Title: THE MAGIC GARDEN OF STANLEY SWEETHEART
Year of Release: 1970
Director: Leonard Horn
Genre: Drama
Synopsis: A young aspiring filmmaker living in a Manhattan apartment conducts a hedonistic lifestyle filled with free love and drugs, but becomes unstuck in the process.
Within a film history context: There were several movies which looked at college dropouts as a subject in film history. One of the first was Charles Guggenheim and John Stix's THE GREAT ST. LOUIS BANK ROBBERY (1959). A college dropout becomes enmeshed in a planned bank robbery which does not quite proceed as originally envisioned. HAIL, HERO! (1969), directed by David Miller, followed a young man who drops out of college to enlist in the Vietnam War. His methodology is simple; join the army, and spout notions of peace, without violence and death. Alan Pakula's THE STERILE CUCKOO (1969), was about the tender affair between two college students. This time around, the college dropout was a female character instead of a male, but her mental instability takes its toll on her. SUMMERTREE (1971), directed by Anthony Newley, surveyed the life of a college dropout, his relationship with a nurse, and opposition to the Vietnam War, among matters. THE MAGIC GARDEN OF STANLEY SWEETHEART proffered another position on a college dropout.
Within a film history context: There were several movies which looked at college dropouts as a subject in film history. One of the first was Charles Guggenheim and John Stix's THE GREAT ST. LOUIS BANK ROBBERY (1959). A college dropout becomes enmeshed in a planned bank robbery which does not quite proceed as originally envisioned. HAIL, HERO! (1969), directed by David Miller, followed a young man who drops out of college to enlist in the Vietnam War. His methodology is simple; join the army, and spout notions of peace, without violence and death. Alan Pakula's THE STERILE CUCKOO (1969), was about the tender affair between two college students. This time around, the college dropout was a female character instead of a male, but her mental instability takes its toll on her. SUMMERTREE (1971), directed by Anthony Newley, surveyed the life of a college dropout, his relationship with a nurse, and opposition to the Vietnam War, among matters. THE MAGIC GARDEN OF STANLEY SWEETHEART proffered another position on a college dropout.
As with HAIL, HERO!, THE STERILE CUCKOO, and SUMMERTREE, the college dropout was the main character in the movie, the only difference being that the second film featured a female, Pookie, instead of a male, student. The sexual content in the final two examples were more marked than the first, but it is here that THE MAGIC GARDEN OF STANLEY SWEETHEART set itself apart. Stanley's life is a succession of different women, a threesome at one point, and is drug infused at various times. In a related issue, the sex and nudity angles were exploited much further than THE STERILE CUCKOO and SUMMERTREE, whose depictions are more discreet in nature. There was also a monogamous inclination respectively for both Pookie, and Jerry in these films that Stanley completely rejects in THE MAGIC GARDEN OF STANLEY SWEETHEART. This reflects the maelstrom occurring in Stanley's life, to a degree similar to Jerry's in SUMMERTREE. The presence of a family unit is another difference between SUMMERTREE, and THE MAGIC GARDEN OF STANLEY SWEETHEART.
Jerry's mother and father in SUMMERTREE add some authority to the story, and their point of view is valuable as a contrast to that of Jerry's. Stanley in THE MAGIC GARDEN OF STANLEY SWEETHEART does not have a family in the film, the only mention is of Stanley's mother in one scene where he is reading a letter from her. This gives some insight into Stanley's background, being that he is of a privileged background, and does not have to struggle for anything, but this is not a given. The tuition of Jerry in SUMMERTREE has been paid for by his parents, which is one of the reasons why they do not wish for him to go off the rails. They, as such, have an investment in his well-being, something the other examples did not elucidate. There is thus a subtle socio-economic subtext there, in comparing Jerry to Stanley.
In addition, it is notable that Jerry in SUMMERTREE takes a stand on issues close to his heart, such as leaving college to become a musician, and his opposition to the Vietnam War. Stanley does not possess the same level of application, only standing for a good time with women, and whatever else he can find. The sole scene where Stanley resists something he does not like, being the gay man who tries to come onto him, is the only part where he actually stands for something. The ending goes somewhat into inferring that Stanley's actions are heavy on his mind, particularly since the suicide of his friend, which takes a toll on him. This is one of the most thoughtful passages in the film, adding a poignancy to the proceedings. An interesting view of a college dropout, THE MAGIC GARDEN OF STANLEY SWEETHEART presents a capable portrait of an ardent, but confused young college dropout.
Overview: Leonard Horn was an American director with three films to his credit. He was very active on television, helming countless prime time series from the early 1960s, until his death in 1975. Mr Horn presided over episodes of Alfred Hitchcock Presents, The Untouchables, Route 66, Dr. Kildare, Lost in Space, and many others. Leonard Horn's picture debut, ROGUE'S GALLERY (1968), was about a detective, whose involvement with a wealthy young woman may bring him heartache. Studded with veteran performers from the Golden Age of Hollywood, with Dennis Morgan, Brian Donlevy, Farley Granger, and Jackie Coogan, it was not released theatrically, but later on television. Mr Horn's final movie, CORKY (1973), centred around a mechanic who dreams of being a racing car driver, but this may be more difficult for him to achieve on closer inspection. THE MAGIC GARDEN OF STANLEY SWEETHEART was Leonard Horn's second cinematic outing, and an acceptable effort.
Leonard Horn has crafted a sound motion picture with THE MAGIC GARDEN OF STANLEY SWEETHEART. Examining the life of a college student, and amateur filmmaker in New York City who drops out of his studies, majorly detailing his experiences with women, and drugs, it is a reasonable motion picture. The central strength of THE MAGIC GARDEN OF STANLEY SWEETHEART is in the portrayal of its charismatic, unsettled, but promiscuous lead character. Stanley's life is a whirlwind of women, drugs, running around, and generally avoiding either responsibility, or accountability to others. The movie, to its credit, is not morose or too heavy, and has some unexpected humorous moments which provide reprieve from Stanley's shenanigans. The mood is typical of the anything goes feel of the era, giving THE MAGIC GARDEN OF STANLEY SWEETHEART spirit in this respect. The ending is good, leaving both the viewer, and Stanley, to ponder the effect of his actions, and what this will mean for him. THE MAGIC GARDEN OF STANLEY SWEETHEART, though, in some parts, leaves much to be desired, dragging the movie down a few pegs.
In his Don Juan way, Stanley beds a number of young women in THE MAGIC GARDEN OF STANLEY SWEETHEART, and, at one stage, is sleeping with two best friends at the same time. The revelation that he is with Cathy, and then with her friend Fran, is never discovered by the two women. It could have precipitated a fallout out between them, but is ignored. Stanley's friendship with Danny, and Danny's fate in the final stretches, is another underdeveloped plot. Danny is a character who appears to have much going on internally, being a musician, and taking recreational drugs, but his suicide comes out of nowhere. One has not been offered privileged information about him explaining why this has occurred, and it is a cheap shot in the film to create some quick drama. It would have enriched THE MAGIC GARDEN OF STANLEY SWEETHEART by knowing more about Danny, and what led to this drastic event. This, though, is something that explains what really is at the heart of THE MAGIC GARDEN OF STANLEY SWEETHEART. It is a passable rendition of a time, and an era in the United States, and possibly elsewhere, with some courage of its convictions, if not fully expressive of these in a substantial manner.
Acting: The acting in THE MAGIC GARDEN OF STANLEY SWEETHEART is one of its strengths. In the lead role of Stanley Sweetheart, Don Johnson makes an impact as the charming, footloose young man who may in fact be his own worst enemy. An actor with a ready smile, but a wildness about him that suggests volatility, here makes an auspicious acting debut. As the girl who captures Stanley's restless heart, but to whom he cannot fully commit, Dianne Hull is in another of her thoughtful roles. With her subdued but friendly manner, her Kathy is the conscience of THE MAGIC GARDEN OF STANLEY SWEETHEART. Kathy's exuberant friend Fran is an excellent turn by Holly Near. With her zaniness on display for all to see, Miss Near adds a vulnerability, and pathos, that rings true, making her character very real.
Similarly high on the wackiness level is Linda Gillen as Barbara/Shayne. With her cutting observations of life, and ability to see through situations, Miss Gillen adds an upbeat, comic spin to the film which balances it evenly. Michael Greer, as Stanley's friend Danny, is in one of his best performances. Keeping his style understated in this movie, Mr Greer makes Danny someone it would have been great to know more about. The last acting of note was by Brandon Maggart in a cameo role as Jim, a man in the cafe who tries to come onto Stanley. With his gregarious and outgoing persona, he builds his character profile well, making it crystal clear what he wants from Stanley, and eliciting surprise from the audience in the process.
Soundtrack: The soundtrack of THE MAGIC GARDEN OF STANLEY SWEETHEART is a positive, and memorable, feature of the movie. While it includes a brief selection of several late 1960s/early 1970s songs within its running time, these nicely accompany the visuals, and provide a flavor of the era. There are, though, several tunes which are most striking in retrospect. The opening credits are enhanced by 'Nobody Knows', performed by Richie Havens. This is a fitting start to the movie which lends an aura of pensiveness to the film, with Mr Havens' deep voice a pleasure to listen to. 'Happy Together', sung by The Mike Curb Congregation, is an alluring, emotive tune which works seamlessly to emphasize Stanley's two-timing antics with Kathy and Fran. Similarly evocative is the beautiful 'Sweet Gingerbread Man', also performed by The Mike Curb Congregation. With its bright feel, but slight melancholic undertone, it adds to the thoughtful, but whimsical, feel of the picture. The closing credits are also notable, as they showcase a somber instrumental version of 'Sweet Gingerbread Man', which perfectly sums up the movie as a whole, and relates back to the quiet opening credits.
Mise-en-scene: The visual experience for viewers is a good one in THE MAGIC GARDEN OF STANLEY SWEETHEART. Cinematography by Victor Kemper is just right, the color not too bright, but easy on the eyes. There are plenty of outdoor location sequences which adds realism and flair to the movie. The city streetscapes, university exteriors, and shopfronts are all imperative to show the life and times of Stanley Sweetheart. Interior locations are also of a high standard, with the psychedelic nightclubs, and bustling bars vividly portrayed. Stanley's messy apartment is exemplary of his busy, and chaotic private life, and a key non-verbal detail tellingly showcased by the movie.
Notable Acting Performances: Don Johnson, Dianne Hull, Holly Near, Linda Gillen, Michael Greer, Brandon Maggart.
Notable Acting Performances: Don Johnson, Dianne Hull, Holly Near, Linda Gillen, Michael Greer, Brandon Maggart.
Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, low-level violence, drug use.
Overall Grade: C
Link: IMDB Page
