DIRTY LITTLE BILLY (1972)

Title: DIRTY LITTLE BILLY

Year of Release: 1972

Director: Stan Dragoti

Genre: Western

Synopsis: The life of Billy the Kid in all its stark rawness.

Within a film history context: There have been quite a few films over the years dealing with Billy the Kid. One of the first was a possibly lost movie, J.P. McGowan's BILLY THE KID (1925), with western star Franklyn Farnum in the titular role. More well-known was BILLY THE KID (1930), directed by King Vidor. It charted the relationship between Billy the Kid and lawman Pat Garrett, specifically whether Pat Garrett should bring Billy to account for a crime he committed. Sam Newfield's BILLY THE KID OUTLAWED (1940), cast Billy the Kid in a more righteous light, seeking to avenge the killing of two ranchers. BILLY THE KID (1941), directed by David Miller, was a remake of the 1930 movie, this time with Robert Taylor in the lead role. The movie concentrated upon the relationship between Billy the Kid and Jim Sherwood, and how events tested their friendship. Sam Newfield's BILLY THE KID TRAPPED (1942), had Billy the Kid and others escaping from jail, trying to track down those who dressed as them, and committed crimes. THE OUTLAW (1943), directed by Howard Hughes, concentrated on the interactions between Billy the Kid, Doc Holliday, and Pat Garrett, with an added romantic angle for Billy the Kid with Rio McDonald. More fantastical was Ray Taylor's SON OF BILLY THE KID (1949). A play on real events, the film presents Billy the Kid as being alive, and now a banker whose bank is under siege by outlaws. THE KID FROM TEXAS (1950), directed by Kurt Neumann, was a darker movie about Billy the Kid, with him involved in land disputes and other related mayhem. William Berke's short film I SHOT BILLY THE KID (1950), was another exploration of the relationship between Billy the Kid and Pat Garrett, lasting less than one hour in duration. 

THE LAW VS. BILLY THE KID (1954), directed by William Castle, was a movie that again attempted to paint a view of Billy the Kid as righteous. In this instance, Billy the Kid is pursued by someone as he has taken money owed to him, and finds not only trouble, but also time for some romance. Oliver Drake's THE PARSON AND THE OUTLAW (1957), was yet another in a line of films which gave a more benign view of Billy the Kid. Here, a preacher enlists the assistance of Billy the Kid, who is living in anonymity in a new town, to take on a corrupt man and his henchman. BILLY THE KID VERSUS DRACULA (1966), directed by William Beaudine, was entirely different from previous takes on the character. Casting Billy the Kid in a heroic light, it was about how he saves his ladylove from the clutches of Dracula, who wants her as his new mate. Julio Buchs' Spanish-Italian production I'LL KILL HIM AND RETURN ALONE (1967), again gave a sympathetic account of Billy the Kid, this time having him protect his mother, becoming an outlaw in the process, but also, falling in love. CHISUM (1970), directed by Andrew V. McLaglen, offered a distinctive portrait of Billy the Kid. He becomes embroiled in the Lincoln County War, and a partner in the many violent events of this incident. DIRTY LITTLE BILLY was another interpretation on the legend of Billy the Kid, and one of the best.

There were a number of features which distinguished DIRTY LITTLE BILLY from the other film versions of Billy the Kid. While many of the previous movies detailed the interactions between Billy the Kid and Pat Garrett, such as BILLY THE KID, THE OUTLAW, and I SHOT BILLY THE KID, to name but a few examples, DIRTY LITTLE BILLY did not present Garrett at all within the narrative world, likewise with Doc Holliday. Instead, Billy and Goldie's relationship was the main focus in the movie, which was in keeping with the two-character approach of many Billy the Kid movies. In addition, other characters who generally were not in the other pictures also made their presence felt in DIRTY LITTLE BILLY, such as Billy's mother. This gave the movie a different set of circumstances which to explore, moving it away from Billy the Kid being pursued by Pat Garrett, or other standard scenarios. Billy's mother and stepfather added depth and complexity to the proceedings, making evident Billy's feelings about life, and providing rationale somewhat for his behavior. 

Unlike the films with a romantic angle for Billy the Kid, such as THE OUTLAW, and THE LAW VS. BILLY THE KID, in DIRTY LITTLE BILLY Billy's relationship with Berle was strained at first, and the first woman for whom he had an attachment, but it could hardly be classified as being romantic in nature. This is in keeping with the film's overriding emphasis on realism, far detached from the escapism of other Billy the Kid entries. It has connections with the darker movies about Billy the Kid such as THE KID FROM TEXAS, being that Billy the Kid was not as two-dimensional as in other movies. In DIRTY LITTLE BILLY, there is great care to present Billy not as a total villain, or overly sympathetic, which past films delivered. Here he is neither fully evil nor kind, rather an impressionable character falling into crime as a victim of his intellectual level, and circumstances. This gives Billy the Kid a more realistic, rounded set of traits taking him away from the simplistic depictions of the other examples over the years. An excellent account of the Wild West, providing a different insight into Billy the Kid, DIRTY LITTLE BILLY is a well-made portrait of a person, time and place which have been romanticized far too often in film history.

Overview: Stan Dragoti made six films over the space of nineteen years, generally comedies, but with the odd drama. His second movie, LOVE AT FIRST BITE (1979), was a financially successful comedy horror film about Count Dracula, and the pursuit of his love in New York. Next was MR. MOM (1981), which, as with LOVE AT FIRST BITE, was another box office success for Mr Dragoti. The story of a man who loses his job, and stays home to raise a family and keep house, resonated with the public, and was one of the year's most commercially profitable movies. This was followed by THE MAN WITH ONE RED SHOE (1985), another comedy. An innocent violinist prone to a number of calamities is pursued by the CIA, with romantic difficulties and intrigue explored. The combination of comic and thriller elements was not as warmly received in this instance, and despite the presence of Tom Hanks in the lead, made a financial loss. 

Stan Dragoti's fourth film was SHE'S OUT OF CONTROL (1989), yet another comedy. A young woman makes a massive change to her physical appearance, and becomes popular with young men, despite already having a boyfriend. Her widowed father, though, has grave concerns, this leading him to obsession with this predicament, enlisting a psychiatrist for advice. Stan Dragoti's final film, NECESSARY ROUGHNESS (1991), had him again in comedy territory. The antics of a Texas University football team was the subject of this movie, but unlike Mr Dargoti's two previous movies, was a box office success with the public. DIRTY LITTLE BILLY was Stan Dragoti's directorial debut, and his best movie.

With DIRTY LITTLE BILLY, Stan Dragoti has created a striking version of the life of outlaw Billy the Kid. From the opening scenes to the very end, the movie is a compelling account of the life of the notorious criminal. It seeks to not glamorize his life but also, makes it understandable as to why he acted as he did. Much of this seems to stem from his fractured upbringing, his widowed mother marrying another man, and Billy not being able to connect with his stepfather. There is also the related implication in the movie that a distinct lack of opportunity, and education, was another draw into crime for someone not sure what to do with their life. 

Billy not being able to see beyond the confines of the repressive, bleak environment is something which Mr Dragoti expresses so vividly in DIRTY LITTLE BILLY. The movie is just so well mounted, and thoroughly convincing, it is difficult to take the visions of depressing Kansas landscapes out of one's mind. As an example of Stan Dragoti's work, it is totally contrary to his following films, which were more commercially-geared, and mainly comedic in tone. With DIRTY LITTLE BILLY matters are of a contrary nature. DIRTY LITTLE BILLY is an artistic, thoughtful movie that makes the viewer yearn to ponder what Stan Dragoti could have made in a similar vein, but unfortunately did not deliver in his filmmaking after the movie.

Acting: The main performances in DIRTY LITTLE BILLY are all first-rate. As Billy Bonney, notorious outlaw of the wild west, Michael J. Pollard contributes another fine example of screen acting. An actor with an understated, lightly humorous, yet compelling manner, Mr Pollard provided a great representation of the infamous 1800s criminal. Billy's friend Goldie is also made memorable by Richard Evans. With his penetrating stare and no holds barred way of doing things, Mr Evans is well paired with Michael J. Pollard as the footloose criminal combo. The third party in this trio, Berle, is played with astonishing strength by Lee Purcell. Berle is a thoroughly three-dimensional character, by turns tough, tender, and uncompromising. Miss Purcell gives it her all as Berle, and the character's outcome is one of the most memorable sequences in the film. The final acting contribution of note is by Dran Hamilton as Cath McCarty, Billy's mother. A woman in a difficult position, trying to hold onto her son despite her husband's, and Billy's stepfather's, protestations, Miss Hamilton makes Cath's plight understandable, her actions invoking sympathy from the viewer. 

Soundtrack: Musical accompaniment to the visuals is one of the most low-key elements of DIRTY LITTLE BILLY. Sascha Burland's banjo score is present in several scenes, enriching these with a sense of 1800s rural American, and the Wild West, but it is a movie that does not depend upon music. DIRTY LITTLE BILLY prefers to concentrate upon what is taking place onscreen, and building tension for the viewer largely without the use of music.

Mise-en-scene: One of the most striking aspects of DIRTY LITTLE BILLY is what appears onscreen for viewers. Despite the uncompromising nature of its content, and harsh landscapes often featured in the movie, Ralph Woolsey's cinematography is beautiful, giving the film an easy on the eyes watchability that works to balance the film's toughness. Lighting is another prominent attribute of DIRTY LITTLE BILLY. The indoor sequences especially are lit in a natural way, emphasizing the harsh life of the protagonists in the 1800s. The movie does have periodic bursts of violence, but these have been carefully shot in order to avoid exploitative gory connotations, the indoor scenes of mayhem excellently executed. Set decoration by George James Hopkins is another standout, creating a story world that is utterly real, and transfixing to witness. The home of Billy's family, and Berle and Goldie's shack, to name two examples, are both evocative of the time and place which the film demonstrates in its exceptional way. 

Notable Acting Performances: Michael J. Pollard, Richard Evans, Lee Purcell, Dran Hamilton.

Suitability for young viewers: No. Adult themes, high-level violence.

Overall Grade: A

Link: IMDB Page

STAND UP AND BE COUNTED (1972)

Title: STAND UP AND BE COUNTED

Year of Release: 1972

Director: Jackie Cooper

Genre: Comedy, Drama

Synopsis: A newspaper reporter returns to her home town in Denver to cover a story on women's liberation, and finds both her mother, and sister, vocal supporters to her surprise.

Within a film history context: Movies about the women's liberation movement were uncommon before the 1970s. The earliest film dealing with the subject was Sam Wood's KITTY FOYLE (1940). Exploring a young woman's life, specifically how her personal life impacted her life as a whole, and how her emancipated attitudes, for the time, both help, and hinder her, it won an Oscar for Ginger Rogers in the lead role. On the other hand feminism, and portraits of liberated women were more widespread, with quite a few movies dealing with the topic. A notable example from the silent era is MISS HOBBS (1920), directed by Donald Crisp. In this movie, a young woman does all number of things considered advanced for the time, such as dancing barefoot, but finds love with a young man. This is an example of a text where the woman explicitly does not want men, but, in the end, goes the conventional route by not sticking to her guns. In comparison, matters were more racy in Maurice Elvey's British silent HINDLE WAKES (1927). A young woman working in a mill causes a scandal by taking a vacation with, and having an affair with the mill owner's son. It was an examination of female sexuality, authority, and desire that carried weight when first released. A property that would now seem creaky was made several times, firstly in 1918, then 1927, with further remakes in 1931, 1952, and two telemovies in 1957 and 1976. Moving into the 1930s, films with feminist themes could be found among the films of the major motion picture companies.

CHRISTOPHER STRONG (1933), directed by Dorothy Arzner, was important for several reasons. It was the story of a female aviator who defied moral conventions by having an affair with a married Member of Parliament, an event which throws her life into disarray. Apart from its content, it starred Katharine Hepburn, an actress who refused to conform to stereotypes, and directed by Miss Arzner, one of the first, and most prolific female directors in Hollywood history. Both women in their time were trailblazers for their significant achievements in women's rights. A film that was definitely feminist in its execution was Mark Sandrich's A WOMAN REBELS (1936). Again with Katharine Hepburn in the lead role, it told the tale of a headstrong woman in late 1800s Britain who shuns marriage, and becomes editor of a woman's magazine, this leading her to various productive, and personally affecting, situations. Another Katharine Hepburn film with a strong female protagonist was DRAGON SEED (1944), directed by Harold Bucquet and Jack Conway. In this movie, Miss Hepburn was a Chinese woman who took on invading Japanese, leading her fellow citizens in a revolt against them. Yet another Katharine Hepburn vehicle was a feminist text, but with comical asides - George Cukor's ADAM'S RIB (1949). This time around, Miss Hepburn was a lawyer, in combat with husband Spencer Tracy, on opposite sides of the law table. A battle of the sexes, presented in a stimulating and humorous manner, it provided the reliable film team with great roles. Into the 1960s, several risk-taking films looked at the feminist theme with increasing honesty, and explicitness.

I AM CURIOUS - YELLOW (1967), directed by Vilgot Sjoman, was a Swedish film that pushed the cinematic boundaries of acceptability at the time of its release. With plentiful nudity, both male and female, sexual situations, examinations of women's desire, and politics, it was much banned all over the world, but mainly of interest now as a curio, and time capsule. Of a similar, but more comic nature was Richard Wilson's THREE IN THE ATTIC (1968). Three young woman discover that a man they unwittingly share as a boyfriend has been promising each of them loyalty, but they team up to serve him a taste of his own medicine. More dramatic was THE RAIN PEOPLE (1969), directed by Francis Ford Coppola. A young housewife leaves her husband, travelling cross country in her car, becoming involved with a former football player, and a dangerous policeman. Examining the female protagonist's feelings in detail, with a great performance by Shirley Knight, it was a rather turgid affair only notable for its acting. 

Barbara Loden's WANDA (1970) was like THE RAIN PEOPLE, but some differences. As with the lead of THE RAIN PEOPLE, Wanda was a housewife who wishes to escape her existence, but in this case, takes up with an underhanded man who makes her life difficult with his schemes. It is similar to THE RAIN PEOPLE as its lead also descends into a world of falsity which she finds difficulty comprehending. WANDA was notable, though, as it was directed by a woman, and overall mainly controlled artistically by its director, Barbara Loden. STAND UP AND BE COUNTED was another take on the themes of feminism, and women's liberation, containing elements from the above movies, adding its own food for thought.

What it had in common with the other films were female characters who, in many cases, were unhappy with their lives, and how they were seen by men, subsequently seeking to change this. Karen in the movie was probably the most adventurous in this respect - she wanted a child, but did not want the commitment of being with the man who is the father of her child. She only wanted him for his ability to impregnate her, with a healthy child, that she wanted to raise without him. This took out a leaf from the book of such films as CHRISTOPHER STRONG with its character who turned her back on conventions, and pursued romantic involvements seen as scandalous for a woman. It was also reminiscent of A WOMAN REBELS' protagonist, again doing what she wanted in her life, with hardly any thoughts of the place of a man in her life. There was also a slight similarity to I AM CURIOUS - YELLOW's female character, in that she did as she wished, without any regard for norms, or modes of behavior. The difference between the two films is that in STAND UP AND BE COUNTED Karen's predicament is handled in a more discreet, less exploitative manner than I AM CURIOUS - YELLOW's more overtly sexual character. STAND UP AND BE COUNTED also shared aspects of the other movies mentioned above, which it teased out with finesse.

Women rebelling against male influence and interference in their lives also featured in the film. Where films such as THE RAIN PEOPLE and WANDA had women leaving their husbands, and finding various consequences in their respective odysseys, in STAND UP AND BE COUNTED matters were of a different nature. While Yvonne stands up to her husband, a manufacturer of female underwear, and manages to begrudgingly win him over, Hilary is not as lucky. Her husband cannot accept the fact that she is now the breadwinner in their household, and this causes dissension in the marriage. Both of these situations are more true to life, and something that most people could relate to, than people taking to the road in THE RAIN PEOPLE and WANDA. Sometimes this is just not possible, as people cannot leave for one reason or the other, and just have to take whatever happens in their family homes. This adds a note of honesty and tragedy to STAND UP AND BE COUNTED.

Where STAND UP AND BE COUNTED also differed was in the sequences set in the lingerie manufacturing company. With its female staff fed up, and underpaid, it was a recipe for disaster, and the film explores this situation in both a serious, and humorous manner. The contrast between the male executives in their air conditioned offices, and the female workers in the sweat shop, is one of the best parts of the movie, exploring their respective points of view. The consequent riots of the female workers are well-staged, and a smooth combination of comedic, and dramatic elements without becoming heavy. In comparison to the other movies, it had a breezy humor that assisted in furthering its messages without becoming heavy-handed in tone. These are just a few examples as to why STAND UP AND BE COUNTED is a sound example of a film dealing with feminist, and women's liberation themes in an agreeable manner.

Overview: Jackie Cooper was an accomplished actor, in films from childhood, and later in the capacity of television producer and director, among his many credits. Mr Cooper directed only one film in his career, being STAND UP AND BE COUNTED. As this is the case, and there is not a second or further film to compare against by the director, on this basis, only this film will be dissected. STAND UP AND BE COUNTED is, overall, a good viewing experience. Mr Cooper has made an entertaining, thought-provoking film about the women's liberation movement, with events occurring at a good pace, and a smoothness overall to the movie. He deftly presents both sides of the equation, exploring his characters' feelings, and making these palpable to the audience. One can easily comprehend the viewpoints of both his male, and female characters. STAND UP AND BE COUNTED is a movie, though, that does not purport to be deep, or too heavy. The director has maintained the film as light and bright throughout, but with some touching, and telling passages that provide balance. Watching the movie, it is obvious that Mr Cooper has infused it with his expansive personality, especially in the scenes of comedy, which are enjoyable to watch. While the film has definite assets, it also possesses lapses and omissions which would have turned it from a good film, into one much better.

The assortment of characters and situations make for a film that is varied in its content, but there were some stories that did not have as much impact as others. This consequently made the movie lopsided, and at times emotionally uneven. The marital troubles of both Yvonne Kellerman and Hilary McBride made for the most satisfying viewing in terms of the portrayals of, especially, the wives but also, their husbands. The pathos felt by both wives is easily discerned, Mr Cooper adeptly bringing this to the fore. Unfortunately, some of the other stories do not spin out as well. While it is interesting having Sheila as the newspaper reporter, and exploring issues to do with women's liberation, the film does not follow up with the results of her investigations at the end of the movie. Having Sheila speak to her staff at the magazine about her discoveries would have rounded out her part in the movie, and given the story itself more power. In addition, another story in STAND UP AND BE COUNTED is problematic in its execution. Karen's mission to find a suitable candidate to father her child is somewhat amusing but, we never discover why she wants to do this in the first place. What made her wish to do this was not explored adequately, something that again would have strengthened the movie. As they were, these two stories needed much more development than they received. Further explanations, and rationales for characters' behavior would have bolstered the film considerably.

When it comes to the final analysis, STAND UP AND BE COUNTED, though, does reflect well on its director. While it could be described as a glossy comedy of suburban manners, and something that would do better as a television program, this is not entirely the case. Mr Cooper, in keeping the atmosphere airy, has included some comic highlights which do work in the film, and a cast that can ably deliver these without becoming childish. He did demonstrate a social conscience and understanding which translated into a film that both men, and women could enjoy. The director also kept the movie away from elements such as nudity and coarse language which would not have gelled with what was taking place onscreen. In an era when anything went in cinema in terms of content, Mr Cooper has to be lauded from steering the movie far from these. Adding these elements would have made an entirely different, and not as effective film, as STAND UP AND BE COUNTED turned out in its sound manner.

Acting: This is a movie where the acting is very much of a high standard overall. Jacqueline Bisset, as reporter Sheila Hammond, gives a great performance in the film. The part is more suited to her talents than in THE GRASSHOPPER, here her no-nonsense persona works well, and her British accent does not seem out of place, giving the film an international flair. As her boyfriend, airline pilot Eliot Travis, Gary Lockwood is likable, and compatible with Miss Bisset. His personality is better in view here than in the stagnant MODEL SHOP, where he was too restricted. Mr Lockwood's easy smile gives him an amiability that works to his advantage. As Sheila's sister Karen, Lee Purcell contributes a thoughtful performance as the enterprising young feminist who knows her own mind, and acts according to her inner compass. An actress who can easily play naughty or nice, she is both here, and does a fine job. As the man Karen pursues in the movie, Alex Wilson is great as the macho, humorous football player Karen wants as the father of her child. An actor who did not appear in many films, Mr Wilson here displays a gregariousness and winning charm that is fun to watch. Four other actors are worthy of mention here for their parts in the movie.

Anne Francine, as the mother of Sheila and Karen, makes an indelible impression as the liberated Mabel. A unique actress with a deep voice and slightly androgynous nature, Miss Francine is believable in her role, and has a fun sense of comedy well presented by the film. In a small role as Agnes, the ringleader of the older feminists, Nancy Walker is also excellent, although her part definitely should have been bigger, as she was an ace in comic repartee. As Hilary, the put-upon mother and wife, Loretta Swit contributes what is the most touching, realistic portrait of a woman not fully able to pursue her dreams in the movie. Miss Swit's trademark humor is in evidence here, coupled with an undercurrent of pathos that makes her Hilary a fully-rounded character. The final acting of note in STAND UP AND BE COUNTED was by Stella Stevens as Yvonne Kellerman, wife of the lingerie manufacturer. Miss Stevens is spotlighted well here in her role, acquitting herself fully as the underestimated wife wanting to be taken seriously, and deserved much more air time than she received. She blended drama and comedy very well here, and is one of Miss Steven's best portrayals on film.

Soundtrack: STAND UP AND BE COUNTED, most notably, features Helen Reddy's rendition of 'I Am Woman' at the very end of the movie, with lively instrumental versions of the tune at various points during the film. The movie also contains unrelated incidental music such as the piece played during the picketing outside Kellerman's Lingerie Company. In another music segment, Sonny and Cher's 'All I Ever Need Is You' is played during the scene with Sheila and Eliot's in-depth outdoor conversation.

Mise-en-scene: As with all Mike Frankovich productions, the sets are of a high standard, appropriate to the characters and their environs. Some examples are Mabel Hammond's comfortable family home, which had an easy suburban feel, Yvonne Kellerman's mansion, replete with swimming pool, and the modern apartment inhabited by Sheila and Eliot. Hilary McBride's family home has a realistic-looking kitchen, with items assembled in a manner to suggest an incredibly busy family life, complete with rowdy children. Moss Mabry's costuming is also spot on, making each and every character distinctive in terms of dress. Sheila's outfits are reflective of her fashion conscious agenda, being a reporter in the public eye, while Karen's clothes are in keeping with her feminist ideals, with more down to earth garments mainly consisting of plainer blouses and pants. Yvonne's clothing is more glamorous, with furs, and more funky outfits such as super mini skirts implying her being up to the minute in terms of fashion, and living a higher socio-economic level than the other female characters.

Notable Acting Performances: Jacqueline Bisset, Gary Lockwood, Lee Purcell, Alex Wilson, Anne Francine, Nancy Walker, Loretta Swit, Stella Stevens.

Suitability for young viewers: Suitable with parental discretion. Infrequent sexual references.

Overall Grade: B

Link: IMDB Page