INTERVIEW WITH ACTOR SAM GROOM

I have the immense pleasure today of welcoming a very special guest, actor Sam Groom, to CINEMATIC REVELATIONS for an interview. Sam has acted in many motion pictures over the years including ACT ONE, RUN FOR THE ROSES, FOR PETE’S SAKE!, THE BABY MAKER [my review of the film can be found here] and DEADLY GAMES, to name a few examples. In this interview Sam will be discussing his role in THE BABY MAKER, acting, television, and his position on the acting faculty at HB Studio in New York.

Welcome to CINEMATIC REVELATIONS Sam!

Athan: When did you first realize that you wanted to be an actor?

Sam: When my brother and I were young we went to 'the movies' almost every Saturday. We loved Cowboy, Tarzan, Pirate and War and Spy movies, almost anything with action and adventure. Afterwards we would go home and be those characters not act them but in our minds actually be them. As we grew up our focus turned to athletics. We were both pretty good and our dreams turned to being college and eventually professional athletes. In my senior year of high school I happened to see James Dean in East Of Eden and Marlon Brando in On The Waterfront. Unless you were young in the middle Fifties you won't completely understand what an enormous impact their work as actors achieved. Instead of the slick product of the past theirs was visceral and raw-almost embarrassing in its honesty. I thought THIS is what I want to do and be. My parents thought I was crazy but they supported me. When I had my first television success my Dad just walked around saying 'I can't believe it, I can't believe it!"

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Athan: Where did you study acting?

Sam: After secretly deciding to pursue an acting career while in college I began auditioning for every major school production. I was immediately cast as Dr. Stockman in Ibsen's ENEMY OF the PEOPLE and as Hamlet in Shakespeare's HAMLET. Although I read as much as I could I didn't formally study acting. I was simply lucky enough to be cast in shows and I learned by doing. (I don't necessarily recommend this method as I discovered later).During my last two summers of college I was hired as a resident actor in two professional summer theaters and after being married my senior year arrived in New York with a wife and very soon a son I had to provide for.

While working at night at a seaman's hotel, I was cast in a famous "live" hour long tv show, "THE ARMSTRONG CIRCLE THEATER" in a leading role. Actors such as Paul Newman and James Dean had done this show in the past. It was like a miracle after only five months in New York!

I continued to work regularly for a number of years relying on some natural ability and not formally studying. All that changed for me when I made a movie for television directed by the great Daniel Mann who was one of the founders of the Actor's Studio and director of Anna Magnani and Elizabeth Taylor in their Academy Award performances. After one particular scene he said that I was a "lazy actor". I was horrified. I was working as hard as I could. This lead me eventually to return to New York and to study with the great Uta Hagen. I discovered that what Daniel perceived as "lazy" was simply that since I never had formal classes there was a part of the acting process that I was not aware of. Knowing this I spent most of the rest of my career working in the theater and trying to perfect the techniques I FINALLY learned in class.

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Athan: Your performance in THE BABY MAKER as the charming, strong Jay was perfect. What is it that drew you to the role of Jay in this production?

Sam: What is most important for an actor is finding aspects of a character that he (or she) can personally identify with. For me this was not too difficult. Like Jay I came from a fairly conservative family background. Both my parents were college graduates. My dad was in the business world and many of our relatives were also in business or the law. People from that world generally have strong family expectations of a good life and further family success for their children. I know my parents did. The cultural conflicts that arose from the radical idea of having another woman carrying Jay's child and his building emotional connection to her despite his love for his wife were interesting ideas. The fact that Jay was a good and decent person was very appealing to me.

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Athan: What did you find most exciting about the experience of making THE BABY MAKER?

Sam: One of the most exciting aspects of making THE BABY MAKER was a call from my agent in early Dec.1969 telling me that the producer of a major film wanted to fly me to Los Angeles immediately. I was to meet with the director, Jim Bridges (who I knew) and Barbara Hershey (whose work I had admired) and read for a major role in a new film. Another [actor] was being offered the film. I happily accepted and flew my family to sunny California to spend two wonderful months living on the beach in beautiful Malibu while we filmed (five years later I bought the home and lived there for eight years).

As an actress, Barbara was very easy to work with. Unfortunately she was living with David Carradine and personally they were a bad combination. So working with her was fine but personally not so wonderful. Years later Barbara and I ran into each other on the street in Sherman Oaks and she apologized.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of THE BABY MAKER?

Sam: Unlike plays which progress straight through from act one to act three in a dramatic line, films are shot out of sequence creating some difficulty for the actors in creating a truthful emotional journey for their characters. The BABY MAKER was a prime example of this difficulty.

The first scene and the last scene were filmed on the first day of shooting in a wonderful house (owned by Adam West of Batman fame) situated high above the ocean in Malibu. The actors had to make all the experiences from the beginning to the end of the script real to themselves although he (or she) had not lived them yet. The practical reason for this problem is financial. It costs a lot of money for film crews to move from one location to another so if more than one scene is to be shot at the same location they will always film them all at the same time.

The director, Jim Bridges, did something very rare in film-making. He had the entire cast rehearse for a week before shooting began, sitting around a long table at the studio working on our character's emotional truth. This was a great benefit to me!

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Athan: THE BABY MAKER dealt with the topics of infertility and surrogacy in a candid, but empathetic manner for all parties in the film. After acting in THE BABY MAKER, did you find that your perceptions of these subjects altered from what they were before appearing in the movie?

Sam: An interesting example of the perception of surrogate birth motherhood in 1970 when THE BABY MAKER was released was the huge difference in newspaper reviews in Columbus, Ohio (my parents’ home city). One reviewer loved the film and the acting. The second completely dismissed the film. His main point was that since the whole premise of a woman carrying a child for another woman was so unbelievable the film failed.

While we were filming, Jim Bridges told me that his idea for the film was inspired by speaking with a young (hippie) woman in Venice Beach, CA. who had twice carried children for barren women. She said she just loved creating babies.

As an actor I must have a vivid imagination to use as an aid in living truthfully under any given circumstances. When you combine that with the very truthful and appealing performance of Barbara [Hershey] and my own wife's often stated love of the creativity of being pregnant (we had three sons by this time) my perceptions didn't need much changing.

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Athan: Have you kept in contact with any cast members and crew from THE BABY MAKER?

Sam: Until the early 1960's the major studios (MGM, COLUMBIA, 20th CENTURY FOX, UNIVERSAL etc.) all had a long list of people (actors, directors, writers) under exclusive contract to the studio. They also had huge back-lots with sets of every description. As a result of this, these people would see each other frequently-either on set or eating in the studio dining room and lasting friendships would be created.

As a larger and larger percentage of the public watched TV, fewer and fewer went to the movies. In order to stay in business the studios sold off their back-lots for real estate projects (Century City) and no longer had actors under contract. Films were made on location around the world and the actors were hired only for one project. They would work together intensely for a time then be off to other projects and other cities.

That is a long answer to your question - not really. Scott Glenn and I had worked together in an off-Broadway production of 11 short plays by the top young writers in the theater called "Collusion Course". It got great reviews and ran for a year. One of the plays I did was written by Jack Larsen (a partner of Jim Bridges) so Scott and I knew each other before THE BABY MAKER and were friends.

Immediately after the film we all went in different directions. I was under contract to Another World in New York so I had to return. A year later I was in Toronto beginning a series called Police Surgeon and had dinner with Jim Bridges who was filming scenes of his film Paper Chase there. A few years later I had dinner with Jim and Jack Larsen in L,A. and visited with Scott and his lovely family at his home in Topanga Canyon. Again we all went off in our different directions. As I said I only saw Barbara once on the street.

My wife became ill and I spent much of my time in those years trying to hold my family together and continue with a career at the same time.

It took all of my attention.

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Athan: THE BABY MAKER was directed by James Bridges, who later helmed equally diverse motion pictures such as THE PAPER CHASE, THE CHINA SYNDROME, and URBAN COWBOY. What was the experience of being directed by Mr Bridges in THE BABY MAKER?

Sam: Before filming THE BABY MAKER Jim Bridges had been a screen writer (or as most screenwriters in Hollywood – a re-writer hired to improve another writer's efforts). This can be very lucrative. But Jim had never directed a film. Wisely, Jim cast his film with good people, had a week of rehearsal before shooting began, and then pretty much left his actors alone. He was very supportive and easy to work with. As is apparent from the quality of his next films he learned very, very quickly.

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Athan: You have starred on many television series, both daytime and nighttime, over the years such as Another World, The Edge of Night, Gunsmoke, Hill Street Blues, The Love Boat, and Law and Order, to name a few. What for you were the main differences when comparing television, and film?

Sam: The main difference between films and TV is speed. Not only speed of filming but speed of casting and of script writing as well. With the last series I did (Otherworld) the casting was completed, literally, the evening before filming began. The writing of the following episodes was just as delayed. This was not unusual. For some reason studio executives in television seem unable to make decisions until the last possible moment.

Theatrical films are entirely different. Scripts go through many rewrites before financing is in place then a careful search for a director and actors takes place. (Interestingly my casting in THE BABY MAKER was against all norms. Jim had wanted me since seeing me in Collision Course but he had to finesse the casting. He auditioned many known film actors, turned them down one by one until time was running out and the part had to be cast.  I was not well known in the film community so Jim had to create a situation where a quick decision had to be made. When Barbara and I met and read our scenes together the producer was pleased and agreed to the casting).

Most hour long series episodes are filmed in seven days. Television movies take about three weeks to film. Contrast this to theatrical films that take at minimum six weeks and with complicated special effects a great deal longer.

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Athan: You have been an acting coach in HB Studios New York for many years. What is it the you find most rewarding in this position?

Sam: My primary method is teaching from my mistakes-this is what I did wrong or what I failed to do. It seems when students have concrete examples-very personal in my case-they more easily accept and remember the guidance and incorporate it into their work. Finally I relate something the wonderful actor and director Alan Arkin told me -before every performance he says a simple prayer - "Dear God if there is anyone in the audience whose pain I can relieve through laughter or I can help through a clearer understanding of the human condition, please allow me to do so today!" I only wish I had known this from the beginning!

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Sam: As to future projects I am always looking for something that would be interesting to direct since at my age (I hate to say it) there are very few good roles being created for my work as an actor.

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Thank you so much today for your time Sam, and for the insight you have provided into the art of acting, THE BABY MAKER, cinema, television, and acting coaching. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Sam Groom links

+Sam Groom IMDb Actor Page

+THE BABY MAKER movie IMDb page

THE BABY MAKER (1970)

Title: THE BABY MAKER

Year of Release: 1970

Director: James Bridges

Genre: Drama

Synopsis: A couple unable to conceive a child enlist seek a surrogate to give birth to their child, locating a suitable young woman for this, the husband subsequently impregnating her.

Within a film history context: Infertility in male, and female characters has been presented several times in cinema before THE BABY MAKER. One of the first examples was William Keighley's DR. MONICA (1934). An infertile obstetrician discovers that her friend's baby, which she is set to deliver, is actually fathered by her husband. This causes waves between the women, with both willing to make sacrifices on account of their future happiness, and for the baby. JOURNEY FOR MARGARET (1942), directed by W. S. Van Dyke, was set during World War II. An American and his wife in London are affected by the war, the pregnant wife injured during The Blitz, and losing their baby as a result. The husband visits an orphanage and becomes enamored of two children, whom he wishes to adopt for him and his wife, but certain obstacles make themselves apparent in this touching movie. In a similar vein, Henry Koster's MY BLUE HEAVEN (1950), centered around a showbusiness couple, with the wife losing her baby, and unable to conceive again. She and her husband determine to adopt a child, all the while maintaining their television series appearances. Another drama about a couple unable to have a child was CLOSE TO MY HEART (1951), directed by William Keighley. A couple who cannot have one of their own begin enquiries about adopting a child, but run into hurdles based upon its parentage, of which the husband is most concerned. Matters were equally somber in Rudolph Mate's PAULA (1952). After suffering her second miscarriage, and consumed by the fact she cannot have other children, a tormented woman injures a child at night, leaving him unattended. Guilt overcoming her, she volunteers at the hospital to assist the child, who is an orphan. The woman and child bond, but the events of that fateful night may come back to haunt her in this compelling movie.

Things were not as innocent in THE BIGAMIST (1953), directed by Ida Lupino. A woman's infertility, and how she and her husband wish to adopt a baby, are the starting points of the story. An adoption agent's investigation of the couple unearths certain truths about the husband, and his two wives, which makes up the content of this film. In the next example, comedy was at the fore of Gene Kelly's THE TUNNEL OF LOVE (1958). A couple unable to conceive a child visit an adoption agency to initiate the process, and come against many hurdles and misunderstandings, both serious and comic, in their quest. Into the 1960s, John Rich's THE NEW INTERNS (1964) was a multi-character drama set in a hospital, following the lives and loves of its staff members. Infertility is a subject in this movie, with a doctor finding out he cannot have children, the movie detailing the consequences of this for him. In utter contrast, Mike Nichols' raucous WHO'S AFRAID OF VIRGINIA WOOLF? (1966), had a couple unable to conceive a baby concoct the presence of an imaginary child to hide their pain and disappointment at their predicament. One of the most pungent, honest examinations of marriage, it was a credit to all participants, with Richard Burton and Elizabeth Taylor in the lead roles as the tortured couple. THE BABY MAKER had several elements in common with earlier films in the genre, but stood out from these for other reasons.

The movie was similar in structure to the many films where a married couple seek the services of an agency to adopt a child, such as MY BLUE HEAVEN, CLOSE TO MY HEART, and THE TUNNEL OF LOVE. Either the wife, or both parties cannot conceive a child for one reason or another, as with the wife in THE BABY MAKER. Putting on a unified front, they go through the process of adoption, with the many examples such as in the pre-mentioned films charting the roadblocks the couple may encounter in reaching their aim. Where THE BABY MAKER changes course from other samples is that the couple do not deal with an agency which is cold and bureaucratic. Their advocate is a mature, understanding lady who seeks to make the process as seamless as possible. As the couple appears to have not done anything to sabotage their adoption desires, the sometimes melodramatic obstacles of other films, placed in the way of the adoption are not present in THE BABY MAKER. Instead, the movie lays bare the many issues the couple face having the surrogate in their home, and part of their lives for nine months. There is enough material here without other stumbling blocks being placed in their way, which gives the movie a more naturalistic, adult feel. Another aspect of THE BABY MAKER is also refreshing for its treatment.

In movies such as CLOSE TO MY HEART, where the identity of the adoptee's biological parents was placed under the microscope, causing issues for those wishing to adopt the child, matters in THE BABY MAKER take another direction. Aside from the fact that THE BABY MAKER deals with Tish, a surrogate being impregnated by a sterile woman, Suzanne's husband Jay, both the couple, and the audience, find out exactly who the surrogate mother is in the movie. Tish is not a shadowy figure in any respect, but a flesh and blood presence whose intimate thoughts, and life, are put on display for the spectator. This also provides the movie with both layers of obvious, and less evident emotional undercurrents that the other movies could never explore. This was mainly due to the fact that biological parents were either deceased, or never shown, in movies such as JOURNEY FOR MARGARET, and PAULA. Aside from this, the effect of Tish's surrogate pregnancy is also explored in secondary characters such as Tish's boyfriend Tad, and how he handles her situation. 

Tad's quizzical reaction gives THE BABY MAKER a point of difference, moving away from the viewpoints of just the central trio of Jay, Suzanne, and Tish. A further interesting counterpoint can be found in Tish's friend Charlotte, and how she envisions Jay. There is the perception, mainly comical, that he is too dry and middle-class, but passable as a person. This fills out another perspective on how Jay is envisioned, who, apart from Tish, is also a 'baby maker', thereby assisting the audience to see him in another light. A perceptive movie with many memorable scenes, THE BABY MAKER is not only an absorbing motion picture but also, makes viewers see the issue of infertility from all sides of the equation.

Overview: James Bridges was the director of eight motion pictures over a period of eighteen years. Generally dealing in dramatic themes with a nod to issues of the times, his movies deftly combined social awareness with stimulating entertainment values. Mr Bridges' second film, THE PAPER CHASE (1973) was about a young law student, and the ups and downs of his academic life. In particular it followed his relationship with his professor, and the blossoming romance between him, and the professor's daughter. SEPTEMBER 30, 1955 (1977) detailed the events in a life of a young man who was a fan of James Dean, and both his, and the reactions of his friends, to the actor's death. Next came one of James Bridges' most famous movies, THE CHINA SYNDROME (1979). A tense exploration of events at a nuclear plant, and the cover up about certain safety procedures, it was a box-office success that also enjoyed considerable critical praise. 

Mr Bridges' fifth film, URBAN COWBOY (1980), was a change of pace for the director. A character study of a young man and woman, with western and country music overtones, it nevertheless made money, and was an interesting addition to the director's oeuvre. Unfortunately, James Bridges' next movie, MIKE'S MURDER (1984) was not as notable. The story of a woman investigating the death of her lover, discovering things she never knew about him, was not a financial success for its studio. James Bridges' penultimate film, PERFECT (1985) also did not perform as well as expected at the box office. The story of a reporter composing a piece on fitness clubs, then becoming involved with an aerobics instructor, did not resonate with the public and lost money, critical opinion anything but friendly. The final film of James Bridges, BRIGHT LIGHTS, BIG CITY (1988) was a drama about a young writer in New York City, especially concerned with his drug addiction, and emotional issues. As with his previous two movies, it was not a money-maker, and received with mixed critiques. THE BABY MAKER, being James Bridges' first motion picture, was one of his better projects, and an insightful film.

James Bridges has crafted a movie that approaches the delicate subjects of surrogacy, and infertility, with a humanistic, sympathetic slant. Mr Bridges ensures that the audience comprehends the feelings of all parties involved in this exchange, which is one of the best features of the film. THE BABY MAKER makes crystal clear exactly what married couple Suzanne and Jay are seeking to make their lives complete, which is a child, and how Tish is the one who can assist them with this. The narrative is nicely-paced, and fluidly moves from one situation to another with ease and precision. One feels as they are being afforded an intimate glimpse into the lives of these characters, with a level of depth that makes them three-dimensional. While a dramatic film at heart, THE BABY MAKER is not all gloom and doom, which gives it an easy watchability. There are some lightly humorous sequences which meld well with the more serious stretches, but these are not antic-based in nature. Everything is pertinent to the characters, and where they are in their journey. Some of the information relating to pregnancy and surrogacy, though, may be dated in retrospect, but this is irrelevant overall - the intention is to inform the audience, which is an achievement that should not be underestimated. THE BABY MAKER does have a number of positive facets such as those mentioned, but there are some aspects which needed further work.

It is admirable that THE BABY MAKER dives into the story, immediately letting audiences know of the movie's burning issue, but the lack of a prologue from the characters is a little jarring. Scenes which could have established Tish's thoughts on surrogacy, and Suzanne and Jay's likewise on their situation, would have added immeasurably to a sense of smoothness in the beginning of the film. On the other hand, there are some scenes which could have been shortened, as they do not do much for the film. The sequence where Tish is in the nightclub with the music blaring, and psychedelic images popping on the screen is something which skillfully reflects late 1960s/early 1970s culture, but the imagery in this segment is a little too much. Similarly, the protest scene feels as if it has just been added in for social relevance purposes, but it is also extraneous. The only real meaning to be gleaned from this was that it showed Jay was not as cool emotionally as first thought, as he jumps to Charlotte, and the crowd's, defense.

THE BABY MAKER, in all, works best when it explores those little moments of keen character interaction. Scenes such as Tish's visit to her mother and grandmother in the trailer, and Tish trying to make Jay breakfast, but not succeeding, are all excellent. They give the audience character information to savor, and relish for its honesty. These particular sequences have a sense of emotional veracity which give the characters added dimension, and are surprising in, and of themselves. In summing up, there are some things which can be said about THE BABY MAKER as a movie. Although the film does have its lapses, overall, THE BABY MAKER is an engaging motion picture that deals with a difficult topic in a truthful, forthright manner.

Acting: Acting in THE BABY MAKER is of a high standard, with several earnest performances standing out. In the lead role of Tish, Barbara Hershey contributes another complex character to her cinematic credits. What could have been a one-dimensional hippie girl is made into a flesh and blood person in THE BABY MAKER, whose innermost emotions and thoughts have been laid bare to the audience by Miss Hershey. Collin Wilcox Paxton, as Suzanne, the woman wanting a child, but unable to conceive, makes her feelings of inadequacy, and sadness, transparent to the audience without overt shows of emotion. Her quiet reactions to situations, such as Jay's growing connection to Tish, makes them all the more heartrending. As Suzanne's husband Jay, Sam Groom is an actor whose polished presence in the movie gives it another layer of intricacy. While in the beginning it appears Jay is uncomfortable with his part in the conception of his child with another woman, Mr Groom's facial expressions, and eyes, say this without any dialogue, his subtle personality slowly weaving its way into the movie. Jay is a low-key character with a warmth that wins over not only Tish, but the audience as well. There are three other performers who make also their mark in THE BABY MAKER.

As Tad Jacks, Tish's boyfriend, Scott Glenn is another multi-faceted protagonist, and a polar opposite to Jay. Where Jay is reserved and gentlemanly, Tad is working class, and brusque. There are also telling contrasts between the sexuality of THE BABY MAKER's male characters which are of note. Jay is only depicted shirtless within the confines of his marriage, and with Tish at the swimming pool; a 'safe' masculinity. On the other hand, Tad is shirtless for much of the movie, and naked in some scenes. There is the concept posited that Tad's 'dangerous' masculinity is not within the parameters of suburban morality, and Scott Glenn plays this for all it is worth in the movie. As Mrs Culnick, who brings Tish into the lives of Jay and Suzanne, Lili Valenty is authoritative as the initiator of the couple's surrogacy agreement, her diplomatic manner adding a touch of class, and Europe, to the movie. The final performance of note is by Phyllis Coates as Tish's mother. Despite being featured in only a handful of scenes, Miss Coates makes her presence felt as Tish's knowing, humorous mother.

Soundtrack: THE BABY MAKER does not have a soundtrack laden with tunes, which works to give the scenes, especially the intimate conversations between characters, appropriate space. The most notable piece is Fred Carlin's 'People Come People Go' which, as with many 1970s movies, is played at both the beginning, and end of the film. It gives the movie a bittersweet, melancholy feel when taking into account what has occurred between both points of time in the film.

Mise-en-scene: THE BABY MAKER is beautifully photographed courtesy of cinematographer Charles Rosher Jr., who makes the pretty California locales appear picturesque without disintegrating into a travelogue. There are scenes at the beach and at the theme park which are not too bright, but thankfully blend into the movie as a whole. Regarding Raymond Paul's set design, he makes clear effective contrasts between Tad and Tish's scruffy artist's den, and Jay and Suzanne's lush home, with its modern appliances and furnishings. Aside from set design, costuming has also been well utilized to make certain points about characters in THE BABY MAKER. The economic, and social differences between both couples are also evident in their apparel. Jay and Suzanne's costuming is refined and classic, while Tad and Tish's is of the early 1970s, more laidback and funky, with mini dresses and long hair for both sexes the order of the day.

Notable Acting Performances: Barbara Hershey, Collin Wilcox Paxton, Sam Groom, Scott Glenn, Lili Valenty, Phyllis Coates.

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

Overall Grade: B

Link: IMDB Page

Movie Excerpt