pictures, an all-rounder who has tackled different types of movies with generally above-average results. Mr Peerce's first film, ONE POTATO, TWO POTATO (1964) was the study of a woman who divorces her husband, and marries an African-American man, her former husband suing for custody of their child, motivated by racism. The next of Mr Peerce's important films was THE INCIDENT (1967). A tightly-directed, tense account of two thugs terrorizing passengers on a New York subway train, it offered its diverse cast excellent acting opportunities. More prominent was GOODBYE, COLUMBUS (1969). The tale of a young man who falls for an upper-class young woman, with all their difficulties and obstacles presented to humorous, yet maximum effect, it was one of the most popular films of the year. Unfortunately, one of Mr Peerce's most uneven movies was THE SPORTING CLUB (1971). The tale of a shooting club, and its bizarre members and their activities, was a notable failure at the time of its release, but thankfully did not curtail the director for too long. 

A SEPARATE PEACE (1972) was the introspective story of two roommates at a private boarding school in 1940s New Hampshire, starring John Heyl, and Parker Stevenson in the lead roles. Entirely different in tone was ASH WEDNESDAY (1973). A woman embarks on plastic surgery to save her rocky marriage, but her choice leads to more than a few surprises along the way. Next came THE OTHER SIDE OF THE MOUNTAIN (1975), one of Mr Peerce's most commercially-successful movies. A young skiing champion ends up paralyzed after a tragic accident, and finds her way back to another kind of normalcy for herself, and her family. Based upon the real-life story of skier Jill Kinmont, it was popular enough to lead to a sequel, THE OTHER SIDE OF THE MOUNTAIN (1978), also directed by Larry Peerce. Thoroughly at odds, and violent in nature was TWO-MINUTE WARNING (1976). A crazed sniper causes mayhem at a football game, with much derring-do and heroics captured by the movie. 

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

Mr Peerce has made an excellent motion picture which examines the subject of mental illness through its protagonist Esther, with sensitivity and precision. Based upon the novel of the same name by Sylvia Plath, THE BELL JAR unfolds in a graceful, lyrical manner, paying particular attention to its lead character, and exploring her view of the world. It follows her trials and travails in coming to grips with who she is, and what she wants from the world. A talented writer, Esther is haunted by the loss of her father, which appears to have affected her relationships with men, particularly derailing her union with her mother. There appears to be a sense in the movie that Esther is afraid of her own sexuality, and this manifests itself in her failed relationships with men, who only seem to want to possess her, and not love her for who she is. While it could be said that this is a skewed view of masculinity, it works in the way that Esther cannot find what she had with her father in another man. 

Larry Peerce takes the viewer through many incidents, some humorous, others dead serious, in the life of Esther, and those around her. There is a distinct lack of melodrama in THE BELL JAR, and this works to its advantage, as the events depicted deserved, and received a subtle, quiet treatment. It is one of Mr Peerce's most fearless movies, a sharper extension of his THE OTHER SIDE OF THE MOUNTAIN films, in that a female character is essentially put through the wringer of emotions and events, and emerges from this shattered, changed, but stronger. THE OTHER SIDE OF THE MOUNTAIN films did play on the melodrama angle for their emotional power, and to wring tears from the spectator, particularly in the first film. THE BELL JAR, in comparison, has a gradual build-up of narrative events that are plausible, with nothing that appears for shock value. THE BELL JAR does possess a slight romantic angle with Esther's entanglements with Buddy, Lenny and Marco, but resembles the director's THE INCIDENT in its full-blooded execution more than the relaxed ambience of GODDBYE, COLUMBUS. One of Larry Peerce's most prestigious movies, THE BELL JAR is an absorbing cinematic experience.

Acting: THE BELL JAR boasts an excellent cast who all give fine performances. As lead character Esther, Marilyn Hassett contributes another interesting interpretation of a complex female character to her film portraits. An actress with a strength and sparkle that the movie highlights, she does a great job here. Esther's befuddled mother, Mrs Greenwood, is brought to vivid life by Julie Harris. A performer who knows how to elicit sympathy and understanding in the viewer, Miss Harris is wonderful as the harried mother figure. In his movie debut as Buddy, Esther's main love interest, Jameson Parker cuts an entrancing figure in THE BELL JAR. The aspiring doctor with a depth of emotion, and lustful inclinations towards the attractive Esther, Mr Parker plays a role where Buddy could have been a one-note whiner, but he makes him someone whose feelings are made comprehensible to the audience. Esther's confidante at the mental healthy facility, Dr Nolan, is played with assurance by Anne Jackson. By holding back her emotions, and being a surrogate mother figure to Esther, Miss Jackson nicely underplays her role, which is particularly striking at the film's end. Five other actors contribute immeasurably to making THE BELL JAR a convincing movie.

As Esther's best friend Joan, Donna Mitchell provides yet another of the film's complicated female characters. An actress with subtle mannerisms and a sense of style, Miss Mitchell is perfect as the humorous, secretive Joan. Barbara Barrie is also excellent as Jay Cee, Esther's associate at the magazine. Utterly comfortable in her surroundings as the precise, no-nonsense magazine editor, Miss Barrie shines. In a smaller role as Lenny, a man Esther is involved with for a short time, Robert Klein makes the most of his part as the feverish, passionate Lenny. As Marco, the Italian millionaire who makes a keen impression on Esther for all the wrong reasons, Thaao Penghlis makes an impact in the movie. An actor with an international flavour who conjures visions of glamour and jetsetting with his manner, his suave Marco exhibits both geniality, and depravity in equal measure. The final acting of note in THE BELL JAR is by Mary Louise Weller as Doreen, Esther's friend, and associate at the magazine. With her Southern accent and easy manner, Miss Weller's Doreen is someone who appears naïve on the surface, but has many layers which unravel during her time in the film. 

Soundtrack: THE BELL JAR takes a lean approach to its soundtrack which works exceedingly well for the picture as a whole. The movie is also refreshing in the fact that it is a 1950s movie without pop tunes which would have been inappropriate, as this is not a film based in a nostalgic vein. The instrumental theme by Gerald Fried perfectly encompasses the tense mood of the film, expressing the shattered emotional state of its protagonist. The tune 'Here Comes The Night', performed by Janis Ian, is employed during the film's closing credits, a haunting piece that complements the opening theme excellently. Aside from these, THE BELL JAR contains both diegetic, and non-diegetic music of note. Several scenes which utilize diegetic music such as the fashion parade, Esther's tango with Marco, and, most memorably, Esther's frenzied dance with Lenny and Doreen, suit the material without weighing it down. Non-diegetic music is also used well in the sequence where clothing is strewn all over Esther's hotel suite, and Esther's visit to her father's graveyard among the more notable instances.

Mise-en-scene: THE BELL JAR possesses great attention to detail in expressing its 1950s setting, but in a subtle manner which is never overblown. Gerald Hirschfeld's cinematography nicely captures the many indoor, and outdoor scenes, particularly the pretty New England countryside. There is a subdued use of color which is in tandem with the movie's thoughtful, melancholic feel. Costuming by Donald Brooks is also excellent, switching from the everyday apparel of the characters, to the more formal attire, with ease and restraint. Editing by Marvin Wolowitz is smooth, transitioning from one scene to the next, maintaining the compelling mood which is a hallmark of THE BELL JAR as a whole.

Notable Acting Performances: Marilyn Hassett, Julie Harris, Jameson Parker, Anne Jackson, Donna Mitchell, Barbara Barrie, Robert Klein, Mary Louise Weller.

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

Overall Grade: A

Link: IMDB Page

THE SPORTING CLUB (1971)

Title: THE SPORTING CLUB

Year of Release: 1971

Director: Larry Peerce

Genre: Comedy, Drama, Black Comedy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: E

Link: IMDB Page