KANSAS CITY BOMBER (1972)

Title: KANSAS CITY BOMBER

Year of Release: 1972

Director: Jerrold Freedman

Genre: Action, Drama

Synopsis: A young roller derby star dreams of becoming a champion on the circuit, but her personal life may get in the way of her ambitions.

Within a film history context: An abundance of movies over the years have been made about skating, such as the films of Sonja Henie, and roller skating, but the roller derby is a subject not often tackled in cinema. The first to deal with it was Tay Garnett's THE FIREBALL (1950). Following the exploits of a young man who becomes a roller skating champion, competing in the derby, it offered Mickey Rooney a meaty part in the main role. Many years later, in 1972, the same year that KANSAS CITY BOMBER was released, THE UNHOLY ROLLERS made its way to cinema screens. It was the tale of a young woman who becomes a roller derby champion, and details her personal, and professional lives. KANSAS CITY BOMBER was similar to these movies, particularly THE UNHOLY ROLLERS in charting the life of its protagonist, but was the best of the films about the roller derby. 

It is closest to THE UNHOLY ROLLERS in that it focuses upon a female lead character, and the audience becomes acquainted with her in an intimate manner. One finds out about her family, their place in her life, and how her relationships with others are influenced by her take on life, and decisions made. Her relationships with men are also explored, and that these are not any easier than those with the same sex. Both movies also feature a dynamic actress who ably evokes interest in the plight of the respective protagonist, and thus sympathy in the viewer. Where KANSAS CITY BOMBER diverts is in its focus upon the intricate emotional life of its lead character, K.C. Carr, and how this leads to consequences for her. While this is not to discount Karen Walker in THE UNHOLY ROLLERS, this film has more of an interest in exploitation elements such as sex, nudity, and coarse language, than presenting a fully dramatic portrait of its character. KANSAS CITY BOMBER is crisper in these areas, instead concentrating upon K.C.'s trials and travails, than permissive action. 

The sexual antics of Karen's friend, and her own are depicted in THE UNHOLY ROLLERS, but in KANSAS CITY BOMBER the affair between K.C. and team owner Burt Henry is suggested, and how the fallout from this affects other characters is clearly shown. In addition, the feelings of Hank Hopkins, and how K.C. stands up for him, is another standout segment of the movie. It takes things to another level in the film, giving depth to the characters, and the story, that it deserved. The subversive elements present in THE UNHOLY ROLLERS were not in evidence in KANSAS CITY BOMBER, such as Karen's tattoo session. In KANSAS CITY BOMBER, it was not just about a young woman wanting to buck the system to make it as with Karen in THE UNHOLY ROLLERS. K.C. in KANSAS CITY BOMBER strove to be the best she could, and came up against obstacles, but somehow managed to surpass these, which is an inspiring sentiment indeed. For these reasons, KANSAS CITY BOMBER stood above its movie counterparts as a whole.

Overview: Jerrold Freedman is the director of three motion pictures, being active in television, directing and writing for episodic prime-time programs, and helming twenty telemovies over the space of twenty-five years. Mr Freedman's second movie, BORDERLINE (1980) was an action film about a policeman on the trail of a smuggler responsible for his partner's death, with Charles Bronson in the lead role. The third, and final of Jerrold Freedman's pictures, NATIVE SON (1986) was set in the 1940s, and dealt with issues of race. A young black man assumes the role of chauffeur to a white family, but matters take a nasty turn when he unintentionally kills their daughter. His attempts to disguise his part in the crime might doom innocent parties to an unfair fate. KANSAS CITY BOMBER was Jerrold Freedman's motion picture début, and his most recognized cinematic work.

With KANSAS CITY BOMBER, Jerrold Freedman has crafted an entertaining, fast-moving film. The combination of drama, comedy, and action is well-handled by the director in his examination of the world of roller derby, and the personalities who make it come alive. While the life of lead character K.C. Carr takes center stage in the movie, there is also a rich tapestry of supporting characters who the movie spotlights in a savvy manner. The weaving of characters in an out of the narrative, and their reactions to events, give the movie balance. While the film in other hands could have been given over to the action sequences, which are plentiful in number here, one is given a sense that the people in the movie are authentic, and lead real lives away from the roller arena. K.C. Carr is portrayed as an ambitious young woman whose appearance, and persona, bring out the worst in some people without her even trying, which gives the film a realism and credence. The adage for K.C. of 'damned if you do, damned if you don't' makes matters all the more credible in the film. Sometimes whatever one does in life, others are never happy. Despite the fact that the movie does have its virtues, there are a number of flaws which do detract somewhat from its impact.

The interspersing of the personal lives of the characters between the action sequences is admirable, but in some instances, there is the sentiment that more of these scenes would have made a great film excellent. K.C.'s relationship with her mother, and son, are some of the best moments in the movie. The scene in which K.C. tries to connect with her young son, and fails in this mission, is one of the most touching parts in the entire film. Likewise, the emotional turmoil experienced by Jackie Burdette could definitely have been shown in greater detail. Jackie's drinking, and jealousy of K.C. are vividly presented, but, as with K.C. and her son, one yearns for more of these moments. The friendship of K.C. and Lovey could also have been extended as it was another true-to-life story. The relationship of K.C. and Burt Henry, though, was documented in detail, in comparison to the other threads, and not as abrupt in its resolution. In all, though, and despite several deficiencies, KANSAS CITY BOMBER does have the courage of its convictions. It is an action-packed motion picture which not only diverts but also, offers its audience a thoughtful backbone to all its visual razzle dazzle.

Acting: KANSAS CITY BOMBER boasts great performances from a talented cast. In the lead role of K.C. Carr, roller derby champion, Raquel Welch is in one of her best early roles. An actress with a poise, and dignity, which is too often overlooked in favour of her physical appearance, she is believable as an honest young woman seeking fame on the derby circuit. As the manager of the roller derby, Kevin McCarthy exudes an ease as the older man used to getting what he wants, which includes the attention of K.C. Carr. With his handsome looks and way about him, Mr McCarthy convinces as Burt Henry. As Jackie Burdette, K.C's rival on the roller circuit, Helena Kallianiotes excels. Making an impression as the volatile woman prone to fighting, drinking, and jealous spats, Miss Kallianiotes makes the most of her meaty part. Another pithy role is that of Hank Hopkins, played by Norman Alden. As K.C's only friend on the circuit, Mr Alden brings a touching slice of sympathy to Hank which gives the movie a melancholic edge. Four other actors deserve mention whose individuality infuses the movie.

Katherine Pass, as Lovey, K.C's first friend, is delivered with realism and frankness by the actress. A performer who unfortunately has not been active in movies since the 1980s, she brings a note of loyalty and real friendship to the movie. Mrs Carr, K.C.'s mother, is brought to life by character actress Martine Bartlett. An actress who played mother roles to perfection, Miss Bartlett strikes a chord as the righteous maternal figure. Randy, a Lothario with wandering hands, is made memorable by William Gray Espy. An actor who made his mark on daytime soap operas with his singular presence, here he shows cheeky magnetism as the irreverent Randy. The final acting of note was by Jeanne Cooper as Vivien, the coach of the roller derby team. As with William Gray Espy, Miss Cooper was notable for her work on daytime serials, and here shows her authority as the no-nonsense, gravelly-voiced Vivien.

Soundtrack: KANSAS CITY BOMBER has a subtle soundtrack, by Don Ellis, which is a nice contrast to the highly audible roller derby action scenes. It is generally employed during the movie's quieter moments, such as the sequence where K.C. and Burt converse on the waterfront. The boldest musical piece is the film's theme song which is played both during the opening, and closing credits.

Mise-en-scene: Attention has been duly paid to the onscreen experience for viewers in KANSAS CITY BOMBER. Cinematography by Fred Koenekamp is beautiful, the roller derby scenes colorful, but not to a garish degree. The scenes away from the roller derby have also been handled nicely, with a softer use of colour creating a point of difference with the red hues in the stadium. Editing by David Berlatsky is smooth and satisfying, giving the film a grace in this department. Costuming by Ronald Talsky shrewdly takes into account the personalities of the film's characters and their roles in the narrative. Notable instances of costuming are the stylish uniforms worn by K.C. and Jackie, Burt Henry's elegant suits, and Mrs Carr's more everyday attire. Interior locations are all excellent, from Mrs Carr's house, Lovey's houseboat, Burt's office, to the roller derby stadium. Exteriors are likewise of a high standard, with the outside of the Carr family home, and the train station just some examples.

Notable Acting Performances: Raquel Welch, Kevin McCarthy, Helena Kallianiotes, Norman Alden, Katherine Pass, Martine Bartlett, William Gray Espy, Jeanne Cooper.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

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ALOHA, BOBBY AND ROSE (1975)

Title: ALOHA BOBBY AND ROSE

Year of Release: 1975

Director: Floyd Mutrux

Genre: Drama, Romance, Action, Crime

Synopsis: A garage mechanic and a fast food employee fall in love, but his impetuous behaviour one evening lands them both in deep trouble with the law.

Within a film history context: Films about lovers on the run have been featured many times in cinema. One of the first was William Wellman's BEGGARS OF LIFE (1928). A young woman kills her stepfather, and takes to the road with a young man. They indulge in various adventures while eluding the law, the young woman also dressing as a man to conceal her identity from the authorities. In BARBARY COAST (1935), directed by Howard Hawks, a woman and her true love run away from the scheming casino owner who tried to dominate her life in this film set in 1850s San Francisco. Nicholas Ray's THEY LIVE BY NIGHT (1948) was about a young woman who falls in with an escaped convict, and is drawn to him, and into his criminal doings. With GUN CRAZY (1950), directed by Joseph Lewis, a husband and wife crime duo with a penchant for arms use guns to steal, but the wife is more trigger-happy, and deadly to others, than her spouse in this film noir. Jean-Luc Godard's BREATHLESS (1960) revolved around a petty criminal who kills a policeman, and goes on the run. He hooks up with a young American woman, and they fall in love, but she eventually finds out about his crimes. Another Jean-Luc Godard French film, PIERROT LE FOU (1965), also starred Jean-Paul Belmondo in the lead. This time around, a man leaves his wife, and life, and takes up with an old girlfriend who is involved in criminal activity. 

One of the most famous films about lovers on the run was Arthur Penn's BONNIE AND CLYDE (1967). Based upon the real-life story of criminals Bonnie Parker and Clyde Barrow, who teamed up to rob banks, and killed many people along the way, it was a turning point in cinema for depictions of violence, and a deserved box office success of its time. THE GETAWAY (1972), directed by Sam Peckinpah, was another film with a substantial amount of violent content. A man is freshly released from jail after serving time for armed robbery, and undertakes another robbery with his wife's support, but things take many twists and turns in this suspenseful movie. Equally intense was Terrence Malick's BADLANDS (1973). A young woman in a Southern town hooks up with a footloose young man, and they embark on a killing spree across the United States, the man responsible for the carnage. Based upon the real-life crime spree of Charles Starkweather and Caril Ann Fugate in the late 1950s, it was a critically acclaimed movie that was thoroughly well-made and acted. Another film based upon real events, THE SUGARLAND EXPRESS (1974), was directed by Steven Spielberg. In this movie, a woman assists her husband to escape from jail, in order to kidnap their son who will be placed in the care of foster parents. Along the way they take a policeman hostage, and roam the country in their car to avoid capture. ALOHA BOBBY AND ROSE was reminiscent of many of the films about lovers on the run, but had its own distinct traits.

It was similar to the movies where a young woman is pulled into the criminal life of her other half, such as THEY LIVE BY NIGHT, BREATHLESS and BADLANDS. Where ALOHA BOBBY AND ROSE differs, though, is that Rose has the most obvious discomfort with boyfriend Bobby's activities. She has the most active conscience of all the female characters who have been propelled into their lover's life of crime. This is displayed in the scenes such as after the accident, and her reaction to this incident. Aside from this, Rose also stands out as she has a young child and a mother, which gives her a depth lacking from some of the other portrayals. It was a more real-life, relatable story for Rose than others, such as BEGGARS OF LIFE, which amped up the melodramatic personal lives of its female characters. BONNIE AND CLYDE, as a matter of fact, did feature Bonnie's mother in a short sequence, but in comparison to ALOHA BOBBY AND ROSE, did not have the same depth, despite giving another insight into Bonnie. Rose being both a mother, and a daughter gave the movie a tragic quality, whereby she loves Bobby, but is also mindful of her responsibility to her child. The film's treatment of Bobby is also interesting for various reasons.

Unlike many of the movies with a criminal male protagonist, such as THEY LIVE BY NIGHT, BREATHLESS, PIERROT LE FOU, BONNIE AND CLYDE, and BADLANDS, Bobby in ALOHA, BOBBY AND ROSE is not actively criminal in his nature and actions. He is more of the rebellious and irreverent type, someone whose reckless behaviour lands him in hot water, something for which he is not prepared. Bobby is not premeditated in his actions, which Kit indeed was in his bloodless disregard for human life in BADLANDS. Romancing Rose was Bobby's main intention in ALOHA, BOBBY AND ROSE, something that the male characters of BONNIE AND CLYDE, and BREATHLESS possessed to a smaller degree in their narratives. There was a sweetness, and a quality of being misunderstood, that made Bobby one of the most comely of the male characters landing in hot water with the law. These are some of the reasons why ALOHA, BOBBY AND ROSE is one of the most interesting of the films with a lovers on the run theme.

Overview: Floyd Mutrux is the director of five feature films over twenty-three years, his first being released in 1971, and his final one in 1994. His inaugural movie, DUSTY AND SWEETS MCGEE (1971) was a drama about two young drug addicts in Los Angeles, roaming the streets, and documents their lives. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about the 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. His penultimate picture, box office success HOLLYWOOD KNIGHTS (1980) was a variation on AMERICAN GRAFFITI, following the antics of car club members in the mid 1960s. Floyd Mutrux's final movie, THERE GOES MY BABY (1994), was another foray into 1960s America, this time charting the lives of several Los Angeles high school students, and their reactions to events in the society of the time. ALOHA, BOBBY AND ROSE was not only one of Floyd Mutrux most-recognized works, but was also popular commercially.

With ALOHA, BOBBY AND ROSE, Floyd Mutrux has made a movie which captures a definite mood and spirit of the mid-1970s in a most convincing manner. In what is essentially a love story played out against the backdrop of real-life obligations, loyalty, crime, and the consequences of one's actions upon their lives, ALOHA, BOBBY AND ROSE is blessed with a vivid sense of time, and place, that not all films can readily boast. One is swept up by the emotions of the characters, the unhurried nature of their blossoming love story, and the doses of reality that the film dispenses from time to time. The relationships of Bobby and Rose, Rose and her mother, and their interactions, all ring true in an emotional sense. In addition, there is an irresistible quality to the film's spotlighting of the various locations which add an air of verisimilitude to the action. From the gas stations to the take away diners, the shops on the street, these seem to have a life of their own. While ALOHA, BOBBY AND ROSE has certain virtues, there are some flaws which, unfortunately, take away from the film's power.

The first third of the movie is the best in terms of laying out to the audience the central relationships, and why people do what they do in the narrative. Rose's union with her mother, what binds them together, Rose's loyalty to her son, and how life events put her in the position she is, are all explained to the viewer. Once Bobby enters the picture, and how his actions affect his, and Rose's life, are compelling to witness. Where ALOHA, BOBBY AND ROSE comes unstuck, though, is in the second third of the movie, where the heart-stopping action comes to an end. The entrance of Buford and Donna Sue into the picture, while giving the film another point of interest, unfortunately bogs the movie down in talk and a lack of action, thereby cutting the suspense level considerably. One wants to see how Bobby and Rose will evade capture, and other things that could have happened, but this never takes place. Showing Rose's mother toward the end of the movie takes the film back to a good emotional plane, but by then it is too late. When the conclusion arrives, while shattering, its impact has been undercut by the second third of the movie, and its listlessness. This hurts the movie in an irreparable way. What could have been a great movie becomes rudimentary. A picture that runs its audience hot and cold by its lack of cohesion, ALOHA, BOBBY AND ROSE is a film that could have been so much better with firmer handling.

Acting: ALOHA BOBBY AND ROSE has a triad of terrific performances which boost the movie despite its inadequacies. As the restless Bobby, Paul Le Mat gives another of his distinctive portrayals. An actor who was one of the shining lights in AMERICAN GRAFFITI, here he also does likewise, but adds a further element of danger and romance that were not present in the other movie, nicely delivered by Mr Le Mat. His ladylove Rose, played by Dianne Hull, is another standout performance. Getting deep into the core of her character, Miss Hull makes Rose someone who could really exist, and her acting provides the movie with its second authentic role. Martine Bartlett, Rose's mother in the film, rounds out the singular acting in the movie. An actress whose presence alone oozes realism, saying much without dialogue in many instances, along with Dianne Hull, makes the mother-daughter relationship one of the best aspects of ALOHA BOBBY AND ROSE.

Soundtrack: ALOHA BOBBY AND ROSE has a great rock soundtrack, with a varied number of songs which pleasingly pepper the movie at just the right moments. The best use of a tune is Elton John's 'Bennie and the Jets' which is played at both the beginning and end of the film, and throughout on sporadic intervals. It nicely sums up the relationship between Bobby and Rose, and is especially memorable at the picture's end.

Mise-en-scene: ALOHA BOBBY AND ROSE offers viewers an evocative on screen experience. Cinematographer William A. Fraker captures both the interior, and exterior Los Angeles locations in a beautiful manner. Daytime locales such as the diner where Rose works, and the garage where Bobby is employed all exude verisimilitude, and casual comfort. Nighttime photography is where the movie is at its height, with images of the freeways, Bobby and Rose riding in the car, the convenience store scene, to name some examples, all perfect.

Notable Acting Performances: Paul Le Mat, Dianne Hull, Martine Bartlett.

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

Overall Grade: C

Link: IMDB Page

Trailer