MEDIUM COOL (1969)

Title: MEDIUM COOL

Year of Release: 1969

Director: Haskell Wexler

Genre: Drama

Synopsis: A television cameraman covering the 1968 Democratic Convention becomes caught up in the unrest and racial tensions of the era.

Within a film history context: Movies which centered around a cameraman protagonist were rarely featured in cinema before MEDIUM COOL. The first major example in this respect was Edward Sedgwick's silent THE CAMERAMAN (1928). A photographer tries to find work as an MGM cameraman to become closer to a secretary at the studio, with many ups and downs along the way for him. A Buster Keaton vehicle, it was a box office success for MGM, though not personally for the actor, and souring his association with the studio. MEN OF THE HOUR (1935), directed by Lambert Hillyer, was about two newsreel cameramen, and their rivalry, both professional, and personal, especially with regards to a young woman. Jack Conway's TOO HOT TO HANDLE (1938), centered around an ambitious if unscrupulous newsreel cameraman, meeting, and falling for, an aviatrix in China while covering reports there. CHINA GIRL (1942), directed by Henry Hathaway, was concerned with a newsreel cameraman in China during World War II, and how his attachment to a young woman, who is in danger, prompts him to act against the Japanese. In the case of Jack Donohue's CLOSE-UP (1948), a newsreel cameraman inadvertently becomes embroiled in an unseemly situation when he films a segment outside a bank, thus placing himself in peril. MEDIUM COOL fit easily into the category of films about cameramen, however, it added its own touches.

It shared affiliations with those movies where the lead was a newsreel cameraman, such as MEN OF THE HOUR, TOO HOT TO HANDLE, CHINA GIRL, and CLOSE-UP. TOO HOT TO HANDLE, and CHINA GIRL, had more of a topical edge than the other two examples, with the lead characters covering stories in places of unrest. This is something shared by MEDIUM COOL, in that John's predominate project is the 1968 Democratic National Convention, where opposing groups clash in a very public manner over their beliefs, and value systems. Where MEDIUM COOL diverts from the other examples is that John is a cameraman for a television station, which is an updated version of the newsreel cameraman characters from the 1930s and 1940s. Embedded in this, there is also a subtle message of the coldness of the media, particularly in this case, television, and how it captures disturbances on film, but does not serve an edifying purpose in some instances.

In related areas, the other films with newsreel cameraman were not, as such, pungent examinations of the media. Instead of this, these pictures observed the protagonists' reaction to events, and, largely, their relationship with the opposite sex. The presence of a female love interest was apparent in THE CAMERAMAN, MEN OF THE HOUR, TOO HOT TO HANDLE, and CHINA GIRL In MEDIUM COOL, John had a relationship with a nurse, but this transferred over to his friendship with a young mother and her son. It was not a case of true love here, rather, people coming together under trying circumstances, under the veil of threat. This was something which MEDIUM COOL shared with CHINA GIRL, and its newsreel cameraman, who falls for a young Chinese woman whose life is in danger. A strong movie about a television cameraman and his activities, MEDIUM COOL offers a solid account in this regard.

Overview: Haskell Wexler was an American director who made four feature films in his career. He was infinitely more active in the realm of documentary filmmaking, crafting an additional fourteen movies, and shorts. Mr Wexler was also involved as a cinematographer, and camera operator, on pictures such as THE HOODLUM PRIEST, ANGEL BABY, AMERICA AMERICA, THE BEST MAN, IN THE HEAT OF THE NIGHT, THE THOMAS CROWN AFFAIR, COMING HOME, MATEWAN, STUDS LONIGAN, DAYS OF HEAVEN, and THE ROSE, to name just several examples. As director, Mr Wexler's third movie, LATINO (1985), was the exploration of political unrest in Nicaragua, and the relationship between an American Special Forces Trainer, and a young Nicaraguan woman. FROM WHARF RATS TO LORDS OF THE DOCKS (2007), was Haskell Wexler's final movie. Harry Bridges, an Australian-born, American resident, champion of union rights for waterfront and other workers, was the subject here, as were his many legal battles and other challenges. MEDIUM COOL was Haskell Wexler's first picture, and the film for which he is best remembered.

With MEDIUM COOL, Haskell Wexler has crafted an intense, original motion picture. Following the life of a television cameraman covering the 1968 Democratic National Convention, and other incidents, it is an arresting, thought-provoking film. Mr Haskell has achieved this by concentrating on a small group of characters, specifically cameraman John Cassellis, his associate Gus, and Eileen, the young mother he encounters one day. Supporting characters such as the black man John invites for an interview are also effective, saying much about humanity, points still relevant today. Through these people, Mr Wexler examines the role of television and the media on the lives of both those in this business, and the people who, unfortunately, are often exploited, or caught up in this, through their activism on issues. The documentary aura of the piece, and feel for everyday life and issues, is where MEDIUM COOL is at its peak. The movie is stellar in general, but some areas of the film are less than ideal in retrospect.

MEDIUM COOL has a nervy mood, and atmosphere, which is compelling to witness. It maintains the attention from beginning to end, but one specific scene stands out for its incongruity in the film as a whole. John's relationship with nurse Ruth is something which slows down the picture, and could easily have been removed, as its purpose is limited. Ruth seems to exist solely for the purpose of the male-female nude scene, which does nothing for both her character, and John's. One never finds out more about her as she seems to be in the story one minute, and out the next. Presumably it was to point out how much deeper John and Eileen's connection is in comparison to his escapades with Ruth, but it leaves a sour taste in the mouth. Overall, though, in light of the movie's ambitious aims and powerful execution, it is just a small, tawdry part of a much better whole. MEDIUM COOL deserves the acclaim it has received over time for being a telling view of the life of a cameraman, its vision on the state of humanity, and as Haskell Wexler's best work.

Acting: There are two performances which are distinctive in MEDIUM COOL. As cameraman John Cassellis, Robert Forster offers a solid interpretation of the steely man with a sense of integrity, this discerned more in the latter parts of the film. An actor who took on tough guy roles with regularity, this part allows him to incorporate some vulnerability which is refreshing to see. As Eileen, the woman who unexpectedly comes into John's life, Verna Bloom offers the film's best performance. With her quiet ways, and ability to share her thoughts with the audience, Miss Bloom is a standout in MEDIUM COOL.

Soundtrack: MEDIUM COOL has an eclectic soundtrack which is in keeping with its edgy feel. While there are a number of familiar tunes scattered throughout the movie, in many instances employed to express a sense of irony in scenes, the best musical piece is Mike Bloomfield's theme for the movie. Played during the opening credits sequence, and a number of times in the picture, it has an excitable, compelling, mysterious aura that perfectly complements the film, and what it seeks to achieve in its trendsetting, counterculture manner. 

Mise-en-scene: The visual experience is one that works very well in MEDIUM COOL. Haskell Wexler's cinematography is beautiful, capturing everything onscreen with grace. The picture has many outdoor location sequences, and these are all excellent, and boost the film's realism considerably. The highway on which John and his offsider take photos of an injured woman in a car, the unruly neighborhood of Eileen and her son, and the protest scenes, are all well-orchestrated, and memorable sequences. Verna Fields' editing deftly keeps the attention on the characters, and their plights, without being jittery, which in other pictures of the era unnecessarily distracted from the goings-on to appear fashionable.

Notable Acting Performances: Robert Forster, Verna Bloom.

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

Overall Grade: B

Link: IMDB Page

JOURNEY THROUGH ROSEBUD (1972)

Title: JOURNEY THROUGH ROSEBUD

Year of Release: 1972

Director: Tom Gries

Genre: Drama

Synopsis: A young Vietnam draft dodger traverses through an Indian Reservation in South Dakota, and indelibly affects the life of an American Indian man living in the Reservation.

Within a film history context: Films which explore the issues on Native Indian Reservations have been given prominence infrequently in cinema. One of the first, and most famous, films to deal with the conflict between settlers and American Indians is Delmer Daves' BROKEN ARROW (1950). Starring James Stewart as a man attempting to promote peace between settlers and Apache Indians, it was a film that moved away from traditional, one-sided scenarios of killing Indians and the other side emerging the victor, to a more sympathetic account of divisions between the two opposing parties. PILLARS OF THE SKY (1956), directed by George Marshall, was different in approach. This time around, the issue at point was the building of a road across the reservation, and the reaction that this provoked in tribal leaders. The 1960s, as with the 1950s, brought with them varied, and interesting interpretations of problems on Indian Reservations.

CHEYENNE AUTUMN (1964), helmed by John Ford, was an epic that concentrated on the Northern Cheyenne Exodus which took place from 1878 until 1879, detailing the relocation of American Indians from Cheyenne back to the their ancestral homes in Wyoming. A high-budgeted film that failed to make back its costs, it is nevertheless significant for its direction by the famous Mr Ford. Peter Tewksbury's STAY AWAY, JOE (1968) was a change of pace for the theme, a comedy-musical with Elvis Presley about an American Indian man assisting his people at the reservation. More exploitation-oriented in its treatment of the theme was THE SAVAGE SEVEN (1968), directed by Richard Rush. It was about bikers pushing their way into an Indian Reservation, and the consequences of this. Racier in nature and more violent than previous films which delved into the theme, it was mainly notable for Mr Rush's participation, and appearances from many well-known actors such as Robert Walker Jr. and Adam Roarke. JOURNEY THROUGH ROSEBUD was different again in its approach to the Indian Reservation premise, contributing another viewpoint on the subject.

It was a solemn consideration of issues relating to American Indian life and customs on the reservation, but without the violent and sensational content that marked previous films on this subject. The movie could be said to have more in common with BROKEN ARROW than other films in the treatment of its theme, and the sympathy which it affords its characters. Details such as the tribal dance, the community meetings about issues on the reservation, for example, are well-handled, and fascinating to witness. Unlike many of the films previously mentioned, though, the storyline was not as compelling in nature, this being JOURNEY THROUGH ROSEBUD's overriding weakness. The emotional involvement is hardly ever present, with the exception of Frank's trials and travails in the film, this being its strongest, and most memorable narrative element. A watchable but inconsistent film, JOURNEY THROUGH ROSEBUD should be commended for at least attempting to impart to audiences what life was like on Reservations in an impartial, and serious, manner.

Overview: Tom Gries was a director mainly active on television, but who was at the helm of fourteen motion pictures. His predominant focus was on action and adventure, with some forays into drama and romance genres over time. Mr Gries' first film, SERPENT ISLAND (1954) was an adventure-thriller about a woman seeking her great-grandfather's treasure, and is assisted by two men in this mission, with unexpected obstacles coming in the way. In HELL'S HORIZON (1955), he looked at the Korean War, specifically the soldiers of a bombing squad. From 1960 until 1967 he mainly worked in television, but returned to films in 1967 with WILL PENNY. The story of a cowboy who begins working on a farm, but discovers his abode already inhabited is one of Mr Gries' most famous works, starring Charlton Heston and Joan Hackett in the central roles. In another collaboration with Charlton Heston, Mr Gries directed him in NUMBER ONE (1969). The character study of an inebriate football player whose antics cause him much angst, it varied from the action/adventure films Mr Gries made until that time. The 1970s afforded Mr Gries further interesting opportunities with varied material, and he released seven more films before his untimely death in 1977.

THE HAWAIIANS (1970) was an epic film based upon James Michener's novel, once again starring Charlton Heston. A continuation of the 1966 film HAWAII, it charted the last parts of the novel, detailing what occurred when Japanese and Chinese populations entered Hawaii, and the consequences of this move. FOOLS (1970) was a change of pace for Mr Gries, this time tackling the romance between a married woman and her actor admirer. He also attempted crime themes in LADY ICE (1973), with an insurance man becoming involved with a young woman, but suspecting her of the theft of expensive jewels. Mr Gries notably directed Charles Bronson in the action-adventure BREAKOUT (1975), with Mr Bronson as a man hired to free an inmate in Mexico. Tom Gries' final film, THE GREATEST (1977), starred Muhammad Ali as himself in an exploration of his life. Largely panned upon first release, it featured a number of character actors such as Robert Duvall and Ernest Borgnine in supporting roles. JOURNEY THROUGH ROSEBUD, Mr Gries' tenth film, alas, was not one of his best endeavours.

While it was an earnest attempt to shed light upon the plight of Native Americans living on reserves, and the unique issues that they faced, JOURNEY THROUGH ROSEBUD was largely lacking in dramatic impetus which, regrettably, rendered the film lifeless. Mr Gries does well in charting the problems on Reserves and making these clear to the audience, but these are insufficient to make the film a more riveting experience. These parts of the film are almost documentary-like in nature, their staging excellent. If the movie removed the dramatic sections, and included a voice-over describing what was taking place, adding further scenes of American Indian life, it would have been a wonderful account of life at that point in time. The film, though, has fictional characters and situations, and these are the weakest aspects of JOURNEY THROUGH ROSEBUD.

The storyline is not involving, seeming like a loosely connected story added to string together the scenes of Indian life. There are not enough dramatic events to sustain viewer interest, the pace being slow, with not much of anything going on. Possibly this was deliberate as the film itself is of a more reflective nature than most, but this does not assist its cause. In addition to this, the characters do not exhibit real passion of any type to make them realistic, with the exception of Robert Forster's Frank. Things just happen in JOURNEY THROUGH ROSEBUD, but there is not much cause and effect, again the film's best moments of this involve Frank. The film, also, contains some unexplained situations that do not make sense, making it a frustrating movie at times.

Danny and Shirley fall into bed, and this precipitates Frank's tailspin, but, it is never explained why this occurred in the first place. They seem to have known each other for only ten seconds and it is only made more unbearable by the fact that the actors did not have any chemistry together. Frank and Shirley's relationship is not shown in more detail for the audience to understand why they drifted apart in the first place, thereby, clarifying the reason for her fling with Danny. If the film explained certain plot points more fully, tightening the film overall by increasing its pace, it would have been a much more compelling viewing experience. As it stands, JOURNEY THROUGH ROSEBUD is a film that could have been much better, but is a disappointing experience in retrospect, and not one of director Tom Gries' greatest efforts.

Acting: The acting in JOURNEY THROUGH ROSEBUD is variable, mainly linked to the movie's indifferent storyline. For Kristoffer Tabori, in the leading role of Danny, this is not one of his best roles. While he tries hard to make more of his character than what the script calls for him to do, he is hampered by the film's general lackluster approach. This is in stark contrast for Mr Tabori, a genial, energetic personality, as witnessed by his excellent turn in 1971's MAKING IT. He is wasted here, as is Victoria Racimo as Shirley. She has an interesting screen presence, and an edge which the film does not utilize to full advantage. On the other hand, the film has the intriguing performance of Robert Forster as the introspective, bespectacled Frank. A good-looking actor who usually plays conceited, self-confident characters, here his acting is excellent, everything about it works, from his reticence, shows of bravado, to his latent vulnerability. There is just something intangible about Mr Forster's performance in this film which makes it JOURNEY THROUGH ROSEBUD's best, most true to life acting contribution.

Soundtrack: The opening music of JOURNEY THROUGH ROSEBUD is a contemplative piece, of which variations play through the film's running time, and is also replayed during the film's final credits. The movie itself does not have music apart from this, in line with 1970s films, which in many instances contained lean background musical scores.

Mise-en-scene: JOURNEY THROUGH ROSEBUD is a film in which the settings, and locales, provide it with a great authenticity. Several instances of these abound in the film that warrant discussion. Frank's rundown home, the farm on which the Indian music is played, and folk dances performed, the smoky saloon where the men in the town gather and drink together, to name a few examples, stand out, centring the characters, and their lives, in a realistic and atmospheric milieu. It is by far the best characteristic of the film, its verisimilitude something which remains with the viewer.

Award-worthy performances in my opinion: Robert Forster.

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

Overall Grade: D

Link: IMDB Page

Movie Excerpt

COVER ME BABE (1970)

Title: COVER ME BABE

Year of Release: 1970

Director: Noel Black

Genre: Drama

Synopsis: A university student filmmaker battles his professor and colleagues to produce his vision of the perfect movie, but finds himself alone when he alienates everyone around him with his quest.

Within a film history context: Films about characters who are voyeurs, sometimes in the most perverse manner, utilizing technology or instruments to capture or view various scenarios, have been featured many times throughout cinema history. Michael Powell's PEEPING TOM (1960) was one of the first to present a character, a psychopath who photographs the expression on his unsuspecting victim's faces when they realise they are about to die. Alfred Hitchcock's REAR WINDOW (1954) presented a character peering at the apartment block opposite his, the film detailing what he saw, and how his life was affected thereafter. Looking forward more than thirty years, Brian De Palma's BODY DOUBLE (1984) presented a different scenario, where an actor witnesses the murder of a young woman through his telescope, similar to REAR WINDOW, but in an exceedingly more violent fashion. COVER ME BABE shares elements of these films, the contrast being that the protagonist never becomes involved in murders or other crimes. While COVER ME BABE's main character indulges in voyeuristic behaviour through his filmmaking, he is never depicted as being psychopathic, but, instead, obsessive about producing the film of his dreams.

Apart from the voyeuristic elements of the film, COVER ME BABE also belongs to a genre of movies which deal with filmmakers, their lives and foibles presented to the audience to consider. Vincente Minnelli's THE BAD AND THE BEAUTIFUL (1952) and Federico Fellini's 81/2 (1963) are amongst the most notable to deal with filmmakers. The main difference between THE BAD AND THE BEAUTIFUL and COVER ME BABE is that THE BAD AND THE BEAUTIFUL revolves around a  ruthless producer, unlike COVER ME BABE's director character. On the other hand, 81/2, like COVER ME BABE, has a filmmaker lead character, but the protagonist of 81/2 is decidedly more sympathetic, the audience given insights into his psyche. In the case of COVER ME BABE, the viewer never finds out exactly why Tony Hall acts the way he does, his motivations never disclosed to the audience.

Overview: Noel Black directed seven feature films in his career, mostly notably his debut with PRETTY POISON (1968), to JENNIFER ON MY MIND (1971), and ending with PRIVATE SCHOOL (1983). COVER ME BABE was released in 1970, and followed a student filmmaker's quest to make the ultimate film of his liking, despite the opposition he encounters from his university professor and fellow colleagues. Mr Black has made a striking, well-balanced movie with a dramatic flair and style that can be witnessed not only visually but also, thematically. The imagery in COVER ME BABE is arresting from the first shots of a man walking, his shadow on the ground, to a character painting a model, the use of light on her body, and, as another example, filmmaker Tony Hall viewing shots of his film in the processing lab. COVER ME BABE, though, is not just about visuals and nothing further.

Mr Black has directed a story which touches upon a man, Tony Hall's, obsession with reality, and how he wants to move away from standard fictional narratives to produce a film based upon real-life scenarios, and mould these unrelated occurrences into a film. In his quest to make the movie of his dreams, the lead character indulges in voyeuristic and sadistic practices which largely demean the participants. These situations cast him in a negative light, despite his undaunted and stubborn self-righteousness. Mr Black's use of vignettes is quite powerful, with Tony Hall encountering a transvestite, an alcoholic, a child needing resuscitation on the beach, to name a few examples, and these add up over the course of the film as fascinating scenes of reality within a film. These also function to show that lead character Tony Hall sees humanity as just a tool to titillate and exploit through his filmmaking. Noel Black, in essence, has fashioned a movie that was provocative in the time of its release but is still relevant today with the use of technology, especially in the internet age, and how in many instances it can be utilized in inhumane, sadistic ways.

Acting: In the lead role Robert Forster displays just the correct amount of toughness and cynicism through his character of good-looking filmmaker Tony Hall. The viewer expects him to crack at some point, to show some more humanity than usual, but this never occurs. The only times he displays some semblance of vulnerability are through his relationships with two women, but even these just serve to further his filmmaking aspirations. The character of Tony Hall functions as a motivation for the film's other characters to carry through with his wishes, and as a sounding board against his ideals. In the end, though, the other characters reject his notions of filmmaking without humanity. The supporting characters are furnished with great performances from skilled thespians who infuse their roles with sensitivity.

Sondra Locke is a standout as the woman Tony Hall uses and abuses before finally breaking away from his filmmaking obsession. Her character, Melisse, operates as the film's conscience, and someone who tries to humanize Tony but, to no avail. Many of the film's most powerful, telling moments involve Miss Locke, in combat with Tony Hall. Apart from Sondra Locke, Robert Fields is also striking as Tony Hall's supervisor who is alternately taunted by Tony Hall, but finally retaliates at the film's conclusion. Mr Fields is a very versatile actor who can play any role, as witnessed by his victimized man on the bus in Larry Peerce's THE INCIDENT (1967). In COVER ME BABE he is offered much more leverage, and scope in his role, and carries it out beautifully. The final excellent performance in the film is by Floyd Mutrux as Tony Hall's gay filmmaking colleague Ronnie. In an economy of words Mr Mutrux expresses pain, confusion, and reticence with his facial expressions and body language, especially in the final scenes. The character of Ronnie is a telling contrast to the cocky, self-confident body language, mannerisms, and voice of Tony Hall.

Soundtrack: The music and songs featured in COVER ME BABE have a typical late 1960s/early 1970s vibe, with philosophical, introspective lyrics and a pleasing beat. These perfectly reflect what the film wishes to achieve in its subtle, thoughtful style, and greatly complements the visuals as well.

Mise-en-scene: COVER ME BABE is visually beautiful without being garish, colour carefully utilized in both indoor, and outdoor scenes. The scenes of Tony Hall filming people either with, or without their consent are well judged in terms of the settings, which give these scenes authenticity. The parts of the movie where film colleagues are conferring about film, or viewing footage on the screen also add credibility and realism to the narrative, as does the office of Tony Hall's university professor.

Award-worthy performances in my opinion: Sondra Locke, Robert Fields, Floyd Mutrux.

Addendum: I feel that the film's title COVER ME BABE, while the name of a song used in the movie, does not properly epitomize the film. The alternative title RUN SHADOW RUN would have been much more appropriate, in light of scenes in the film which actually depict this. If I could have named this movie as I wished I would have called it THE FILMMAKER or something of this nature, as COVER ME BABE misrepresents the movie as something frivolous and faddish which it is not.

Suitability for young viewers: No. Brief female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Movie Excerpt