THE REVOLUTIONARY (1970)

Title: THE REVOLUTIONARY

Year of Release: 1970

Director: Paul Williams

Genre: Drama

Synopsis: A young male student rebels against his university association, believing that strong action has to be taken for reform of their activities.

Within a film history context: Movies about revolutionary figures were quite common in European and world cinema, with various examples found in American film history. The silent screen had several American and Russian pictures with a revolutionist central character, many of which are considered lost. One of the first movies to deal with a revolutionary was Josef von Sternberg's silent THE LAST COMMAND (1928). A Hollywood film director, previously a radical in Imperial Russia, seeks the services of a former Russian general to star in a picture about the Russian Revolution, an event which affected them both heartily. Into the sound era, comedy CRACKED NUTS (1931), directed by Edward Cline, was completely contrary. The machinations of a man who wishes to win a woman's favour, and move closer to her niece, by arranging for the overthrow of a country's king, was an early pre-Code movie. With Reinhold Schunzel's BALALAIKA (1939), an officer in the Russian army falls for a singer, who is in fact a covert revolutionary, but their union is complicated by the backdrop of turmoil during World War I in this romance. TORRID ZONE (1940), directed by William Keighley, spotlighted a plantation owner in South America whose livelihood was threatened by a revolutionary, whose influence on the workers there causes nothing but problems. In Robert Z. Leonard's musical NEW MOON (1940), a nobleman masquerading as an indentured servant leads his cohorts to rebel against their ship's captain. 

WE WERE STRANGERS (1949), directed by John Huston, had as its focus a man, and a woman, who worked together with associates to overthrow the despotic president of Cuba in the early 1930s. Elia Kazan's VIVA ZAPATA! (1952), was the stirring biopic of Mexican revolutionary Emiliano Zapata, and his efforts to topple corrupt government regimes. With Marlon Brando in the lead, Anthony Quinn and Jean Peters in support, it was a memorable picture. THE ROOTS OF HEAVEN (1958), directed by John Huston, had an ecologist at its fore, whose aim was to protect endangered African elephants from extinction. He attained the assistance of several people, but with detractors from his point of view in this drama. The life and adventures of Scottish sea captain John Paul Jones were dissected in John Farrow's aptly titled JOHN PAUL JONES (1959). From his early life on ships, journey to America, and exploits in Russia defending Empress Catherine the Great, it starred Robert Stack in the eponymous role. In contrast, THE DAY THEY ROBBED THE BANK OF ENGLAND (1960), directed by John Guillermin, also had characters as revolutionaries in the narrative. At the turn of the twentieth century, several IRA members plan to rob the Bank of England, but the execution of this is not as simple as first envisioned. Basil Dearden's KHARTOUM (1966), followed the efforts of a British general to protect the city from a religious zealot who will do anything to wrest control of it. 

In western VILLA RIDES (1968), directed by Buzz Kulik, Mexican revolutionary Pancho Villa teams up with an American aviator to bring about change in the country. The life and times of influential American dancer and choreographer Isadora Duncan was the premise for Karel Reisz's ISADORA (1968). With her lack of inhibitions, and commitment to her artistry, she blazed a trail in her time, this deftly conveyed by Vanessa Redgrave in the lead role. On the other hand, Lindsay Anderson's IF... (1968), observed an uprising by students at a boy's boarding school, headed by a number of pupils whose vehemence against the establishment reaches its zenith. 100 RIFLES (1969), directed by Tom Gries, revolved around a Mexican revolutionary seeking to free his people of a dictatorial regime. He joins forces with a Mexican woman, and an American lawman, to fulfil his quest. Richard Fleischer's CHE! (1969), was an account of the life of Argentine revolutionary Ernesto Guevera, more commonly known as Che, his involvement with Fidel Castro in Cuba, political problems there, and in Bolivia. THE REVOLUTIONARY was a movie which was dramatic in its orientation, as were the majority of films in this category, but distinguished itself from these in its own way.

Many of the films of this kind were based around characters caught up in political unrest in a respective country, such as THE LAST COMMAND, CRACKED NUTS, WE WERE STRANGERS, VIVA ZAPATA!, KHARTOUM, VILLA RIDES, CHE!, and 100 RIFLES. Generally, it was a strong male character going against corrupt regimes, and in quite a few instances, paying the price for their loyalty with their lives. There was support from other male protagonists, and, in rare instances such as WE WERE STRANGERS and 100 RIFLES, female characters. On this count, a female revolutionist could be found in BALALAIKA and ISADORA, but this was the exception rather than the rule. In comparison to those pictures which spotlighted turmoil in a particular country, the other examples had a less worldly view of events, with character being both revolutionaries, and activists for a cause. In NEW MOON, the lead had a concern for the rights of his fellow ship mates, and in ROOTS OF HEAVEN, the conservation of elephants was the burning issue. Other features of these films in comparison to THE REVOLUTIONARY are worthy of dissection.

Decidedly villainous depictions of revolutionaries were found in TORRID ZONE, IF...and THE DAY THEY ROBBED THE BANK OF ENGLAND. The people in these caused more mayhem than any real good by their actions. In IF...the bloodshed does not further anything positive, just a rebellion for the sake of one in the school. THE REVOLUTIONARY was along the lines of those radicals, as in the other films, who wanted to see a change for the better. In this case, the revolutionist strived for improvements both in university, and employment arenas, but was not able to achieve this aim. Where THE REVOLUTIONARY diverts from other entries is in its much quieter presentation of events. There is no melodrama in this movie, which marked WE WERE STRANGERS, VIVA ZAPAPA!, and KHARTOUM. Instead of this, the mood is slow and thoughtful, in keeping with the flavour of early 1970s New Hollywood cinema. The use of the main female romantic lead is also interesting, as she does not become caught up in her boyfriend's activities, but is mostly there in support. There is some minor suspense when she is meeting him in secret, but that is the extent of her role in the movie. An uncommon view of a revolutionist, THE REVOLUTIONARY is notable for its take on this type of character.

Overview: Paul Williams is an American director who has made eight motion pictures over a period of thirty-three years. His films consisted of dramas, comedies, and thrillers. Mr Williams' first movie, OUT OF IT (1969), juxtaposed two very different men, and their interactions with women, with one a bookworm, the other, a ladies' man in this comedy. DEALING: OR THE BERKELEY-TO-BOSTON FORTY-BRICK LOST-BAG BLUES (1972) was another comedy. The transportation of drugs from one city to another takes a wrong turn for a university law student, in that his girlfriend is arrested for the second cache, and seeks to get both the stash, and his love, back. With NUNZIO (1978), matters were of an entirely different nature. A grown man with mental issues believes he is Superman, but his life takes unexpected twists and turns in this touching drama. In MISS RIGHT (1985), a central male protagonist is at its center, with a Lothario journalist busily hopping from one woman to the other, but finding difficulty in extricating himself from these liaisons. A move into thrillers for Paul Williams resulted in MIRAGE (1995). Trouble starts when a man enlists a detective to tail his wife, who has emotional troubles, namely a personality disorder, causing the private eye's world to turn upside down. THE REVOLUTIONARY was Paul Williams' second movie, but not a sterling achievement.

Paul Williams has attempted to create a thoughtful motion picture with THE REVOLUTIONARY, but has come up short in its execution. The tribulations of a university student whose dissatisfaction with his college leads him on a quest to change the system, albeit unsuccessfully, it is a dispiriting movie experience. While there are some fleeting scenes which give momentary hope to the spectator that a sense of excitement will prevail, these are in vain. It is a film which does have a certain mood and feel, but it is too slow-paced, and listless, to maintain one's attention span. This happens, that happens, but there is never a sense of urgency, or emotional attachment, which emerges out of this. It is as if THE REVOLUTIONARY is a stylistic exercise which does not unravel as it should. On paper, it might have seemed better, but the reality is opposite to this. The conclusion is also problematic, and the fallout from this makes the viewer feel cheated, as it just ends with a freeze frame. A sincere but misguided attempt at building a portrait of a revolutionary, THE REVOLUTIONARY makes one consider how much better it would have been with surer handling, and a more gripping presentation.

Acting: There is a trio of acting performances which are of note in THE REVOLUTIONARY. As A, the student revolutionary, Jon Voight offers yet another incisive acting interpretation. An actor with a wide portfolio of roles over many years, he had a knack for portraying people on the fringes of society in his younger years, and this part suits him. He is well-paired with the radiant Helen, played with earnestness by Jennifer Salt. With her gracious and lively demeanor, Miss Salt provides an ethereal glow to the movie that alleviates its duller stretches. The final acting of merit in THE REVOLUTIONARY is by Seymour Cassel as Leonard, one of A's friends and accomplices. Mr Cassel always knows how to light up the proceedings, and this is no exception. Leonard's relaxed defiance is a nice contrast to A's more stony-faced reactions to events, making Leonard another memorable character in THE REVOLUTIONARY.

Soundtrack: In terms of its soundtrack, Michael Small has been careful to not overload the movie, despite a heady concentration on its subject matter. Music is most discernible during the opening credits sequence, with its background of photographs depicting revolutionaries, and in the closing segment. The soundtrack appears sporadically throughout THE REVOLUTIONARY, only at the most urgent of moments, which works well for it overall.

Mise-en-scene: In a visual sense, work has gone into THE REVOLUTIONARY to make it a convincing experience for the spectator. Brian Probyn's colour photography is perfect without being overly bright, making sense for an intense movie about revolutionaries, and their harried lives. Both interiors, and exteriors, have been carefully selected, representing the locales of a small town well. The introductory credits are also impressive, utilizing photographs of past revolutionary events, and figures, to place the incidents in the movie into perspective for viewers, by charting their development over time.

Notable Acting Performances: Jon Voight, Jennifer Salt, Seymour Cassel.

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

Overall Grade: D

Link: IMDB Page

CALIFORNIA DREAMING (1979)

Title: CALIFORNIA DREAMING

Year of Release: 1979

Director: John D. Hancock

Genre: Drama, Romance

Synopsis: A young man comes to California from Chicago to live the surfing life, but finds that things are not greener on the other side of the fence for his friends and surfing acquaintances.

Within a film history context: Films about characters whose lives are marked by their experiences on the beach have been shown in cinema on many occasions. The first movies in this vein began onscreen in the late 1950s, a trend that has continued until the present day. Paul Wendkos' GIDGET (1959), was the first film released by a major Hollywood studio with a beach and surfing background. Its popularity led to two sequels, several television movies, and television series in the years after. Henry Levin's WHERE THE BOYS ARE (1960) unlike GIDGET, which had musical accompaniment, was MGM's entry in the genre. Starring a youthful cast including singer-actress Connie Francis, George Hamilton and Paula Prentiss, it was a popular film that appealed to young audiences at the time. One of the major films with a beach theme, though, was to arrive on screen in the early 1960s.

GIDGET and its counterparts were followed by the Beach Party movie cycle, filmed by American International Pictures. Beginning with BEACH PARTY in 1963, directed by William Asher, it led to a spate of sequels, frequently starring Frankie Avalon and Annette Funicello. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965) and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. This filmic fad, though, eventually petered out in prominence, largely replaced by the biker genre, which would take hold in the mid-1960s, finding its zenith in the late 1960s with EASY RIDER (1969). One of the 1960s' best films of the beach, exploring the lives of the people who frequent it, is Frank Perry's LAST SUMMER (1969). An intensive study of four characters and their life on the beach at Fire Island, it was one of the finest dramatic motion pictures with a plage setting.

The rise of surf culture in the 1950s and 1960s, particularly in the U.S., Hawaii and Australia, also played a great role in the attractiveness of these movies to audiences. Thoroughly influential in this movement was Bruce Conner's documentary THE ENDLESS SUMMER (1966). A film featuring major surfing stars of the day including Michael Hynson and Robert August, and shot in locations such as the Hawaii, Australia, New Zealand and Indonesia, it was a box-office success, and spawned a sequel in 1986, THE ENDLESS SUMMER II. The director himself was a surfer, and this showed itself in the film's authenticity and verisimilitude. As with the beach party movies, THE ENDLESS SUMMER had a disarming humor and joie de vivre that resonated with viewers at the time, and is still fondly remembered many years after its release.

With the 1970s came increasingly complex narratives which were completely different in nature from the more innocent, benign teen based films of the 1960s. LIFEGUARD (1976), directed by Daniel Petrie, was the character study of a lifeguard in his 30s, contrasting his life with that of his younger colleague. A film that showcased lead actor Sam Elliott in a swimsuit for the majority of its running time, it was more than a celebration of male beefcake. It showed the personal side of its protagonist in detail, providing a sympathetic portrait for viewers to consider. John Milius' BIG WEDNESDAY (1978) was another film that explored the private lives of its characters. In the case of this movie, it charted the exploits in detail of three characters over the course of approximately a decade. There were less serious films such as MALIBU BEACH (1978), directed by Robert J. Rosenthal, which followed the hijinks of teenagers on a Californian beach. Different in handling from other beach theme films was Al Adamson's SUNSET COVE (1978). In this instance, an environmental theme was at play, with the teenage visitors of a beach protesting the construction of an apartment complex on their beach. In contrast, CALIFORNIA DREAMING contained elements of the less-serious movies such as the Beach Party series, but had more in common with the dramatic efforts such as BIG WEDNESDAY and LIFEGUARD.

The film contained the ingredients which were present in all of the films mentioned above - beautiful settings and attractive players, giving audiences, upon initial inspection, a pleasing visual experience. In this film, though, these were employed in a more naturalistic manner by the director, drawing the viewers in with these at first sight, but, nourishing the spectator with a credible story to back these up. While CALIFORNIA DREAMING had several comedic interludes, somewhat in common with non-beach movie AMERICAN GRAFFITI, as with this film, these bits were not included just for the sake of having comedy, but fit into the movie in a comfortable manner. CALIFORNIA DREAMING was also more of a multi-character narrative than the other beach films, offering vigorous coverage of several groups of characters that the viewer learns to care about over the course of ninety minutes.

With CALIFORNIA DREAMING, the film is akin to the beach party movies to a small degree, but, instead, delves further, and more intimately, into the lives of its protagonists than those films ever did. The sexual content, while not of itself extremely explicit in nature, goes beyond what the other films could present, not only because of the censorship of the 1960s but also, as CALIFORNIA DREAMING has a more mature outlook on all matters pertaining to its characters. The characters in this film also deal with love issues and the like, but in addition, other themes such as family, personal responsibility, marriage, and guilt. Another aspect sets the film apart from others of its type. While largely set on the beach and its environs, it does not feature endless sequences there, or of the characters surfing to a great extent. It is balanced between both its indoor, and outdoor scenes, without becoming a travelogue, or a surfing documentary. One of the most thoughtful films on the beach theme presented to viewers, CALIFORNIA DREAMING is a movie that deserves recognition, and discussion, for the sensitive treatment of its characters and milieu.

Overview: John D. Hancock is the director of eight feature films in his nearly fifty year career. After his debut in 1971, he has released his latest movie in 2020, with many television credits between. Mr Hancock's inaugural film, LET'S SCARE JESSICA TO DEATH (1971) was a horror movie, and he followed this with one of his most famous films, BANG THE DRUM SLOWLY (1973). The story of two baseball players and the relationship which blossoms between them, it was an excellent vehicle for stars Robert De Niro and Michael Moriarty. Next came BABY BLUE MARINE (1976) with Jan-Michael Vincent. Following the adventures, and mis-adventures of a young marine, set during World War II, it offered its star ample opportunities to display his winning charm for viewers. After an eight year hiatus from cinema, Mr Hancock released WEEDS (1987). With Nick Nolte in the lead role, it was about a jailed lifer who writes a play, this piquing the curiosity of a reporter. Mr Hancock's most recent movie, THE GIRLS OF SUMMER (2020) is a character study of a young woman who yearns of becoming a musician, but events throw her many curve balls along the way. CALIFORNIA DREAMING, as with all of his movies, is character-driven in nature, that also treads on dramatic, but realistic situations, that could easily have occurred in life.

This focus on realistic situations and scenarios is something that permeates all of Mr Hancock's work, and is sharply in evidence in CALIFORNIA DREAMING. Mr Hancock offers portraits of his characters who, at the outset, would appear to be two-dimensional or lacking depth. The talk of surfing, girls and tans is shallow, making the characters seem partial to judging others on a superficial level. As the film progresses, and the viewer becomes accustomed to the characters ands their quirks, the director strips away the veneer, showing these people with all their flaws, making them very real, and in many instances, moving. There is more to them than suntans and swimwear, and laying on the beach all day. 

The tight concentration on character groups in the movie serves it well, making the film flow soundly, without the necessity of unnecessary scenes that otherwise might bog down the action. While one of the character groups, without doubt, would have benefitted from deeper examination, instead of being present just for comic relief, in retrospect, this decision works. It serves to balance the film, especially in the final acts, where it is at its most heart-rending. What is not as attractive to witness was the sexual scene between T.T. and Corky in the movie. It is tasteless in nature and takes too long onscreen to unravel, hampering the film's reflective nature to an extent. It added nothing except possibly embarrassing the actors in question, but it is the one segment of the film that could have been shortened without any issue. This, though, is a minor quibble when considering the film's impact overall. CALIFORNIA DREAMING is one of John Hancock's smoothest, most accessible films, which packs an emotional wallop that one will remember long after seeing it.

Acting: The acting in CALIFORNIA DREAMING is one of its best qualities, taking the film from what could have been an ordinary scenario, and making it into something special. As Duke, the owner of the beach café, this is one of Seymour Cassel's best, most shaded performances. As the gentle dreamer Duke, Mr Cassel provides the film's most moving scenes. Everything about it, from Mr Cassel's quiet voice to his careful movements, adds up to a wonderful interpretation of the wistful Duke. He is matched by Dennis Christopher as T.T., the young man Duke takes under his wing, only to have events in their friendship spin out of control. A lively actor adept as playing both the friendly but also, utterly reprehensible sides of his character well, Mr Christopher excels as the believable T.T.  As Fay, Dorothy Tristan works well as a team with Mr Cassel's Duke, her subtle mannerisms and quiet voice used to great effect. Their estrangement, and subsequent reconciliation are handled with self-assurance by the two actors. There are three other performers in CALIFORNIA DREAMING who warrant recognition for their contribution to the film.

John Calvin, as macho, conceited surfer Rick, offers a complex interpretation of a character who normally would have seemed one-note. Mr Calvin is a capable actor who seems to be comfortable in any environment, be it on the beach wearing a swimsuit as he is here, or in a three-piece suit in FOOLIN' AROUND (1980). He has a certain teasing nature in this film that is both humorous, but also, contemptible when necessary. As his girlfriend Stephanie, Tanya Roberts is just right in CALIFORNIA DREAMING. An actress who was excellent in Charlie's Angels as Julie Rogers, in this film she displays acting attributes that, unfortunately, were largely underutilized in the other films in which she starred. Here Miss Roberts plays the patient, understanding young woman seeking to make a life with a man who just sees her as a pretty diversion. It is interesting to note Miss Roberts' use of her eyes in the film to show her unsureness, and silence when faced with certain truths. While the scenes could have been played with a more overt flashiness, Miss Roberts wisely eschews this, underplaying her role. She uses her facial expressions, and body language, to convey her feelings to the audience. The final performance of note in the movie was that of Johnny Fain as Tenner, surfer friend of Rick, in what was his last screen appearance. A real-life champion surfer who acted in several movies over the years, here he was employed in an effective but too-brief capacity on screen. His reaction to Rick's words in the film ring true, and his contribution rounds out the great acting in CALIFORNIA DREAMING.

Soundtrack: CALIFORNIA DREAMING is peppered with melodic pop tunes throughout its running time which enhance what is taking place onscreen. Always appropriate and never overpowering, the use of music only makes the film a more pleasurable viewing event.

Mise-en-scene: The film has a naturalistic approach to its locations and sets, and this works to the advantage of CALIFORNIA DREAMING. The vast majority of the movie is filmed on the beach, giving it a feeling of veracity. A studio could in no manner have duplicated the authenticity that a actual location provides, and the beach and water provide an excellent backdrop to the scenes. The film is also measured in both its indoor, and outdoor locations, providing a good balance between both of these. A number of examples stand out in the movie of this. Duke's bar is suitably casual without being over the top or 'beachy', Duke and Corky's home feels like a real beach house, and Stephanie's family home is comfortable and lush while still retaining a seaside vibe.

Award-worthy performances in my opinion: Seymour Cassel, Dorothy Tristan, Dennis Christopher, Tanya Roberts, John Calvin, Johnny Fain.

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

Overall Grade: B

Link: IMDB Page

Trailer