MADE FOR EACH OTHER (1971)

Title: MADE FOR EACH OTHER

Year of Release: 1971

Director: Robert B. Bean

Genre: Comedy, Drama, Romance

Synopsis: Two people meet at a group therapy session, and find love despite their personal, and cultural differences.

Within a film history context: Movies which focus upon an interfaith relationship were largely non-existent before MADE FOR EACH OTHER in 1971. They appeared on a slightly more regular basis after the film was released, with Sydney Pollack's THE WAY WE WERE (1973), the popular love story of a Jewish woman and a Christian man set in World War II United States, and EVERY TIME WE SAY GOODBYE (1986), directed by Moshe Mizrahi, about the love affair of a World War II Christian pilot, and a Jewish woman in Jerusalem, two notable movies in the genre. There were, though, several examples of interfaith relationship movies, beginning from the 1920s, which are of interest in cinema history. One of the first was Swedish film, THE AVENGER (1915), directed by Mauritz Stiller. In this picture, a young Christian man has a relationship with a Jewish woman, and leaves her pregnant, but does not want to marry her on account of their religious differences. 

A comic take on interfaith relationships was served up by James W. Horne's silent KOSHER KITTY KELLY (1926). Here, a number of misunderstandings set in motion prospective relationships between Jewish and non-Jewish characters, but status quo ensues, and first loves between characters of the same faith prevail. More progressive in matters of the heart was ABIE'S IRISH ROSE (1928), directed by Victor Fleming. Charting the relationship, and marriage, of an Irish-American Catholic woman and a Jewish-American man, with various consequences for both, it was based upon a popular stage play that also spawned a critically savaged 1946 film remake. Into the 1960s, Otto Preminger's EXODUS (1960) featured the romance of an American nurse with an Israeli soldier, in this story of simmering racial tensions in 1948 Middle East. MADE FOR EACH OTHER had more in common with the lighter-hearted films such as KOSHER KITTY KELLY and ABIE'S IRISH ROSE, but also, shared the pathos of THE WAY WE WERE.

MADE FOR EACH OTHER had the same type of love story/story structure with THE WAY WE WERE and ABIE'S IRISH ROSE. In the case of MADE FOR EACH OTHER Panda, a Jewish woman and Giggy, an Italian man, find their way toward each other throughout the course of the movie. It was reminiscent of THE WAY WE WERE with its lively, unconventional female lead, but Giggy in MADE FOR EACH OTHER is equally as quirky as Panda, both in terms of personality, and family background. Giggy, though, is the polar opposite of the more intellectual Hubbell from THE WAY WE WERE, this giving the film a point of difference in its lead male character. MADE FOR EACH OTHER also goes much further than the others in painting a portrait of two people not only hampered by the particular mindsets of their families but also, their own idiosyncrasies. This brings out the humor, and quieter scenes the movie exhibits. Apart from this, MADE FOR EACH OTHER, more so than the other films, is also an exploration of Jewishness, Italianness, family, religion, sex, psychology, and relationships, subjects the other films did not always touch upon. The tackling of these themes gave the film a more topical edge over the other movies, in that MADE FOR EACH OTHER provided exhaustive attention to these issues which, by and large, had not been addressed until that time. Other features of the movie are also deserving of discussion.

MADE FOR EACH OTHER traverses much more into psychological territory than its predecessors, ensuring that the audience knows exactly where Panda and Giggy are coming from. The viewer gets to know them as real people, rather than two-dimensional figures. This is something the other films only briefly examined, which makes MADE FOR EACH OTHER more in-depth in terms of the intimate dissemination of its characters' emotions. The delicate nature of the male-female pairing, with them loving, fighting, and reuniting, was also evident in THE WAY WE WERE with its own love duo. Where THE WAY WE WERE diverted from MADE FROM EACH OTHER is in the soothing, more romantic aura it exuded, in comparison to the broader, more rambunctious antics of the latter movie. MADE FOR EACH OTHER capitalizes on the ethnicity of its characters, and the raucous nature of the interaction of the families within the film, which provides quite a few amusing moments. An introspective take on interfaith relationships, MADE FOR EACH OTHER is an entertaining film which makes for good viewing.

Overview: Robert B. Bean was the director of a single film in his career, being MADE FOR EACH OTHER. This being the case, and with no other movies in his filmography with which to compare and contrast, this overview will focus specifically upon MADE FOR EACH OTHER. Mr Bean has crafted a movie that, on the surface, is well-made, and overall satisfactory. The scenes flow well, and are connected between one segment and the next with assurance. Robert Bean has constructed a film that gets into the heart and soul of its characters, and the viewer thereby a full understanding of what makes them tick at all times. The characters and their motives are never a mystery to the viewer, which gives the film a feeling of warmth and comfort. It is unalike other films of the 1970s which many times left character motives, and their psychology up to the viewer to interpret, brimming with gray areas. While this works on one level, it can also be seen to detract from the film's impact as a whole.

By being precise, and emotionally true to the story and its characters, MADE FOR EACH OTHER, in many instances, feels overloaded. Scenes are overlong at times, and the stretching out of these can sometimes make for frustrating viewing. Points could have been made in a more consice manner, for example, with less dialogue, and more non-verbal facial expressions. A case in point is the scene where Giggy introduces Panda to his family. It seems to go on forever, and what, at the outset, is a witty scene, becomes overwrought with shouting and wailing. This is a tendency the film possesses that can be grating for numerous reasons.

MADE FOR EACH OTHER attempts to produce a comic-tragic effect in its execution, but it falls flat on occasion. The insistence on sending up situations, and characters, makes their pain, and the effect of these, seem risible. This does not appear to have been the film's intention, but it effectively hurts the movie. If there were extra scenes of interpersonal interaction such as revelations delivered in a muted tone, these would not have been out of place. The sequence where Panda discovers her boyfriend in a threesome with two other women, and her reaction to this, was among the most honest, heartrending moments in the movie. Again, Panda's lack of response to Giggy's shouting at the end is another emotional piece de resistance for the film, making one wish for more of these sequences. Any which way, despite having quite a few shortcomings, MADE FOR EACH OTHER should be praised for attempting to make a movie about a interfaith relationships, albeit in its disparate, sometimes brassy fashion.

Acting: There are several performances in MADE FOR EACH OTHER which stand out. As Pandora, Renee Taylor shines as the sympathetic woman looking for love, but somehow missing the mark in many instances. A carefully shaded acting part that Miss Taylor delivers in a moving and understated manner, it is the best contribution in the film. Joseph Bologna, as Giggy, works well with Miss Taylor, his fieriness a dramatic foil to Renee Taylor's more meditative style. As Pandora's mother, Helen Verbit exuded sensibility and humor in equal manner, with a touch of class. The final acting of note was by Paul Sorvino as Giggy's father. Mr Sorvino lends his authority, and earthiness, to a small part that definitely would have benefitted from longer screen time, but he does very well despite this.

Soundtrack: The instrumental theme music by Trade Martin is soft and easy on the ears, sweeping in a beautiful way that complements the story. The main diegetic music is played during Panda's nightclub performances that work, especially during Pandora's imitation of Marlene Dietrich.

Mise-en-scene: The cinematography by William Storz gives MADE FOR EACH OTHER a mellow, polished feel, in keeping with the bittersweet nature of the material. Colour is neither too bright nor washed out, but just right. The homes of the characters reflect their respective personalities, the production design greatly emphasizing this. Special mention must be made of Pandora's funky apartment, with its assortment of knick knacks and items, making perfect sense in terms of her character, and zany life. There is quite a lot of outdoor location filming which gives the film a freshness and zing, particularly Pandora and Giggy's final scene at the New York waterfront, something that a studio setting could not quite duplicate for its authenticity.

Notable Acting Performances: Renee Taylor, Joseph Bologna, Helen Verbit, Paul Sorvino.

Suitability for young viewers: No. Adult themes.

Overall Grade: C

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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