LOVERS AND OTHER STRANGERS (1970)

Title: LOVERS AND OTHER STRANGERS

Year of Release: 1970

Director: Cy Howard

Genre: Comedy

Synopsis: Mike and Susan are preparing for their upcoming marriage, but their family and friends have their own marital, and other issues with which to deal.

Within a film history context: There have been a great variety of movies over the years with an Italian-American male central character. One of the first was Reginald Barker's silent THE ITALIAN (1915). An Italian man seeks to build a new life in America, awaiting the arrival of his love from Italy. Their life together in the United States, though, is filled with heartache and pain, in this affecting early movie. Into the sound era, THE GUILTY GENERATION (1931), directed by Rowland Lee, had two Italian-American gangsters battling it out for supremacy, but their feud takes a surprising turn when their son and daughter, respectively, fall in love. One of the most famous movies about an Italian-American was Howard Hawks' SCARFACE (1932). The life and times of a violent, and unrepentant gangster was the focus here, with Paul Muni in a top role as the complex Tony Camonte. 

Decidedly different in tone was HUDDLE (1932), directed by Sam Wood. A young Italian-American man working in a steel mill yearns for a better life, winning a scholarship to Yale, but his family background may work against him in this romance. Charles Reisner's THE WINNING TICKET (1935), was a comedy about an Italian-American barber who purchases a lottery ticket, which turns out to be the winning one, but the subsequent loss of the ticket causes nothing but mayhem in this light film. MAN OF THE PEOPLE (1937), directed by Edwin Marin, featured an Italian-American attorney in a difficult predicament - he tries to be of assistance to those who need it, but mobsters are the ones who can make it happen for him. Bernard Vorhaus' FISHERMAN'S WHARF (1939), followed an Italian-American fisherman, and his personal troubles, particularly those incited by others. 

With THEY KNEW WHAT THEY WANTED (1940), directed by Garson Kanin, an Italian-American vintner sets in motion a twisted chain of events in his pursuit of a young woman via a letter, which conceals his true identity. In contrast, Robert Siodmak's CRY OF THE CITY (1948), was of a power struggle between a policeman, and his opponent, an unsparing criminal, two Italian-Americans who were former friends, over the latter's unseemly activities. In a similar yet different vein was KNOCK ON ANY DOOR (1949), directed by Nicholas Ray. A lawyer defends a young Italian-American man of murder by painting a picture of a disadvantaged youth drawn into crime, but the effectiveness of this is at the core of this picture. Joseph Mankiewicz's HOUSE OF STRANGERS (1949), revolved around an Italian-American man whose three brothers allow him to go to prison, and his retaliation when he leaves jail.  

Crime again made its mark in BLACK HAND (1950), directed by Richard Thorpe. A man whose father was killed by the Mafia years ago comes to avenge his death in New York City. Fritz Lang's CLASH BY NIGHT (1952), had an Italian-American fisherman becoming involved with a mysterious woman, who may have designs on another man, being his friend. FROM HERE TO ETERNITY (1953), directed by Fred Zinnemann, was a World War II drama with an Italian-American supporting character, Maggio, played to perfection by Frank Sinatra in this pungent, highly popular movie. Another serious movie with an Italian-American character was Delbert Mann's MARTY (1955). The touching story of a butcher, and a teacher was a triumph for its lead, played by Ernest Borgnine, winning Oscars not only for Mr Borgnine but also for Best Picture, Director, and Screenplay. SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was the biopic of Italian-American boxer Rocky Graziano, charting his early life, to his prizefighting as an adult. Elia Kazan's racy BABY DOLL (1956), was the story of a young Mississippi woman who wraps men around her little finger with utter ease. The main one in this position was her husband, the other, an Italian-American cotton farmer, to whom she takes a shining in this controversial film. 

THE MIDNIGHT STORY (1957), directed by Joseph Pevney, featured an Italian-American policeman whose father figure, and friend, a priest, is killed, and sets out to discover who committed this crime. Phil Karlson's THE BROTHERS RICO (1957), followed an Italian-American man who thought that he was done with the Mafia, but whose brothers force him into involvement again with the mob. WILD IS THE WIND (1957), directed by George Cukor, was a move away from crime themes into character-driven territory. An Italian-American farmer brings a woman from Italy, the sister of his late spouse, to be his second wife, but his treatment leads her to fall for her new husband's ranch hand. Crime once again made its presence felt in Richard Wilson's AL CAPONE (1959). The life of the infamous criminal was dissected here, with Rod Steiger in the lead role. INSIDE THE MAFIA (1959), directed by Edward L. Cahn, was yet another crime saga with an Italian-American protagonist. This time, a crime kingpin back in America pulls strings to dispatch his opposition, subsequently ingratiating himself into other situations. 

Real-life crime incidents were depicted in Richard Wilson's PAY OR DIE! (1960). The life of Italian-American New York City policeman Joe Petrosino's life was the focus, particularly his efforts to quash organized crime at the turn of the 1900s. A softer approach was evident in LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. An Italian-American musician has a one-night stand with an Italian-American department store assistant, their difficulties heightened when she falls pregnant, and their dilemma as to what they will do with the baby. A crime angle again infused Gordon Douglas' TONY ROME (1967). In this instance, an Italian-American private detective is assigned by a man to locate jewels stolen from his young daughter, with many twists and turns along the way. WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese, revolved around a young Italian-American man, and his relationship with a young woman, which is affected by events from her past that haunt him. LOVERS AND OTHER STRANGERS took a dissimilar approach to its depiction of an Italian-American man.

Many of the movies in this category were of Italian-American men linked to organized crime, or other illicit activity. LOVERS AND OTHER STRANGERS diverted from this model, firstly, with its comic orientation, and secondly, a more family-centric story structure. HOUSE OF STRANGERS and THE BROTHERS RICO were the two films which explored a family dynamic more so than others, but these were of a dramatic nature. The conflict between brothers in these was presented strongly, but in LOVERS AND OTHER STRANGERS, the brothers are decidedly friendlier in their dealings. This is in keeping with the picture's breezy, upbeat tone. This is not to say, though, that Mike's family are any less defined than the previous two examples. LOVERS AND OTHER STRANGERS is at pains to show the Italian-American Vecchio family in detail, also including Mike's parents and brother. This provides different perspectives from each family member which greatly adds richness to the film. Other facets of the movie are worth considering. 

While Mike in LOVERS AND OTHER STRANGERS is a main character, and his marriage preparations are juxtaposed to the situations of his family, and other guests, he does take a backseat somewhat to the associated narrative activity. This is as LOVERS AND OTHER STRANGERS follows a multi-character arrangement, whereby the lives of almost a dozen people aside from Mike and fiancée Susan are compared, and contrasted with the couple. The Vecchio family is shown alongside Susan's family, the Hendersons, who have a world of their own, with some marital tensions thrown in. Mike and Susan could be posited as being the most 'normal' of their family and friends as all they wish to be is together, without any complications, which do hinder some of the other couples in the movie. Mike's status as an Italian-American man, also, is not made an issue in the film. It as such downplays the race angle, with him thereby accepted by an American family for their daughter. There is not the attribution of Mike being a criminal, a hood, or a boxer in the picture, and this allows for another vision of Italian-American manhood away from stereotypical perspectives from other examples. A refreshing view of an Italian-American male character, LOVERS AND OTHER STRANGERS offers a stimulating change of pace in this respect.

Overview: Cy Howard was an American director with only two directorial efforts to his credit, being much more active on television as a writer, and producer on prime-time series, and telemovies. His final film, EVERY LITTLE CROOK AND NANNY (1972), was a comedy of errors about an Italian- American New York gangster who forces a teacher to vacate from a building he has just acquired, despite her having a long lease there. What eventuates is a twisted chain of events whereby the teacher seeks revenge by acting as a nanny, which leads to many other comic consequences for both herself, the gangster, and others. LOVERS AND OTHER STRANGERS was Cy Howard's first movie, and his finest achievement as a director.

Cy Howard has crafted a highly entertaining, engaging motion picture with LOVERS AND OTHER STRANGERS. Taking as its focus a young, engaged couple slated to be married, and surrounding this story arc with the accompanying personal events of their family and friends, it is a smoothly-rendered, astute piece of filmmaking. Mr Howard has succeeded in making his characters real and relatable, without ever slipping into caricature. The screenplay examines the minutiae of human relationships, and clearly explains to the audience exactly where the characters are coming from. The viewer becomes intimately acquainted with what is occurring onscreen, and the movie is akin to watching the lives of real people unravel. Although LOVERS AND OTHER STRANGERS is an intensive work, and attempts to cover all the bases, there are some sections which are lacking when considering the picture as a whole. 

Giving airtime to all the many relationships in the film is a good quality of LOVERS AND OTHER STRANGERS, but this does leave one of these segments less coverage than it should have received. One would expect to witness more of Mike and Susan's appealing union, but this does not happen. They appear fitfully, and while their scenes are all of a high standard, it leaves one yearning to see more of them. Mike's standoffish behaviour, and Susan's quiet spitfire nature are not utilized sufficiently. Another deficiency is the treatment of Bernice, Hal's wife. Having the spirited Bernice only function as a comic prelude to scenes of husband Hal with Kathy is disappointing. There was something special in the character of Bernice, and not finding out more about her was one of the biggest drawbacks in the movie. Aside from these flaws, and putting these to one side, some things can be said about LOVERS AND OTHER STRANGERS. It is an agreeable picture which deserves its status as one of the premier comedies of the 1970s, and Cy Howard's best movie. 

Acting: It is undeniable that LOVERS AND OTHER STRANGERS contains many distinctive performances which ensure it remains delightful throughout its running time. As Mike, a young man slated for marriage, but uncertain if it is really for him, Michael Brandon is in one of his best early performances. A player who gets to the heart of his characters in a straightforward manner, never seeming actorish, he adds punch whenever he is onscreen. Mike's fiancée Susan is given equally formidable treatment by Bonnie Bedelia. With her intuitive edge, and charming manner of speaking, Miss Bedelia matches well with Michael Brandon as the more emotionally secure half of this couple. Bea, Mike's vocal mother, is made memorable by Bea Arthur. With her dominant voice and no-nonsense way of doing things, Miss Arthur provides some of the most touching, funny scenes in the movie. Bea Arthur is more than matched every step of the way by Richard Castellano as Frank, her impassive husband. Seeing beyond Frank's hangdog expressions and sullen behaviour, Mr Castellano makes Frank an identifiable husband, and father figure in the film, with a surprising vulnerability displayed at the end of the picture. Susan's mother Bernice is played with sweetness and light, but intelligence, by Cloris Leachman. While Miss Leachman has not been employed to full capacity here, nevertheless, her glowing presence is still welcome. Five other actors give excellent accounts of themselves in LOVERS AND OTHER STRANGERS.

The pained but sympathetic Kathy is played with utter assurance by Anne Jackson. With the ability to make her character, who appears comic on the surface, and to infuse her with a pathos which gives this other woman sheer substance, is a resounding testament to this talented actress. At the other end of the emotional spectrum, the sharp-tongued Wilma tosses her barbs with panache courtesy of Anne Meara. Miss Meara is fun either sparring with husband Johnny, grumbling about her mother-in-law, and generally adding spice wherever she is present. Wilma's macho husband Johnny is another unique acting contribution, with Harry Guardino in full force with Anne Meara, as Johnny and Wilma duke it out in this battle of the wills, and sexes. Susan's bookish cousin Brenda comes alive in the person of Marian Hailey. With her insistent tone of voice, and references to books, Brenda is another lively figure in this gallery of characters. The final acting of note is by Diane Keaton as Joan, daughter-in-law of Bea and Frank. Appearing in the final section of the movie, Miss Keaton bestows another perspective on marriage in LOVERS AND OTHER STRANGERS, which allows it to come full circle with her congenial, but astute, portrayal of a woman in a marital crisis.

Soundtrack: LOVERS AND OTHER STRANGERS has an effective soundtrack which covers all the bases in terms of the movie's intentions. The opening credits sequence has a rendition of 'Comin' Thru To Me' by Country Coalition between scenes which contain witty dialogue and action, punctuating this well. 'For All We Know', performed by Larry Meredith, is featured in the scenes leading to Mike and Susan's wedding, and also, in a different version during the closing credits. It is more reflective in tone than the previous tune, deftly emphasizing the delicacy of the relationships in the movie. This is presumably to highlight the poignancy of the main relationships in the film, but it is replaced by the livelier 'Comin' Thru To Me' once more at the conclusion of Mike and Susan's scene in their apartment.

Mise-en-scene: LOVERS AND OTHER STRANGERS creates a believable world which the characters inhabit in the picture. Cinematography by Andrew Laszlo is beautiful, the Metrocolor film stock making everything appear natural, both indoor, and outdoor sequences. Alan Hicks' set decoration is also excellent, drawing nice contrasts between Mike and Susan's apartment, the comfortable, homey Vecchio family home, and the more elaborate Henderson residence. There is the subtle reference to socioeconomic status with this, but this is not something aggressively pursued by the movie. Costuming is also another great asset to the movie, with Albert Wolsky's creations, particularly for the actresses during the wedding and reception segments, elegant, and appropriate to each character. The opening sequence is also striking, with a conversation between Mike and Susan intercut with cast and crew credits, and Wayne Fitzgerald's two colour film title nicely set against a black background.

Notable Acting Performances: Michael Brandon, Bonnie Bedelia, Bea Arthur, Richard Castellano, Cloris Leachman, Anne Jackson, Anne Meara, Harry Guardino, Marian Hailey, Diane Keaton.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

JENNIFER ON MY MIND (1971)

Title: JENNIFER ON MY MIND

Year of Release: 1971

Director: Noel Black

Genre: Drama, Romance

Synopsis: Marcus, a young man from New York City falls in love with a young woman, Jenny from New Jersey, while they are both in Venice, and follows her back to the US, their love story ending in tragedy.

Within a film history context: Drug addiction, and its attendant consequences, have been explored many times over the course of film history. One of the first to deal with the issue was D.W. Griffith's FOR HIS SON (1912) which charts a man who develops a drug-laced drink for financial gain, until his son becomes addicted to the narcotic, and passes away. A moral tale for the times, it was one of several dealing with the issue during the silent period. THE SECRET SIN (1915), directed by Frank Reicher, featured Blanche Sweet in a dual role as twin sisters, one of whom becomes addicted to drugs. Further films during the silent screen examined the effect of drugs on lives in an intensive fashion.

1917's LOVE OR JUSTICE, directed by Walter Edwards, revolved around an lawyer who becomes hooked on drugs, this hampering his professional life to no end. One of the most notable films about the evils of drugs was HUMAN WRECKAGE (1923), co-directed by John Griffith Wray and Dorothy Davenport. This was a very personal project for actress Dorothy Davenport as her husband, silent screen star Wallace Reid, had succumbed to drug addiction in a sanatorium in 1923. Miss Davenport from herein devoted her life to the awareness of drugs, and the destructive effect they have on the life not only of the addict but also, their families. Passing from the silent into the sound era, the 1930s brought forth interesting depictions of drug addiction to the screen.

Mervyn LeRoy's THREE ON A MATCH (1932), starring Joan Blondell, was the cautionary tale of a young woman who falls into a promiscuous lifestyle and drug taking. THE MASQUERADER (1933), directed by Richard Wallace, starred Ronald Colman as a politician hooked on drugs. One of the most notorious anti-drug movies was 1936's REEFER MADNESS, with good-time teenagers holding wild parties and smoking marijuana.

Moving into the 1950s, Otto Preminger's THE MAN WITH THE GOLDEN ARM was notable for its realism at the time, with a junkie's life turned upside down not only by his addiction but also, gambling. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, was another film of a similar nature, with a Korean War veteran battling morphine addiction. Traversing into the 1960s, one of the most popular films to deal with drug addiction, in a more sensational manner, was Mark Robson's VALLEY OF THE DOLLS (1967). A huge success at the time, adapted from Jacqueline Susann's blockbuster novel, it dealt with the effects of drugs, the 'dolls' of the title, on two of the main characters. More a romance in intention than an examination of drug addiction, nevertheless, it treated its drug theme in a less serious manner than the other movies.

In comparison to the previous eras, the 1970s tackled the issue of drug addiction in a more vigorous, explicit way than that had thus been presented to audiences, the breakdown of censorship a major player in this movement. THE PANIC IN NEEDLE PARK (1971), helmed by Jerry Schatzberg, was a revealing examination of several heroin addicts in New York City, complete with scenes of injections. Floyd Mutrux's DUSTY AND SWEETS MCGEE (1971) spotlighted a couple who use drugs, with disastrous results. BORN TO WIN, directed by Ivan Passer, was another entry from 1971, with George Segal as an addict who not only turns his life upside down but also, does likewise with other people such as his girlfriend. JENNIFER ON MY MIND, as a film dealing with drug addiction, differs from these films in several major ways.

While these movies were generally realistic in their approach to this social problem, JENNIFER ON MY MIND was decidedly a black comedy in its intention, not wishing to provide a genuine depiction of drug addiction. It was an uneasy mix of black comedy, drama and romance, highly unlike the other films which largely possessed continuity and depth. Notable for its lack of success in almost every department, JENNIFER ON MY MIND will most likely be remembered as a failed experiment that could have been so much better than the final product audiences viewed at its release.

Overview: During his cinematic career, Noel Black guided seven motion pictures, ranging from black comedy to comedy, sex comedies to thrillers. Beginning with black comedy PRETTY POISON in 1968, Mr Black also directed such films as the distinctive COVER ME BABE (1970), thriller MIRRORS (1978), and sex comedy PRIVATE SCHOOL (1983), his final movie. JENNIFER ON MY MIND was his third cinematic outing, but, unfortunately, not one of his best efforts.

The movie was adapted to the screen by Erich Segal from a novel written by author Roger L. Simon in 1968. For Mr Segal, the scribe behind LOVE STORY, the super-hit from 1970, in the case of JENNIFER ON MY MIND, lightning did not strike twice. The film version of JENNIFER ON MY MIND is largely a tasteless, strange exploration of the relationship between a young man and woman which is wrecked by drug addiction. What might have seemed off-the-wall, and of the times on paper does not work as well on screen. The black comedy elements of the plot fall flat in a major manner, due to their lurid nature. While the backwards and forwards flashback nature of the plot depicting the relationship is satisfactory, what hampers the film is its overall silliness.

Unlike Mr Black's other movies, JENNIFER ON MY MIND seems to exist in a world where no rules of the universe apply to the characters. There is little, if hardly any, cause and effect in the movie. Events just occur, but they do not lead to anything major, with the exception of the final scenes between Marcus and Jenny. While many 1970s movies were non-traditional in their narratives, there was a semblance of logic to these movies, but coherence is not in evidence in JENNIFER ON MY MIND. What would have made the film infinitely better is if it followed a more mainstream approach in its storytelling than the highly unsatisfactory route that it took.

If JENNIFER ON MY MIND depicted the central relationship in more realistic terms, such as the lead character eventually finding out Jenny was on drugs in a spare manner, it would have been much more suspenseful than what panned out on screen. If Marcus was also written as himself being not involved in drugs, there would have been further sympathy for his plight. This could have been a highly moving, intelligent film if its idiosyncrasies were reined in, and the sensational aspects removed. Having the body in the piano, or in the swing chair, for example, did not assist its cause. These aspects by and large rule out, and overshadow, the final scenes between Marcus and Jenny which are powerful, and the best part of the film. One of the least satisfactory films of the 1970s, and from Noel Black, JENNIFER ON MY MIND left me with the sad impression of opportunities lost, and a director not in the best form that he possibly could have been.

Acting: This is a film where the spectacle, and bizarreness of the plot take precedence over the performances, but, in one instance, there is a notable acting contribution in the movie. Michael Brandon deserves praise for holding JENNIFER ON MY MIND together, his acting making the unbelievable palatable; without him, the film would have been even lesser of an effort than it was. While his co-star, Tippy Walker, does a sound job overall in the film, her best moments arrive at the end of her screen time. The film largely portrays her as being distant and inaccessible, which is unfortunate. Once the scenes where she proves how good she is an actress occur, it is too late for the film as a whole. Other actors also fall to the same fate in the movie, with lost chances for great acting missed.

Renee Taylor, as Michael Brandon's sister, is totally wasted in a tiny role. After seeing Miss Taylor in MADE FOR EACH OTHER, is it obvious that she is a great actress, but she is not used properly to create the suspense that should have been present. While Robert De Niro's role as a gypsy taxi driver is amusing, again, it is another performer not used to best effect. Both of these examples are symptomatic of the film as a whole; if the plot was more credible, the entire cast could have performed in a much more passionate manner, and the film would have been better overall.

Soundtrack: JENNIFER ON MY MIND has a pleasant, thoughtful 1970s soundtrack which, especially, complements the romantic scenes between Marcus and Jennifer. In a roundabout manner, the soundtrack is also suitable for the incongruous opening titles, though, which chart the journey of Marcus' ancestors to a new home in the US from abroad.

Mise-en-scene: JENNIFER ON MY MIND is efficient in its use of scenery and indoor sets. Variously shot in Venice, New York City and New Jersey, it features outdoor location scenery that is beautifully filmed. The scenes in Venice where Michael Brandon courts Tippy Walker, and at her family estate, particularly the swimming pool sequences, are well done, adding atmosphere to the film. The apartment that Marcus shares with Jenny is a typical 1970s abode with furniture of the era, but is thankfully devoid of red or dark hues which can appear as garish onscreen, preferring neutral tones.

The opening credits sequence, though, is one of the oddest segments of JENNIFER ON MY MIND. Featuring the history of the characters used to inform the audience of their background is a strange choice, and considering that the film tried to posit itself as both a romance and exploration of drug addiction, inappropriate for the film. A better introduction would have been a montage featuring the film's characters in scenes or images with the credits overlaid, making it less like a non-fiction documentary, and more the film it was.

Award-worthy performances in my opinion: Michael Brandon.

Suitability for young viewers: No. Adult themes, drug use.

Overall Grade: D

Link: IMDB Page

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