DAYS OF HEAVEN (1978)

Title: DAYS OF HEAVEN

Year of Release: 1978

Director: Terrence Malick

Genre: Drama, Romance

Synopsis: A man and woman posing as brother and sister work the wheat fields where she marries a wealthy farmer, this causing friction in their relationship.

Within a film history context: Movies about characters working on wheat fields have not been a common occurrence in American cinema. The first notable example is F.W. Murnau's silent CITY GIRL (1930). The difficulties of a Chicago woman in adapting to farm life after marrying a Minnesota farmer, and the many obstacles she faces there, including an insidious father-in-law, constituted the content of this movie. The sound KONGA, THE WILD STALLION (1939), directed by Sam Nelson, charted the heated rivalry between two men, one a rancher, the other a wheat farmer. When a rancher's wild horse makes its way into the wheat fields of the farmer, an old feud rears its ugly head in this western. With Joseph Kane's DAKOTA (1945), a gambler joins forces with wheat farmers against two corrupt businessmen, who seek to drive out both parties for ultimate control of land. Wheat farmers were also featured in ABILENE TOWN (1946), directed by Edwin Marin. The uneasy alliance between farmers, and homesteaders in Kansas after the Civil War, is exacerbated by cowboys in this western. Tay Garnett's WILD HARVEST (1947), followed the intrigues of a wheat harvesting supervisor, his friend, and rival, and the woman who comes between them both for love, and money. DAYS OF HEAVEN came much later than the previous examples from the 1930s and 1940s, arriving onscreen in 1978, with a marked difference in its treatment of characters working on a wheat field.

The majority of the movies here were aligned to an action storytelling style, such as KONGA, THE WILD STALLION, DAKOTA, ABILENE TOWN, and WILD HARVEST. There were rivalries, and clashes between opposing groups over land, particularly male characters fighting it out for supremacy. WILD HARVEST was the only film where a female character caused romantic tension between two men. CITY GIRL was different to all of these, as its scenario was not melodramatic in tone. It was the character study of a woman transplanted from Chicago to Minnesota, and how she handles this transition. The female character in CITY GIRL inadvertently creates animosity between a father and son, but this is not of a romantic orientation. The father-in-law distrusts his new daughter-in-law, and tries to break up his son's marriage. DAYS OF HEAVEN is more closely linked to CITY GIRL in its elegant presentation, and also, in that it charts the hardships of those who work on the wheat fields. This is something that the other films deviated from in order to concentrate on the power plays of certain characters.

Where DAYS OF HEAVEN moves away from CITY GIRL, though, is in its depiction of the female character. Abby is a woman together with her boyfriend, passing as brother and sister, to avoid gossip about their relationship. She turns the head of, and marries, a wealthy farmer who believes that her boyfriend is her brother. The rivalry between her boyfriend, and husband, begins once he discovers the truth. This is a more intricate, measured chain of events in DAYS OF HEAVEN which is far away from the overt squabbles of the men in WILD HARVEST over a woman. The role of the woman in DAYS OF HEAVEN is complex, as she is attracted to both men, and carries on with them simultaneously. It is not about money or power, but an emotional attachment on her part. This differs from the young woman in WILD HARVEST who plays two men against each other for her own satisfaction, and material gain. DAYS OF HEAVEN also had a psychological 1970s sensibility in its rendering, looking deeper at its situation, rather than the more simplistic scenarios from the 1930s and 1940s, by investing real emotion in its story. A thoughtful entry on life on the wheat fields, DAYS OF HEAVEN is a winner in this respect.

Overview: Terrence Malick is an American director of thought-provoking cinema who has made nine films over the space of forty-six years, with a project currently in post-production. His movies are generally period pieces, with several diversions into more contemporary themes. They are noted for their nuanced performances and stories, elegant pace, and lush photography. Mr Malick's first picture, BADLANDS (1973), was based upon the real-life killing spree of a young man and his girlfriend in Nebraska and Wyoming, with events in the movie occurring in a cross-country journey from South Dakota to Canada. Terrence Malick's third movie came twenty-five years after his first effort, being war epic THE THIN RED LINE (1998). The Battle of Guadalcanal in the Pacific Ocean between Allied Forces, and the Japanese during World War II was the focus here, with a cast including George Clooney, Adrien Brody, John Cusack, and Woody Harrelson. Next came THE NEW WORLD (2005). In this movie, the settling of Virginia in the early 1600s was explored, with the life of American Indian woman Pocahontas disseminated. 

This was followed by drama THE TREE OF LIFE (2011). Once again going back in time, in this instance, 1950s Texas, with the story of a young man's relationship with his father, and examining his feelings about life after reaching adulthood. KNIGHT OF CUPS (2015), was an entirely different project from others Mr Malick had thus made. A writer's apathy towards life is somewhat abated by his relationships with various women, assisting him with his issues. SONG TO SONG (2017), was another contemporary project for the director. The lives of several people in the recording business in Texas are forever marked by sex and tragedy in this drama. Terrence Malick's last release to date, A HIDDEN LIFE (2019), was a return to period movies. The biopic of Austrian man Franz Jagerstatter, who defied the Nazis by rejecting to fight in World War II, subsequently paying the ultimate price for his beliefs, was the crux of this well-received film. DAYS OF HEAVEN was Terrence Malick's second movie, and his best picture for a number of reasons.

With DAYS OF HEAVEN, Terrence Malick has crafted a beautiful motion picture which remains in the memory long after viewing it. Following the lives of three characters who move from Chicago to Texas to work on the wheat fields, encountering some happiness, and many obstacles along the way, it is an original, fluent, poetic cinematic triumph. Mr Malick has successfully balanced all the elements in his film, nourishing viewers not only on a visual level but also, making them invest time, and fostering an emotional connection, in his protagonists. DAYS OF HEAVEN has been assembled in such a careful, methodical manner, without gimmicks or superficial effects, which takes it into another category of cinema. The director knew exactly what he wanted, and this is to the advantage, and viewing pleasure, of the spectator. It is not a film for those who expect mayhem every second minute, and exploitation, but for those who can appreciate cinema as an art form, something it should be more often. DAYS OF HEAVEN should be viewed at least once by those seriously interested in cinema as the remarkable, meaningful experience which it is, and a work of which its director should be duly proud.

Acting: DAYS OF HEAVEN has five performances which bolster the movie with their individuality. As hot-headed manual worker Bill, Richard Gere is showcased in one of his best early roles. The presentable Mr Gere does not have to say much to convey his feelings to the audience, as his face does most of the talking. As Bill's ladylove Abby, Brooke Adams is also perfect. Miss Adams has a certain poetic way about her, and it is easy to understand how she attracts two very different men from opposite ends of the spectrum. The second man in Abby's life, a wealthy farmer, is fertile territory for actor Sam Shepard. Being the third party in a love triangle is never an easy thing, but Mr Shepard makes it work with his quiet nature, and intriguing personality. Bill's younger sister, Linda, is played with considerable rakish charm by Linda Manz. Exhibiting knowledge and intelligence beyond her years, but never appearing amateurish, Miss Manz lends a different brand of spice to the movie. Robert Wilke provides the final acting of note as the farm foreman with a strong penchant for the truth. Mr Wilke offers a steely authority that differs from the other two male roles in DAYS OF HEAVEN, and ably rounds out the excellent acting interpretations in the picture.

Soundtrack: Ennio Morricone's score for DAYS OF HEAVEN is a wonderful aural treat to savour. The opening credits prepare the viewer for the one-of-a-kind experience that they are about to witness with its score. The closing credits are similar, but with a more introspective, tragic feel, in keeping with what has occurred in the narrative. Incidental music by Leo Kottke, such as his piece 'Enderlin', adds a freshness that is evocative of the 1910s when the picture was set.

Mise-en-scene: In terms of mise-en-scene, DAYS OF HEAVEN offers spectators an intoxicating, convincing viewing experience. Nestor Almendros' Metrocolor cinematography beautifully captures everything on screen with a breathtaking elegance that is amazing to witness. The movie is predominately shot outdoors, and there are countless examples of imagery which stay with the viewer for their sheer originality, and visual style. Notable cases in point include a parasol being tossed around by the wind, a train steaming forward on a high track, and, the locust burning sequence. Costume design by Patricia Norris is excellent, and makes the actors look as if they really are from the 1910s United States. The outfits worn by Brooke Adams as the farmer's wife are elegant and flattering, as are the suits which Sam Shepard and Richard Gere wear, and appear of the period. The opening credits sequence is also significant, with the images placing DAYS OF HEAVEN, and its events, in an historical perspective for the viewer, thereby adding another layer of authenticity to the film.

Notable Acting Performances: Richard Gere, Brooke Adams, Sam Shepard, Linda Manz, Robert Wilke.

Suitability for young viewers: Parental guidance advised. Adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer

REPORT TO THE COMMISSIONER (1975)

Title: REPORT TO THE COMMISSIONER

Year of Release: 1975

Director: Milton Katselas

Genre: Crime, Drama

Synopsis: A novice police officer becomes obsessed with a policewoman, unknowing that she is also on the force, but his, and her lives, are turned upside down by his infatuation.

Within a film history context: Movies with a female policewoman main character did not appear regularly in cinema history. One of the first to deal with the subject was William J. Cowen's WOMAN UNAFRAID (1934). A policewoman assists several young women of dubious backgrounds to get back to life in this early programmer. IT SHOULDN'T HAPPEN TO A DOG (1946), directed by Herbert Leeds, was a comedy of a reporter and a woman teaming up to investigate racketeering, unknowing at first that she is a police officer. Matters were of a more dramatic nature in Joseph Pevney's UNDERCOVER GIRL (1950). A young female police officer goes incognito to find the killers of her father, in this film noir with Alexis Smith as the titular character. CALLING BULLDOG DRUMMOND (1951), directed by Victor Saville, had a female policewoman team with the famous detective to overthrow a vicious gang in London. 

John Lemont's THE SHAKEDOWN (1960), featured a female undercover police officer assigned to investigate an underworld outfit cum modelling agency as a model, but when she is recognized, things take a sinister turn. At the opposite end of the spectrum was CARRY ON CONSTABLE (1960), directed by Gerald Thomas. In this Carry On entry, the antics at a suburban police station are delineated, with two female police officers among many men in this zany comedy. Montgomery Tully's FOG FOR A KILLER (1962), followed a female police officer going undercover to help catch a serial killer murdering blonde women in this British movie. On the other hand, POLICEWOMEN (1974), directed by Lee Frost, centered around a rough and tough policewoman who insinuates herself into a female crime syndicate, but comes unstuck when her line of work is discovered. REPORT TO THE COMMISSIONER's female police officer was one of the most subtle character portraits in the genre.

The movie had most in common with the dramas where a female police officer goes undercover for a certain reason, such as UNDERCOVER GIRL, THE SHAKEDOWN, FOG FOR A KILLER, and POLICEWOMEN. In the previous four cases, as with Patty in REPORT TO THE COMMISSIONER, the respective policewomen have a sense of fair play and justice about them in bringing criminals to justice. UNDERCOVER GIRL varies slightly from these as the mission to bring criminals to justice is on a personal, rather than professional basis. The officer in POLICEWOMEN, though, has a private love life, which is something Patty does not possess. The treatment here is of the exploitation film vein, with bed scenes and nudity part and parcel, the latter appearing fleetingly in REPORT TO THE COMMISSIONER. Patty's private life, therefore, is of an intricate, complicated nature, entirely at odds with POLICEWOMEN's orientation. 

In REPORT TO THE COMMISSIONER, Patty's existence is intruded upon by her professional life, due to her fellow male police officer's intervention in this, which causes untold problems. The movie displays the differing sides of its female police officer, thus ensuring that a complete portrait is drawn for the audience, and subsequently a three-dimensional person comes to life for the viewer. The slant is psychological than overt, which was obvious somewhat with POLICEWOMEN's main character displaying her martial arts skills. A convincing, judicious depiction of a female police officer, this is one of REPORT TO THE COMMISSIONER's best assets.

Overview: Milton Katselas was the director of four motion pictures from 1972 to 1979. He tackled both light fare with a romantic slant, and more intense topics in his oeuvre. Mr Katselas' first film, BUTTERFLIES ARE FREE (1972), was a comedy drama about a blind man, and his relationship with a spirited young woman, which raises the ire of his concerned mother. 40 CARATS (1973), was another of his movies with a comedy romance spin. An American divorcee has a fling with a young man while holidaying in Greece, and is shocked to see that he is her daughter's new boyfriend when she returns home in this May-December romance film. WHEN YOU COMIN' BACK, RED RYDER (1979), was Milton Katselas' final picture. An emotionally distraught Vietnam veteran harasses patrons of a Texas diner in this film adaptation of a stage play. REPORT TO THE COMMISSIONER was Milton Katselas' third and penultimate movie, and a satisfactory effort. 

With REPORT TO THE COMMISSIONER, Milton Katselas has made an interesting, if uneven film. The story of a neophyte New York City policeman, and his fixation with an undercover female police officer, with her true identity unbeknownst to him, it is a film with quite a few strong moments, and is a passable motion picture. The director has achieved this effect in several ways. Mr Katselas has succeeded in creating a credible, cut-throat world of crime and punishment in the movie which works. While the topic in other hands may have been given over to becoming a haven for sleaze, with an emphasis on execrable physical detail, Milton Katselas has kept matters on a more discreet, businesslike level. There is a realism about this production, and control where things do not go too far in terms of content. The director has not exploited his story, and characters, just for the sake of cheap thrills, and this lends REPORT TO THE COMMISSIONER an air of authenticity. Despite these strong suits, the picture, though, does have a tendency to be tedious in its execution.

It is a plus that REPORT TO THE COMMISSIONER is unhurried in how it unfolds onscreen for the spectator, peering deep into situations and character interactions. A faster pace, though, would have made the film a sharper viewing experience. Scenes such as the physically-challenged Joey's time on a skateboard in the streets of New York are incongruous, taking away from the careful, somber mood from beforehand. Another grating segment is the elongated elevator scene with Bo and Stick. It takes forever to get where it should be, and defies patience in the process. Aside from this, the film's structure is problematic in retrospect. Knowing the outcome from the beginning, and working backwards from there in flashback, does subtract much suspense from the movie. If REPORT TO THE COMMISSIONER unraveled in a linear progression, this would have heightened the degree of surprise, and anticipation on the part of the viewer. A solid picture which affords a view into the underbelly of New York City in the 1970s, REPORT TO THE COMMISSIONER could have been a far superior movie with better handling.

Acting: REPORT TO THE COMMISSIONER has a number of unique performances which assist in making the movie watchable. As Bo Lockley, the diffident rookie detective who sets events in motion, Michael Moriarty succeeds in a difficult role. From sad to happy, uncertain to dangerous, he covers a gamut of emotions in a convincing manner. The object of his obsession, fellow undercover officer Patty Butler, of whom he is unaware is also on the force, Susan Blakely is excellent in one of her best early roles. The combination of intuition, sensitivity, and streetwise instincts meld together to make Patty a striking figure, qualities which Miss Blakely delivers in spades. Bo's offsider Richard Blackstone comes alive in the person of Yaphet Kotto. Knowing when to be serious, and when to allow the humor to take center stage, Mr Kotto is another notable thespian here. Assistant District Attorney Jackson, who interviews Bo at the film's end, is another knowing turn by William Devane. With his insistent voice, and ability to get down to brass tacks, Mr Devane is entertaining as always here. The final acting of merit was by Richard Gere as pimp Billy, obstacle to Bo in his quest to meet Patty. In his acting debut, Mr Gere's Billy projects a cool, but intriguing apathy which ruffles the feathers of Bo, and looks the part of the hustler with his offbeat, but distinctive attire. 

Soundtrack: REPORT TO THE COMMISSIONER has a very lean soundtrack, with tense music composed by Elmer Bernstein played throughout pivotal scenes. The brief opening credits sequence features an accompanying musical piece for its short duration, the closing credits including a version which is longer in duration.

Mise-en-scene: The pieces come together to make REPORT TO THE COMMISSIONER realistic on a visual level. Mario Tosi's cinematography is perfect, offering a view of the seamy, dark world of the film in subtle Metrocolor. Location shooting is another significant element of REPORT TO THE COMMISSIONER, with the many outdoor scenes something which could not be duplicated in a studio. Interiors also work well, such as the police station, Stick's unkempt apartment, and the disco set oozing authenticity. Costuming is in keeping with the respective personalities of the characters, with Patty's on the job wardrobe sharply contrasting from her home apparel, the police superiors with their expensive suits, and Billy's showy clothing standing out.

Notable Acting Performances: Michael Moriarty, Susan Blakely, Yaphet Kotto, William Devane, Richard Gere.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

Trailer

BLOODBROTHERS (1978)

Title: BLOODBROTHERS

Year of Release: 1978

Director: Robert Mulligan

Genre: Drama

Synopsis: A young man from an Italian-American family yearns to make his own mark on the world, but his biggest stumbling block may be his own father's expectations to follow him in the construction industry.

Within a film history context: Movies about Italian-American protagonists can be found from the silent era. One of the first was Reginald Barker's THE ITALIAN (1915). The life of an Italian man who comes to the United States for a better life, marrying the woman of his dreams, and the difficulties they encounter, were charted in this realistic production. With THE SLEEPING LION (1919), directed by Rupert Julian, an Italian-American man leaves New York City with his adopted son for the West, but romantic troubles plague him. George L. Cox's THE TIGER LILY (1919), differed from the previous two films as the main character was a woman.  In New York City, a charming young Italian-American working at her uncle's inn causes hearts to flutter, and becomes involved in many romantic scenarios in the process. Into the sound era came THE GUILTY GENERATION (1931), directed by Rowland Lee. The love affair of two young Italian-Americans whose gangster fathers were at war in New York City had a touch of romance along with crime. On the other hand, Howard Hawks' SCARFACE (1932) revolved around the rise, and precipitous fall of an Italian-American gangster, played by Paul Muni. One of the most famous of the early crime-themed movies, it was influential and remade in 1983, this time starring Al Pacino in the lead role. 

HUDDLE (1932), directed by Sam Wood, was entirely different in scope. The life of a young Italian-American man working in a steel mill, later attending Yale on a scholarship, and falling for a young woman, was slanted toward romance, something the other movies barely touched upon. James Cruze's RACETRACK (1933) followed a bookmaker, played by Leo Carrillo, who takes on the responsibility of raising a homeless young boy, but complications ensue when the boy's mother comes back into the picture. Another Leo Carrillo vehicle, THE WINNING TICKET (1935), directed by Charles Reisner, had the star as a barber who buys a lottery ticket, but hides it as his wife disapproves of gambling, with the ticket winning a major prize. The kicker is that the barber cannot find where he placed the ticket, but his baby son has more to do with this than he realizes. Edwin L. Marin's MAN OF THE PEOPLE (1937), had an attorney as its main character dealing with the Mafia in his profession. More earthy was FISHERMAN'S WHARF (1939), directed by Bernard Vorhaus. A fisherman, played by Leo Carrillo, and his young son live happily together, but things change when the fisherman's sister-in-law moves in with them, her young son in tow. Into the 1940s and 1950s, many varied depictions of Italian-Americans made their way to cinema screens.

Garson Kanin's THEY KNEW WHAT THEY WANTED (1940) had a wealthy farmer involved in a complex web of events, hoping to attract a young waitress by using the photo of another man as himself. CRY OF THE CITY (1948), directed by Robert Siodmak, was much darker in execution. An Italian-American police lieutenant is dogged by a fellow Italian-American criminal who causes him no end of grief. Criminality was also examined in Nicholas Ray's KNOCK ON ANY DOOR (1949). A young Italian-American man accused of murder is defended by an attorney, appealing to the court in light of his turbulent life, but this makes no difference in the eyes of the law. HOUSE OF STRANGERS (1949), directed by Joseph Mankiewicz, concentrated upon the family dynamics in an Italian-American family. It focused on the relationship between a father and his sons, specifically their reaction to their father being apprehended for dubious financial activities. Richard Thorpe's BLACK HAND (1950) was about an Italian-American man whose father was killed by the Black Hand extortion racket, and how he attempts to avenge his death, and bring the racket to justice. MARTY (1955), directed by Delbert Mann, was entirely contrary to this. The pathos-filled love story of a butcher and a teacher was a popular success in its time, earning star Ernest Borgnine an Oscar for best actor but also, winning for best picture and director. Daniel Mann's THE ROSE TATTOO (1955), as with THE TIGER LILY, was notable in that it sported a female Italian-American protagonist. The tale of a New Orleans seamstress and her messy family, and interpersonal relationships was another winner not only at the box office but also, for actress Anna Magnani in the lead. 

SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was a showcase for Paul Newman as real-life boxer Rocky Graziano, charting his life, and the many events he experienced. Richard Quine's FULL OF LIFE (1956) was in a much more comedic vein than the other movies with Italian-American characters. A couple expecting a child run into difficulties with a home repair, and reluctantly ask his father, a stonemason, to carry out the work, despite their tenuous father-son relationship. It was back to drama territory with THE MIDNIGHT STORY (1957), directed by Joseph Pevney. When an Italian-American priest is murdered, a policeman investigates this incident, and suspects a restauranteur of the crime. With Phil Karlson's THE BROTHERS RICO (1957), a trio of brothers is the focus, with one a former Mafia accountant who is drawn back to them on account of his two siblings. The fraught love affair of an Italian-American man and an Italian woman was the crux of WILD IS THE WIND (1957), directed by George Cukor. A widower travels to Italy to marry his late wife's sister, but his memories of the past cause many issues between them. Melville Shavelson's HOUSEBOAT (1958) was another movie with an Italian-American female protagonist. Sophia Loren spreads charm and joy to not only an American family living on a houseboat but also, the widowed father, played by Cary Grant. Entirely more sinister was AL CAPONE (1959), directed by Richard Wilson. Detailing the tumultuous life of the notorious Chicago criminal, it offered a meaty part to Rod Steiger in the lead. The 1960s, as with previous decades, also had differentiated views of Italian-American characters onscreen.

Richard Wilson's PAY OR DIE! (1960) was another crime-related film. The biographical account of New York City policeman Joseph Petrosino, and his efforts to stop organized crime in the early 1900s, it featured Ernest Borgnine in the main part. LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan, was about two Italian-Americans, one a department store assistant, the other a musician, documenting the ups and downs of their love affair. Gordon Douglas' TONY ROME (1967) had an Italian-American private investigator as its lead, enlisted by a millionaire to find his daughter's missing jewellery piece, and becoming enmeshed in intrigue. Full-blooded could be said to describe WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese. The character portrait of a young Italian-American man, and his issues of guilt and religion was a great showcase for not only the director but also, Harvey Keitel in the lead part. Into the 1970s, Cy Howard's LOVERS AND OTHER STRANGERS (1970) had an engaged couple as the main focus, with the groom Italian-American. The movie also includes the bridegroom's family as an essential part of the action, with humorous and touching results. One of the most famous ever of the films with Italian-American protagonists was THE GODFATHER (1972), directed by Francis Ford Coppola. The epic story of a Mafia family was awarded several Oscars, grossed a tremendous profit, and led to two sequels over the space of eighteen years. 

An uninhibited view of Italian-Americans was provided by Ralph Bakshi's HEAVY TRAFFIC (1973). The life of a young illustrator of both Italian, and Jewish parentage slayed many dragons in its wake, and was one of the most original films of the genre. MEAN STREETS (1973), directed by Martin Scorsese, once again had Harvey Keitel as an Italian-American, this time as a smooth thug who lies and cheats his way through life, falling into nothing but trouble along the way. Sidney Lumet's SERPICO (1973) was about a real-life New York police officer, and his attempts to block corruption in the police force, but finding his own colleagues turn against him. A more domestic take on Italian-American characters can be found in A WOMAN UNDER THE INFLUENCE (1974), directed by John Cassavetes. Examining a crumbling marriage, and the effect the wife's mental illness has on the union, it was a showcase for Gena Rowlands in the eponymous role. Real-life criminals were again on display in CRAZY JOE (1974), directed by Carlo Lizzani. New York arch-criminal Joe Gallo was spotlighted in this disappointing movie, with Peter Boyle convincing in the titular part. One of the most celebrated films with a central Italian-American character was John G. Avildsen's ROCKY (1976). The life of a boxer who rises to fame, it was a breakout movie for Sylvester Stallone, a massive box-office hit, and led to several sequels. SATURDAY NIGHT FEVER (1977), directed by John Badham, was another huge box office success. The story of a young man who finds his niche on the disco floor, despite the roughness of his personal life, made John Travolta a star, had a pulsating soundtrack, with a sequel in 1983. BLOODBROTHERS had many features in common with the films with Italian-American characters, but possessed many of its own individual traits.

BLOODBROTHERS was similar to those films which spotlighted Italian-Americans in difficult situations where the human spirit is challenged, such as THE ITALIAN, HUDDLE, and FISHERMAN'S WHARF. It also had the complex family interactions which characterized THE GUILTY GENERATION, HOUSE OF STRANGERS, THE ROSE TATTOO, and, to a lesser degree, LOVERS AND OTHER STRANGERS. BLOODBROTHERS clearly defines its characters, being who they are, what they want, and why they want it. The family in BLOODBROTHERS could be labelled as being dysfunctional to a large degree, but watching the action gradually unfold is one of the film's graces. In addition, the movie was also reminiscent of those pictures where a young Italian-American man wants to make it on his own, many times running up against opposition to his aspirations, such as in THE SLEEPING LION, HUDDLE, SOMEBODY UP THERE LIKES ME, WHO'S THAT KNOCKING AT MY DOOR, HEAVY TRAFFIC, and SATURDAY NIGHT FEVER. This is explored in one key manner in BLOODBROTHERS.

Stony's main opposition is his father, who wants him to be a construction worker, while Stony yearns to help children at the local hospital. In this way, BLOODBROTHERS' more benign central character conjured memories of the characters in the first two entries of the previous movies than the latter four. This is also where BLOODBROTHERS diverts away from the more heavy-going films. Stony in the picture is not only looking for romance but also, seeking to make his mark in the world as he wants, similar to HUDDLE's Tony in his persuasions. This is refreshing to witness as many of the films in the genre, while well-made, had a leaning toward Italian-Americans involved in crime, and dangerous situations. BLOODBROTHERS recognises that there are enough obstacles in life which can be examined in a film without the need for sometimes trumped up peril. This is also evident in the romance between Stony and Annette. There are no parents to keep them apart, or actions they have committed which could have a detrimental effect on them. Their own feelings, and view of the world are what both pulls them together, and drives them apart, which is interesting to watch. One of the most full-blooded of the movies about Italian-American characters, BLOODBROTHERS is a worthy entry in this film genre.

Overview: Robert Mulligan was the director of twenty motion pictures over thirty-three years, with many years spent in television. His movies are stories with a sympathetic edge, making audiences comprehend what makes characters tick in an intensive manner. After spending several years working in television, Mr Mulligan made his directorial debut with FEAR STRIKES OUT (1957). The story of real-life baseball player Jimmy Piersall, it was notable for starring Anthony Perkins in his third movie role. After a few more years in television, Mr Mulligan made THE RAT RACE (1960). It was a comedy-drama with Tony Curtis and Debbie Reynolds of a musician who arrives in New York, and falls for a dancer. TO KILL A MOCKINGBIRD (1962) was one of Robert Mulligan's most warmly-remembered movies. The story of a Southern lawyer defending a black man accused of rape, it boasted a fine performance by Gregory Peck as lawyer Atticus Finch. In a similar but more dramatic vein was one of his most famous pictures, LOVE WITH THE PROPER STRANGER (1963). Natalie Wood and Steve McQueen were, respectively, a department store assistant and a musician, with Miss Wood falling pregnant to Mr Queen's character. More great films followed in the years after for Mr Mulligan. BABY THE RAIN MUST FALL (1965) was a melodrama about a footloose man just out of jail, and trying to make it up to his wife and young daughter. Fine work from both Lee Remick, and Steve McQueen as the lead actors, it was a memorable and moody piece of cinema, shot in stark black and white. 

Continuing with realistic stories and situations, 1967 marked the release of UP THE DOWN STAIRCASE. Featuring Sandy Dennis as a school teacher in a New York high school, it was hailed for its lead performance and its authenticity. Four years after this film, one of Mr Mulligan's most commercially successful movies was released, SUMMER OF '42 (1971). The sensitive recollections of a young man who falls in love with a married woman in the early 1940s, it is remembered for its performances, and the evocation of a time and place which Mr Mulligan delicately conveyed on screen. Another distinctive film in his collection was SAME TIME, NEXT YEAR (1978). Taking CLOSE ENCOUNTER to a different level, it was about a married man and a married woman who embark on an affair, and meet at the same time every year when they first began their liaison. An affecting observation of feelings and middle-aged angst, it provided great roles for Alan Alda, and Ellen Burstyn as the couple in question. Into the 1980s and beyond, Robert Mulligan made CLARA'S HEART (1988). The story of the touching relationship between a Jamaican woman, and a young boy from a family for which she is a housekeeper was Mr Mulligan's second last film, and a return to form for him. His final feature, THE MAN IN THE MOON (1991), was the story of a young woman in 1950s Louisiana, especially detailing her antics and family life. Well-received critically, the movie, unfortunately, was not a money-maker. BLOODBROTHERS was Robert Mulligan's sixteenth motion picture, and one of his most fluent works.

It had that same sympathy for its characters and their lives which many of his movies shared, ranging from TO KILL A MOCKINGBIRD, BABY THE RAIN MUST FALL, UP THE DOWN STAIRCASE, and SUMMER OF '42, to name but a few examples. Robert Mulligan allowed audiences privileged views of people in situations that could indeed have existed in real-life, and BLOODBROTHERS is no exception. His films are rooted in a realism and thoughtfulness that is not only poignant, but endearing to observe. While it could be said that BLOODBROTHERS is one of Mr Mulligan's flashier works, spotlighting an Italian-American family, laying bare their foibles for all to see, it is in keeping with his oeuvre. Despite being one of his movies which was one of the noisiest in terms of the characters and their way of expressing themselves, BLOODBROTHERS does have an adjacent softness about it, making one in turn feel for the characters. The characters at times do go over the top in how they act and feel, but this unrestricted range of emotions shows them both at their best but also, their worst. This makes them relatable, and, in turn, sympathetic. One of Robert Mulligan's most entertaining films, BLOODBROTHERS is a pleasure to watch.

Acting: BLOODBROTHERS has an illustrious cast who are all utilized to maximum effect in the movie. In the lead role of Stony De Coco, Richard Gere is excellent as a young man seeking to find his way in life, but coming up against many roadblocks. An actor of charm and nervy energy, here he is refreshing to witness as a normal young man without being portrayed as a male hyper-sex symbol, something upon which his later films capitalized. In this film, it relies more upon the actor's natural charisma, and subtle mannerisms which the director has spotlighted exceptionally well. As Stony's father, Tommy De Coco, powerhouse Tony Lo Bianco brings notes of anger, humor, and pathos to a difficult part, making Tommy an entertaining, but multi-dimensional figure. Tommy's brother Chubby De Coco is vividly brought to life by Paul Sorvino. His unflappable character and common sense prevail in the movie, especially acting as the mediator in the many conflicts always unravelling in the Do Coco family, making Chubby a lively, stalwart figure. 

Michael Hershewe, as Albert, Stony's brother, and Tommy's son, is nicely played by the young actor. Without saying much, using his body language to express his discomfort at his family situation, Mr Hershewe does a fine job. The chemistry between Richard Gere and Michael Hershewe is most keenly felt in the film, their age difference giving things another level of depth, with Stony not only a brother but also, a father figure to Albert. As Maria, Tommy's wife, and Stony and Albert's mother, Lelia Goldoni is utterly authentic as the put-upon De Coco family matriarch whose rollercoaster of emotions is one of the movie's most compelling aspects. Rounding out the fine cast is Marilu Henner as Annette, Stony's on-again, off-again girlfriend. In her first major movie role, Miss Henner does very well as the no-nonsense, composed Annette whose pragmatic nature draws the sometimes hot-headed Stony closer, giving him balance.

Soundtrack: Elmer Bernstein's bold instrumental score deftly encompasses the heated emotions of the characters in BLOODBROTHERS, and their take no prisoners attitude toward life.

Mise-en-scene: There are a number of interesting contributions to what is presented on screen in BLOODBROTHERS. Cinematography by Robert Surtees is beautifully composed, ensuring that the color is naturalistic, but with subtly lively tones, reflecting the characters and the film's overall realistic feel. Female costuming by Joanne Haas, likewise male costuming by Robert Harris Jr. complement each other well, appropriate to the characters and their socio-economic position and mindset. Set design by Lee Poll is another of the film's distinctive traits. Locations such as the De Coco family home, Annette's apartment, and the bar which Tommy and Chubby frequent, are all notable for appearing authentic, as if people actually live and use these settings.

Notable Acting Performances: Richard Gere, Tony Lo Bianco, Paul Sorvino, Michael Hershewe, Lelia Goldoni, Marilu Henner.

Suitability for young viewers: No. Frequent coarse language, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

LOOKING FOR MR. GOODBAR (1977)

Title: LOOKING FOR MR. GOODBAR

Year of Release: 1977

Director: Richard Brooks

Genre: Drama

Synopsis: A sign language teacher for deaf children has a contrary nightlife of sexuality and drugs which leads to her downfall.

Within a film history context: Character studies which feature a female character indulging in promiscuous sexual behaviour have been spotlighted many times in cinema history. One of the first was the theatrical, moralistic classic MADAME X. Filmed for the first time on American shores in 1916, it was remade many times in 1920, 1929, 1937 and, the most glamorous version being David Lowell Rich's in 1966. Depicting a woman's rise and fall from grace into despair and poverty, it shared a cautionary tone that later films also possessed. Movies in the 1930s also depicted female sexual promiscuity in a similar manner, some released before the American Hays Code for films had fully come into effect.

George Fitzmaurice's STRANGERS MAY KISS (1931) had Norma Shearer as a woman electing to live with her lover despite disapproval from friends. BABY FACE (1933), directed by Alfred Green, was another racy drama racy for its day, with a woman using her feminine wiles to rise to the top of the heap at a bank by using its male employees. The Hays Code era drama OF HUMAN BONDAGE (1934), directed by John Cromwell and starring Bette Davis, was a telling exploration of a waitress who causes emotional damage to the life of a young man. Moving into the 1940s, the big budget FOREVER AMBER (1947), helmed by Otto Preminger and John M. Stahl, was the story of a young woman who uses her considerable charms to rise in society, but with the consequent loss of true love. It was controversial upon its release for the actions of its main character, and the implications of these, but was highly bowdlerized on screen in retrospect. As cinema progressed into the 1950s, increasingly daring portraits of female sexual promiscuity appeared on screen.

Dorothy Malone's role as a woman of many unspeakable passions was another excellent performance, giving Douglas Sirk's WRITTEN ON THE WIND (1956) spice and allure. The 1960s brought franker portrayals of promiscuity and its pitfalls examined by filmmakers. A most notable, but also successful entry in the genre was Elizabeth Taylor's Oscar-winning turn as a prostitute in Daniel Mann's BUTTERFIELD 8 (1960). Julie Christie in John Schlesinger's DARLING (1965), and Michael Sarne's JOANNA (1968) had young women of varying character in Swinging London exploring themselves, and their desires, in a more open manner than previous films. The breakdown of censorship in the US, and elsewhere in the world, had a major effect on depictions of sexuality on screen. Heretofore taboo subjects were now largely able to be presented on screen in both Hollywood, and exploitation movies. 

EMMANUELLE (1974), directed by Just Jaeckin,  was a soft-core porn film entry by a major studio that spawned many sequels and imitators. It was a young woman's initiation into sexuality in Bangkok, and a financial, if not a critical success. Unlike the other films which took a moral or emotional ground, EMMANUELLE was mainly concerned with sex, but not its consequences on people and relationships. While there were many films in the 1970s which dealt with female sexual promiscuity in a haphazard or comical manner, mainly without depth, LOOKING FOR MR. GOODBAR greatly differed from these movies. It is possibly the most trenchant, honest examination of female sexual promiscuity ever captured on film, pulling no punches. While the movie does contain some idiosyncratic moments of fantasy and telegraphing of narrative events, these do not detract from the film's power, only giving greater access to the protagonist's state of mind. While it could be argued that LOOKING FOR MR. GOODBAR shares the exploitation elements of nudity and violence that lesser motion pictures of its kind possess, it utilizes these elements in a way more effective manner to illustrate its character's life, and not as shallow, tacky spectacles.

Overview: Richard Brooks had a reputation as a tough director, and this was exemplified in the choice of works he helmed on screen. A generalist, he took on varied projects over the course of his thirty-five year career, and directed twenty-four movies. He made his debut with 1950's CRISIS,  a crime drama with Cary Grant, and made notable films such as THE LAST TIME I SAW PARIS (1954), a romance, and 1955's acclaimed THE BLACKBOARD JUNGLE, an exploration of racism in a high school. He also tackled romance in THE BROTHERS KARAMAZOV (1958), with its Russian 1870s setting, and also the steamy melodrama CAT ON A HOT TIN ROOF (1958) with Elizabeth Taylor. More successful films followed such as ELMER GANTRY (1960), and action in THE PROFESSIONALS (1966). Mr Brooks again produced crime drama with IN COLD BLOOD (1967), and a woman's picture with wife Jean Simmons, THE HAPPY ENDING (1969). 

LOOKING FOR MR GOODBAR was Mr Brooks' twenty-second film, coming at the end of his career, but also, one of his best, most distinctive motion pictures. Richard Brooks had previously directed strong female characters in many of his other movies, namely Elizabeth Taylor in both THE LAST TIME I SAW PARIS and CAT ON A HOT TIN ROOF, Jean Simmons in THE HAPPY ENDING, and Geraldine Page in SWEET BIRD OF YOUTH (1962). Things were no different with LOOKING FOR MR. GOODBAR, where Mr Brooks again tackled a film with a complicated, multifaceted female protagonist, this time played by Diane Keaton.

Mr Brooks has adapted author Judith Rossner's novel to the screen, based on a true story, of a sign language teacher who has a florid nightlife, consisting of sex with strangers and drug use, but, who has a terrible end. The director has made a film which is uncompromising in the treatment of its story and characters, and to some viewers this may be a turn-off, while to others a realistic move by the director. LOOKING FOR MR. GOODBAR is an explicit movie in terms of its sexual content, language, and drug use by the characters. It does not hold back in these areas, with nudity often showcased in many scenes. The director, though, has utilized these features in a specific manner to vividly bring to life the life, loves, and death of Theresa Quinn. It is every bit an adult film in its intentions and delivery, not for light viewing.

The director has made definite contrasts between the lives, in the plural sense, of its protagonist Theresa. On the one hand there is her family life, with a religious father who does not agree with Theresa on the value of her 'liberation', on the other is her nightlife filled with handsome but dangerous men, drug use, and other forms of licence. There is another opposition present in the film between these incarnations, and her life as a sign language teacher. The scenes in the school, and Theresa's interest in a young girl from her class, are the most beautiful in LOOKING FOR MR. GOODBAR. They paint a portrait of a gifted young woman caught in a life which she does not fully understand, despite seeming aware of the pitfalls in some of her most lucid moments. Mr Brooks capably presents all of these without being preachy, allowing the camera to capture the characters, freely allowing the viewer to make up their minds about Theresa's life. In many times in the movie, though, and especially in the final reel, spectators are helpless to change the course of Theresa's fate.

The director has succeeded in fashioning a film that was relevant at the time of its release, especially with the sexual revolution taking place in the 1970s, and, the notoriety of being based upon a tragic real-life event. It was a harrowing and thoughtful experience when it first appeared on screen, and it has retained punch and impact many years after its release. While it is mainly remembered for the ferocity of its final scenes, this is effectively downgrading the film as a whole. These scenes have more power than any slasher exploitation movie could muster with their low intentions and presentation. LOOKING FOR MR. GOODBAR should also be noted for its unflinching honesty, and the director's courage in bringing it to the screen in the first place.

Acting: The acting in LOOKING FOR MR. GOODBAR bolsters the movie to a significant degree. In the lead role of Theresa Dunn, Diane Keaton does an exceptional job in an extremely difficult role. Moving way beyond her usual genial film persona with this character, Miss Keaton makes Theresa Dunn one of the most complex female characters ever presented on celluloid; a tragic, but fascinating figure at the same time. She makes Theresa's utterly contrasting day, and night lifestyles/transformations believable and utterly compelling. Miss Keaton is ably supported by the remaining actors who also paint realistic characters in LOOKING FOR MR. GOODBAR.

Tuesday Weld, as Theresa's older sister Katherine, does a marvellous job in the movie. Miss Weld's distinctive, squeaky voice is used to great effect here, showing her confusion with her life, being in a similar predicament to Theresa, but expressing this in a different, more comical, manner. Both of these actors are three-dimensional in their portrayals, the same applying for other actors in LOOKING FOR MR. GOODBAR. In his role as Theresa and Katherine's father, Richard Kiley shares some strong scenes with Diane Keaton, his the sole voice raising concerns about his daughter's lifestyle. Never allowing his character to become tiring for the viewer, Mr Kiley does wonders with his religious, fervent, alpha male father figure. The other male characters in the film can be examined for how different they are to Mr Dunn in the film.

Richard Gere, as Theresa's come and go lover Tony Lo Pinto, offers an energetic and eclectic performance in LOOKING FOR MR.GOODBAR. His entertainingly hyper personality brings a note of humour to the film in the most unexpected of moments. Mr Gere's electric persona makes him the perfect morally ambiguous rogue to Diane Keaton's Theresa in her most sensual, but also, sensible moments. On the other hand LeVar Burton, with a dearth of dialogue, makes an impact with his supporting character Cap Jackson, the brother of a young deaf girl Theresa teaches at her school. Using mainly his eyes and uttering only a few several sentences, Mr Burton does a fine job as the intuitive, protective Cap. Cap is the only male character in the film to see Theresa in a more giving, dignified light, without concentrating upon her sexuality, which is something the remaining male characters share as a trait.

Tom Berenger, as Theresa's final lover Gary, is the most striking male performance in the movie. It is interesting to note Mr Berenger's non-verbal cues in the film, especially at the end of the Parade scene, sulky voice, and sad pout. His body is akin to a tight elastic band swaying in the wind that will snap at any moment, and his voice suggests deep emotional scars. Mr Berenger's excellent acting informs the audience that his character is suffering deeply, and that Gary's actions at the very end, while horrific and drug-induced, are borne out of confusion with his sexuality, being both his homosexual, and heterosexual desires.

Soundtrack: The use of a saxaphone tune in the opening credits of LOOKING FOR MR. GOODBAR suggests sensuality and illicitness, teamed with the visuals of Theresa Dunn in various adult entertainment venue locations. The tone then shifts slightly in the credits with disco music of the era, most significantly Thelma Houston's 'Don't Leave Me This Way', which add dimension, and a flavourful sense of the 1970s to the film. The film overall has music in its most quiet moments, especially when Theresa is at her most thoughtful, and in the end credits, this complementing the visuals in an apt manner.

Mise-en-scene: The outdoor location filming and sets featured in LOOKING FOR MR. GOODBAR are well-chosen, adding an appropriate backdrop to the proceedings on screen. Many examples of the vivid nature of the mise-en-scene can be mentioned. First of all, the opening credits introduce the viewer to Theresa's nightlife in all its uninhibited glory, this repeated throughout the movie. The smoky bars that Theresa inhabits when picking up men, the gay bar she visits in a scene from the film, the outdoor New Year's Eve Parade with its assortment of characters in costume, to name a few, set the tone of the film in an excellent way. Theresa's small, dark apartment is akin to a hell's den, with its sparse furniture, and generally unkempt nature. Aside from these, the film has utilized its sets, and lighting, to make subtle comments about the central character and her lifestyle.

The nighttime scenes of Theresa trolling bars, visiting red-light districts and afore-mentioned areas, can be contrasted with the sequences of Theresa during the daytime hours. The scenes in the school are well-lit, with copious light entering through the windows of the classroom. There is the inference that Theresa is pure during the day, and in her element. This is where she also displays compassion to others, one of the film's most powerful points. Even the scenes in the black neighborhood are better illuminated than the nighttime scenes, where Theresa is still 'in the light', and fighting for her young black student. Production design is an excellent feature of LOOKING FOR MR. GOODBAR, and one of the reasons it stays in the memory after many years.

Award-worthy performances in my opinion: Diane Keaton, Tuesday Weld, Richard Kiley, Richard Gere, LeVar Burton, Tom Berenger.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

Movie Excerpt