LITTLE FAUSS AND BIG HALSY (1970)

Title: LITTLE FAUSS AND BIG HALSY

Year of Release: 1970

Director: Sidney J. Furie

Genre: Action, Drama, Comedy

Synopsis: A professional motorcycle racer befriends an amateur racer in Arizona, and subsequently compete not only in business but also, in love.

Within a film history context: Movies with motorcycle racer protagonists, competing in professional races, sometimes appeared in cinema before 1970. This was in comparison to the many films which featured motorcycle racing characters who did this as a leisure pursuit, or in a rebellious vein. Bernard Vorhaus' MONEY FOR SPEED (1933) was about the world of speedway racing, concentrating upon the romantic pursuits of its leading men, along with their personal competitiveness. Comedy movie NO LIMIT (1935), directed by Monty Banks, followed a chimney sweep who longs to compete in a motorcycle racing event, and achieves this, but faces competition from other racers. Jack Lee's ONCE A JOLLY SWAGMAN (1949) focused upon a motorcycle racer whose professional life affects his relationship with his wife. In contrast THE PACE THAT THRILLS (1952), directed by Leon Barsha, emphasized a love triangle between two motorcycle racers, and a reporter who covers their exploits for a newspaper. LITTLE FAUSS AND BIG HALSY was a picture that closely followed the lives of motorcycle racers, something the other entries also did, but branched out into fresh territory with its content.

As with all the other films, LITTLE FAUSS AND BIG HALSY had plenty of motorcycle action, something which added excitement and life to the narrative, and visual appeal for the viewer. The difference with LITTLE FAUSS AND BIG HALSY was the shooting of the movie in a rugged landscape. It was unlike NO LIMIT, and THE PACE THAT THRILLS, which had extensive outdoor shooting, but whose locations were of a more conventional nature. ONCE A JOLLY SWAGMAN differed again as much of the motorcycle sequences were based inside a racetrack setting. With LITTLE FAUSS AND BIG HALSY, the outdoor motorcycle segments took on a life of their own for their sheer authenticity. The dustiness of the long country roads, the sun beating down on those below, both participants and spectators, gave the impression of beautiful, but torturous terrain. This was a subtle metaphor for the difficulties of being a member of the motorcycle racing/dirt bike racing sport that the movie examined. Other features of LITTLE FAUSS AND BIG HALSY provided divergence from the other motorcycle racing films.

NO LIMIT'S slight romantic arc was not as pronounced as the following three examples. MONEY FOR SPEED, ONCE A JOLLY SWAGMAN, and THE PACE THAT THRILLS, on the other hand, had a predominant romance angle which dominated the movie. The first film had two men competing both personally, and in a professional sense. The second had more domestic leanings, with a racer's marriage impacted by his occupation. The third had a love triangle between two men, and a woman. LITTLE FAUSS AND BIG HALSY, in comparison, veered away from these scenarios. The rivalry between two men in both sport, and love was the spotlight, but was looser in the execution of its plotting, preferring a freeform structure. Neither Little Fauss, nor Big Halsy end up in a happy union with a woman, which was in opposition to NO LIMIT, MONEY FOR SPEED, ONCE A JOLLY SWAGMAN, or THE PACE THAT THRILLS. No stable male-female relationships eventuate, instead, a series of flings take place. Aside from this, LITTLE FAUSS AND BIG HALSY was made in 1970, and a relaxation in film censorship allowed for more openness in sexual content, and nudity, which the previous films, made in the 1930s, 1940s, and 1950s, could not depict. This had the effect of making the movie more liberal than its counterparts in terms of what appeared on the screen. A sojourn into the lives of motorcycle racers, LITTLE FAUSS AND BIG HALSY is an enjoyable film.

Overview: Sidney J. Furie is a prolific filmmaker who, over the course of his sixty-five year career, has directed forty-six feature films. Mr Furie is a generalist who has made movies in a number of genres, from crime, action, adventure, comedy to romance. His first film, A DANGEROUS AGE (1957) was a romance which charted the obstacles two young people faced in becoming a couple. Into the 1960s, he made THE BOYS (1962). A drama set in 1960s London, it followed the exploits of four teenagers involved in crime, a theme which Mr Furie explored on various occasions in his career. His next notable film was THE LEATHER BOYS (1964). This was the story of a young woman who marries a biker, thus explaining the leather of the title, and how his relationship with his friend impacts on the marriage. Starring a largely British cast, it was another step forward for Mr Furie in making daring movies. 1965 brought THE IPCRESS FILE to audiences. A thriller of espionage and double-cross, again with a British cast including Michael Caine and Gordon Jackson, it is noteworthy as a predecessor for the theme Mr Furie would later investigate in HIT! As a change of pace, Sidney Furie then tackled the action-romance genre in THE APPALOOSA (1966). Starring Marlon Brando, it focused upon a man's quest to take back his horse which has been appropriated by a Mexican man. The 1970s was a time of growth for Mr Furie, when he would make films about copious themes.

With the inception of the 1970s, Sidney Furie released THE LAWYER (1970). It followed a lawyer who becomes involved in a murder case, something different for the director. Mr Furie then filmed the biography of singer Billie Holliday, LADY SINGS THE BLUES (1972). With Diana Ross as Miss Holliday, it was one of his most famous, well-remembered movies, with memorable musical trimmings. HIT! (1973) was the story of a federal agent seeking to take down drug traffickers after the death of his daughter from an overdose. The remainder of the 1970s featured various types of movies in Mr Furie's oeuvre. SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK (1975) gave Sidney Furie the opportunity to display his aptitude for comedy. In this movie, a young woman moves to New York City and finds love. Mr Furie again tackled a biographical film, GABLE AND LOMBARD (1976). The story of Clark Gable and his ill-fated wife Carole Lombard, it was a movie of a more romantic nature than usual, but critically derided upon release. Sidney Furie looked at Vietnam with THE BOYS IN COMPANY C (1977). A film with much profanity, it provided its cast with a realistic story about a boot camp that turns into a nightmare once the soldiers arrive in Vietnam. 

In the 1980s Mr Furie's movies were not as prominent as his 1970s pictures. After uncredited direction on two movies, he made THE ENTITY (1982). A horror film about a woman who is menaced by a demon she cannot see but of which she can definitely feel the presence, it was the first time he had made a horror genre entry. With PURPLE HEARTS (1984), Mr Furie revisited Vietnam, this time charting the love story of a doctor and a nurse. The remainder of the decade was devoted to two instalments of the IRON EAGLE franchise in 1986 and 1988 respectively, and, in 1987, a film in the Superman franchise, SUPERMAN IV: THE QUEST FOR PEACE. His films in the 1990s until the present are a mixture of his previous movies, mainly action movies, thrillers, war, and comedy.  Looking overall at the sheer scope of his works, LITTLE FAUSS AND BIG HALSY was one of Sidney Furie's lighter, but still satisfactory films.

With LITTLE FAUSS AND BIG HALSY, Sidney Furie has fashioned a diverting, fast-moving movie. It is the character study of Halsy Knox, a motorcycle racer, his friend Little Fauss, and various other uninhibited personalities they encounter along their journey together. The film depicts the rootless life of its central protagonist with vigor, showcasing him in different situations which ably express his nonconformist attitudes toward life and, in particular, his amorous entanglements with the opposite sex. It contrasts Halsy's swagger, and good looks to Fauss' less confident disposition, and lack of physical attractiveness. Aside from the central pair, the film also delineates their lives through their relationships with others, which give both Halsy and Little Fauss depth. The women they meet and are involved with, such as Rita and, in particular, Fauss' parents, also reveal other sides to these two characters. While LITTLE FAUSS AND BIG HALSY has some positive traits, there are a number of striking flaws evident when the movie is considered as a whole.

Admittedly, the freewheeling nature of the movie is something which gives it a certain offbeat appeal, but, unfortunately, this has been transferred to the film, causing it to lack continuity in certain departments. It would have been helpful if there was more of a backstory for Halsy, to explain why he acted the way he did. This is also applicable to Fauss, even though his parents appear, which is one of the movie's best aspects. In addition, the treatment of women in the film is lamentable, as they are largely painted as floozies with a body, and without psychological complexity. Rita, for example, seems to serve a purpose for a spell, but then is gone. In an attempt to maintain an organizing structure in the movie, it is admirable that the focus is contained to both Halsy and Fauss, but this is often to the detriment of peripheral characters. The major case of this is the death of Fauss' father, which is something that should have been given greater weight, but which is glossed over. 

Other omissions do hinder the tapestry of LITTLE FAUSS AND BIG HALSY. The movie, overall, does have issues with making events moving to the audience, with the effect that the picture is often apathetic toward depicting real emotions. The film's tendency to jump from one situation to another may seem fashionable, but leaves spectators with a feeling that something is lacking to make things compelling. If there were more highly charged moments of anger and sadness these would have made all the difference. It would have balanced the hijinks and frivolity, thus giving these a better place in the story. All in all, though, certain things can be said about LITTLE FAUSS AND BIG HALSY, despite its shortcomings. It is a likeable movie that tried to be in the here and now, but missed out on involving its audience in a more riveting manner. 

Acting: Several performances stand out in LITTLE FAUSS AND BIG HALSY for their authenticity. As Halsy Knox, the hard living, womanizing half of the eponymous duo, Robert Redford contributes yet another thoughtful screen interpretation. An actor with an air of profundity and ease, he makes his rogue someone very difficult to dislike, despite the character's behaviour and actions. The other half of this twosome is Little Fauss, played by Michael Pollard. A character actor whose soft voice and seemingly diffident manner made him perfect for roles in action or rural themed movies, he makes Little Fauss one more of his unique parts. As a side note what is also interesting about the movie is how there is no real chemistry between Halsy and Little Fauss. While they are distinctive as individual characters, as a combination the fire that should have been there is nowhere to be seen.

The main female character is not the most memorable in the movie for certain reasons. Unfortunately, the film is not a proper showcase for Lauren Hutton as Rita Nebraska, Halsy's lover. An actress whose smoky voice and demeanor is more befitted to films with glamorous locales and parts as sophisticated women, here she is not allowed to display her talent in a largely thankless role. On the other hand, Noah Beery Jr. and Lucille Benson as Seally Fauss and Mom Fauss, Little Fauss' parents, are captivating. Like two peas in a pod, these character actors give the movie an undertone of subtle humor, of people who have seen the best, and worst in life, and beautifully round out the acting in LITTLE FAUSS AND BIG HALSY.

Soundtrack: There are a number of tunes featured in LITTLE FAUSS AND BIG HALSY, but the most prominent is Johnny Cash's 'Ballad of Little Fauss and Big Halsy'. It is played at both the beginning, and end of the movie, similar to many 1970s films, and supplies an appropriate non-diegetic commentary on the characters, and their picaresque lives.

Mise-en-scene: What appears in front of the camera has been carefully considered in LITTLE FAUSS AND BIG HALSY. Cinematographer Ralph Woolsey photographs the movie in his usual effective way, in this case, making the harsh Arizona landscapes take on an unexpected beauty of their own. Locations are also well-selected, giving the impression of people living difficult lives but also, enjoying these at the same time. The motorcycle racing sequences are all exciting to watch, never giving the impression of artificiality, but of immediacy.

Notable Acting Performances: Robert Redford, Michael Pollard, Noah Beery Jr., Lucille Benson.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer

THE NATURAL (1984)

Title: THE NATURAL

Year of Release: 1984

Director: Barry Levinson

Genre: Drama, Romance, Fantasy

Synopsis: The life of a professional baseball player from childhood, until middle-age.

Within a film history context: Films about baseball and specifically, male baseball players, have been present in cinema from the silent era. BASEBALL AND BLOOMERS (1911) is a lost film that centred around an entirely female baseball team, and a subsequent battle of the sexes with a male baseball team. Other films with male baseball players as protagonists during the silent era include George Ridgwel's SOMEWHERE IN GEORGIA (1917) with real-life player Ty Cobb in the main role, Jerome Storm's THE BUSHER (1919), a romance with Colleen Moore, and Monte Brice's CASEY AT THE BAT (1927), featuring Wallace Beery as the eponymous Casey. Later films include Sam Wood's PRIDE OF THE YANKEES (1942), an account of real-life player Lou Gehrig's life, and musicals such as Busby Berkeley's TAKE ME OUT TO THE BALLGAME (1949). The 1950s brought Harmon Jones' THE PRIDE OF ST. LOUIS (1952) to the screen, with Dan Dailey as baseball pitcher Dizzy Dean, and other productions such as Lewis Seiler's THE WINNING TEAM (1953), starring Ronald Reagan as pitcher Grover Cleveland Alexander.

With the 1970s came John Hancock's BANG THE DRUM SLOWLY in 1973, with Robert De Niro and Michael Moriarty as baseball players with a special connection. Later in the decade, in 1976, marked the release of THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS directed by John Badham, a financially successful movie revolving around African-American baseball players in the 1930s. Arriving on screen in 1984, THE NATURAL differed from these films in that while it was based in an overriding realism, it contained fantastical elements which provided the film a spirit which edged it slightly into supernatural territory. While it shared with some of the other movies the account of a male baseball player's life in a biographical fashion, being based upon a real-life incident, THE NATURAL largely lacked humour which worked in its favour, the narrative events presented in a sombre, elegant manner.

Overview: Director Barry Levinson is credited with helming twenty-three movies as of 2015, with another two currently in post, and pre-production respectively. Mr Levinson's first film was 1982's DINER, an exploration of a group of friends in 1959 Baltimore, and he has also directed other such notable movies as GOOD MORNING, VIETNAM (1987), RAIN MAN (1988), AVALON (1990), BUGSY (1991) and SLEEPERS (1996). He has variously tackled human dramas and social issues with panache in his cinematic career, but, has a penchant for period films which have an ethereal touch. This is evident in THE NATURAL (1984), his second film.

A film set in the 1910s and spanning into the 1950s, Mr Levinson gives author Bernard Malamud's story a gentle but involving rendering, with the narrative unfolding in a naturalistic, luxuriously paced fashion. The director has made a film which explores events in the main character's life with all the emotional hooks present for the audience, and, a lack of sentimentality. The character's life is marked by his involvement with three women, which present his positive qualities, and foibles, to the audience through his relationship with them. His era with Harriet is marked by instability, the era with Memo Paris one of glamour but instability, but, the final era with Iris one of growing emotional maturity and balance.

The film is an odyssey for both the character and the audience, witnessing Roy Hobbs' evolution as a person from a young boy, to middle age. Mr Levinson presents dazzling set pieces in the film which occur at the most unexpected moments; this is a film where events take place, and their emotional significance hits the viewer suddenly. Mr Levinson has succeeded in making THE NATURAL a lyrical, beautiful viewing experience with valid comments on life, love, family, self-respect, temptation and, staying true to oneself.

Acting: The acting in THE NATURAL is one of its finest qualities, and something which makes the movie eminently watchable. The lead actor is ably supported by an illustrious group of thespians who provide allure to the film in supporting roles. As central protagonist Roy Hobbs, Robert Redford offers a solid rendition of the introspective, dreamy, but hopeful baseball player, another creditable performance from a most cerebral actor. Mr Redford receives excellent backing from a number of actors who provide their small roles with life. Joe Don Baker shines in a tiny part as Whammer, Roy Hobbs' rival at the beginning of the movie. A character actor who always delights with his easy manner and personality, Mr Baker's role in the movie is effective, if too brief in duration.

Barbara Hershey's turn as the mysterious, enigmatic Harriet Bird is a potent performance adding an unexpected twist to the story. Her understated acting style makes the quiet scenes involving her and Mr Redford all the more shocking when they unravel. Kim Basinger exudes fire and vulnerability as Memo Paris, a character who on the surface appears to be a vapid sex symbol, but Miss Basinger's skilful interpretation, voice and facial expressions show the audience the depth of her loneliness, and frustration, in not capturing Roy Hobbs' heart. Glenn Close, as Roy Hobbs' first love Iris, adds a charming presence to the film as the most emotionally secure of the women with whom he is involved. From the first moment Miss Close appears on screen, she captures a luminosity, a dignity that makes her the film's ideal of femininity.

Soundtrack: Randy Newman's score is perfect, melding seamlessly with the visuals for a beautiful aural experience. Softer in the more intimate, emotional scenes, stronger and rousing in the bolder segments, it is a credit to THE NATURAL as a whole.

Mise-en-scene: The period detail in THE NATURAL is exquisite, bathing the film in an authentic, but appropriate mood without being overwhelming. From the beginning to the end of the film, it does not overdo the attire or locations of a bygone era, but, complements it in a natural manner. There are many examples of this that stand out, such as scenes from Roy Hobbs' childhood, to the baseball stadiums, to the party thrown by Memo Paris, and, to Iris' homely apartment. The production design is an aspect of the film that adds not only realism but beauty to THE NATURAL as a whole. In addition to this, the cinematography captures the people and places in subdued tones, the colour measured but never garish, and easy on the eyes.

Costume design is another part of the film that adds to its historical authenticity. The clothing worn by the male characters, designed by Bernie Pollack, fits with their distinctive quirks and personalities. The costuming for Miss Hershey, Miss Basinger and Miss Close, arranged by Gloria Gresham, also delineates their traits in a subtle way. The dark coloured garments worn by Miss Hershey perfectly express her spider woman character, as does the glamorous clothing Miss Basinger wears for her femme fatale role. Miss Close is adorned in more low-key attire than the other actresses, befitting the more sensible, down-to-earth Iris.

Award-worthy performances in my opinion: Robert Redford, Joe Don Baker, Barbara Hershey, Glenn Close, Kim Basinger.

Suitability for young viewers: Suitable for children with adult discretion. Mild adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer