INTERVIEW WITH ACTOR MARK JENKINS

Today I have the immense pleasure of welcoming a very special guest, actor Mark Jenkins, to CINEMATIC REVELATIONS for an interview. Mark has acted in several motion pictures over the years such as DOCTORS’ WIVES, THE FILTHY FIVE, RIVERRUN [my review of the film can be found here] THE ANDROMEDA STRAIN, and DESERT BLOOM, to name a few examples. In this interview Mark will be discussing his role in RIVERRUN, acting, theatre, and position, now retired, as Professor Emeritus, Acting, in the University of Washington’s School of Drama.

Welcome to CINEMATIC REVELATIONS Mark!

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

Mark: It was my private, secret ambition from about the age of fourteen. While in college I discovered I could do this.

*

Athan: Where did you study acting?

Mark: First at the University of Wyoming near where I grew up. Then in New York, with Herbert Berghof, and eventually at The Actors Studio.

*

Athan: Your performance as Dan in RIVERRUN was a distinctive portrayal of a thoughtful young man trying to find his way in life away from the hustle and bustle of modern life, seeking a more meaningful existence. What it is that drew you to the part of Dan?

Mark: Auditioning and being offered the role - my first film role. I would have been happy to work in any movie. I had done only theatre work before riverrun, mostly Shakespeare. But,  I happened to identify with Dan for two reasons. I had left city life in Denver, Colorado to work on a ranch during my high school years which transformed me. Second, I was resisting being drafted for the war in Viet Nam and anticipated I would go to prison. Luckily I didn’t. I responded to Dan’s idealism and determination to do what he felt was right.

*

Athan: RIVERRUN had a strong cast with yourself, John McLiam, and Louise Ober as the central trio of protagonists. What was it like working with these performers?

Mark Jenkins, Louise Ober, and John McLiam in RIVERRUN

Mark: It was easy to work with those good people. We had an easy rapport. John was very experienced and gave me a lot to push back against. Louise Ober was not even an actress but was easy going, natural and had a quietly expressive depth. 

*

Athan: What did you find most exciting about the experience of making RIVERRUN?

Mark: Probably the fact that we were living and working far away from Hollywood and the show-business world, on an out of the way part of the Pacific coast. John Korty had leased a real farm where we shot most of the film. There were no distractions from us making a world for the film.

*

Athan: RIVERRUN had a large amount of location filming, which gave the movie an authenticity. The waterways, the farm, the streets of the town, for example, all oozed realism, adding to the verisimilitude for which the film aimed in its presentation. For you, what was the most demanding, but emotionally satisfying segment of filming RIVERRUN?

Mark: Trying to tell my story with simplicity and authenticity. And adjusting to working for the camera which is massively different than working for in a play before an audience.

*

Athan: Have you kept in contact with any cast members and crew from RIVERRUN?

Mark: John McLiam, became a good friend and introduced me to his agent who ‘”signed” me and to a whole community of good, experienced actors and directors. We even did a play together about ten years later - Eugene O’Neil’s Desire Under the Elms, in Los Angeles. Louise Ober never acted again, that I know of. She was an extremely curious soul, audacious and adventurous. Unfortunately, she died, far too young, of cancer.  

*

Athan: RIVERRUN was directed by John Korty, who directed other diverse motion pictures as FUNNYMAN, THE CRAZY-QUILT, OLIVER’S STORY, and ALEX & THE GYPSY. What was it like being directed by Mr Korty in RIVERRUN?

Mark: He created a situation where; on one hand he considered us all as collaborators and welcomed our input and points of view. Only later did I realize that he kept his primary vision of the film to himself. (I would say, his attempt to merge nature with the human spirit by means of visual details.) To him, in this film “nature” was more than background.

*

Athan: You were Professor Emeritus, Acting, in the University of Washington’s School of Drama for many years, and have taught many drama courses to students over the years. What did you find the most satisfying aspects of working with students in the School of Acting?

Mark: That is too big a question for this interview. Let me just say that being able to help actors peel away preconceptions, vanity, and ego-needs so that actual creativity can take place in real time, is profoundly satisfying. Also, I have able to introduce many actors to the subtle but thrilling genius of and craft of Anton Chekov’s plays which can be transforming to one’s sense of what art and theatre can be. I’ve also been able to teach, act and investigate acting as it’s practiced in Russia, Japan, Asia as well as locally.

*

Athan: You are also a life member of The Actors’ Studio, which is renowned for the caliber not only of its alumni but also, its acting coaching. What it is that you most admire about the Actors Studio?

Mark: The Studio’s utter devotion to the actor’s individual process in order to unlock and reveal the inner life of a character “profoundly and intensively.”  

*

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

Mark: I spent much of the last thirty years trying to write plays. One, All Powers Necessary and Convenient was produced twice in Seattle and published by the University of Washington Press.  It deals in some detail with how the anti-communist “red scare” played out in Washington state in the late 1940’s. Since I retired, I’ve been trying to create a coherent and interesting look-back at my life’s journey.

*

Thank you so much for your time today Mark, and for the insight you have provided into the art of acting, RIVERRUN, cinema, and academia. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Mark Jenkins links

+Mark Jenkins IMDb Actor Page

+RIVERRUN movie IMDb page

RIVERRUN (1968)

Title: RIVERRUN

Year of Release: 1968

Director: John Korty

Genre: Drama

Synopsis: A young couple who live on a farm in San Marino County, California, receive a visit from her seafaring father, which causes issues in their relationship. 

Within a film history context: Several movies over the years have explored the relationship between a son-in-law, and his father-in-law in close detail. One of the earliest was Alfred Hitchcock's silent THE MANXMAN (1929). In this film, a pub owner objects to the man who wants to marry his daughter on account of being a poor fisherman, which sets in chain a series of events. With THE IDLE RICH (1929), directed by William C. de Mille, a son-in-law tries to help not only his father-in-law but also, other members of the family in a monetary sense, but his good intentions run them up the wrong way, until something changes everything. In Lewis Milestone's MY LIFE WITH CAROLINE (1941), a father-in-law maintains a good relationship with his son-in-law, but nevertheless, supports his daughter in her amorous pursuits, who as a habit of falling in, and out of love. MARRY THE BOSS'S DAUGHTER (1941), directed by Thornton Freeland, has a son-in-law in love with the boss's daughter, who supports him no matter how her father treats him, which includes retrenching him at one point.

Into the 1950s, Lloyd Bacon's KILL THE UMPIRE (1951) was different in tone. A man who dislikes umpires, being a former baseball player, is coerced by his father in law in taking a course in umpiring to support his wife and family. GOING STEADY (1958), directed by Fred Sears, had a father-in-law initially refusing to accept his son-in-law, but the fact of his daughter's pregnancy, among other things, eventually alters his feelings on the subject. Blake Edwards' pungent DAYS OF WINE AND ROSES (1962), had a tenuous father-in-law/son-in-law connection. A father views the man who wants to marry his daughter with disdain, and is proven correct when he leads her into a life of alcoholism, but they later find common ground. RIVERRUN is a movie where the father-in-law/son-in-law relationship was clearly delineated throughout the movie.

Unlike the other films where the father-in-law/son-in-law connection was a small part of the narrative, in RIVERRUN it is one of the major arcs within the picture. It works in conjunction with the daughter/father, young man/young woman dynamics, and draws comparisons between these unions. These relationships in RIVERRUN are of a more complex nature than previous entries, which were in many instances geared toward comedy, and more traditional views of these three relationships. In films such as THE MANXMAN, there is a concern on the part of the father for his daughter marrying a fisherman, with paternal economic considerations obvious. The father here is in a position of power over the son-in-law, likewise with THE IDLE RICH, MARRY THE BOSS'S DAUGHTER, and KILL THE UMPIRE. This, though, is where RIVERRUN diverts from these movies.

RIVERRUN has more in common with films such as GOING STEADY, and DAYS OF WINE AND ROSES, where the father is trying to protect his daughter from a man he considers inappropriate for his offspring. It is not about money in these cases, but a concern with the psychological traits of the respective son-in-law, and the prospective harm he might cause the daughter. RIVERRUN highlights  Dan's pacifist ideals, and reluctance to enlist for Vietnam, which cause friction between him, and his father-in-law. Aside from this, RIVERRUN has a plot point which places it in complete contrast with all the other films. While all the movies had a married couple, in RIVERRUN, Dan and Sarah are not married, but, by all appearances, are akin to a legally recognized union. Once Jeffries discovers this, matters take another turn for him in the movie, railing against this knowledge, and Dan. 

The movie does not paint Jeffries as an all-out villain, but someone who cares for his daughter, and believes in the institution of marriage. RIVERRUN, though, also depicts Jeffries as a man who wants his daughter to be married, but did not carry through on his own marriage to Sarah's mother. This provides the film a note of reality, and complexity in its characters' thoughts and actions. What this presents is Jeffries as an example of a person in the mould of 'do as I say not as I do', which does occur in real life. These examples point to something about RIVERRUN. A picture with a more intricate view of interpersonal relationships, particularly the father-in-law/son-in-law connection, RIVERRUN offers an impressive account in this arena. 

Overview: John Korty was an American director with seven motion pictures to his credit, being more active on television, with twenty-eight telemovies bearing his name. His works followed the intimate lives of characters, displaying sympathy for them, and their milieu. Mr Korty's first movie, THE CRAZY-QUILT (1966), was about a couple, charting their marriage, foibles, and charming idiosyncrasies. Next came FUNNYMAN (1967), with the life of a comedian coming under the microscope in this comedy-drama. SILENCE (1974) was a change of pace, a family drama about a deaf-mute young boy adopted by a couple. The boy becomes lost in the woods, and befriends a man from whom he learns about survival in the elements. 

ALEX & THE GYPSY (1976) focused on a bond bailsman, and his burgeoning relationship with a young woman in trouble with the law, accused of murder. In 1979 John Korty directed OLIVER'S STORY, the sequel to 1970's blockbuster romance LOVE STORY. Unlike the original movie, OLIVER'S STORY was unsuccessful at the box office, even though it continued the life of its protagonist, with Ryan O'Neal reprising his role in the sequel. John Korty's last picture, TWICE UPON A TIME (1983), was an animated feature about an arch-villain trying to make everyone's life miserable, making them see nightmares instead of pleasant dreams, but some good souls soothe everything in the end. RIVERRUN was John Korty's third feature film, and one of his best.

With RIVERRUN, John Korty has crafted an entrancing, compelling motion picture. As with many of his films, it documents the lives of characters who are not far removed from reality, and could exist in all actuality. Mr Korty's output was geared toward down-to-earth characters, and stories, and this is something that makes RIVERRUN so irresistible. It is a movie for people who are seeking emotionally enriching fare without exaggeration, or overtly larger than life material. In RIVERRUN, John Korty does not play around with the film, and the events that shape its characters. He has a tight concentration upon the three main characters in the film, and this is to its advantage. There are no extraneous scenes, or characters, to weigh it down, which would have taken away from the central trio. The finely-drawn characters are representative of the director's attention to detail in RIVERRUN.

The movie is about a young couple, Dan and Sarah, who are living and working on a farm in San Marino County, California. They previously lived and studied in Berkeley, California, and unhappy with what was going on there in the late 1960s. They seek a simpler, quieter existence on their farm. Their lives are changed when her seafaring father makes a visit to the farm. While this scenario may sound conventional to the casual eye, Mr Korty takes a leisurely approach to his story, and characters, which works in a naturalistic manner. One witnesses events build slowly but surely, and sides to characters are revealed without heavy melodrama. RIVERRUN also ensures that viewers are aware of the back story affecting characters, this informing events taking place in the present. This is undertaken by the director peppering the story with flashbacks, these functioning in an informative way. The movie, in effect, is a refreshing slice of life which rewards spectators for their patience. A beautiful movie that has unfortunately been little-seen over the years, RIVERRUN deserves re-release, and critical reappraisal as one of John Korty's best movies.

Acting: RIVERRUN has a trio of performances which assist it to be the great film it is. There is a tangible chemistry between the performers which makes the movie a convincing viewing experience. In the role of Dan, Sarah's partner, Mark Jenkins delivers a carefully-executed performance as the quiet, thoughtful young man with a firm set of ideals. His facial expressions and body language say so much without the need for dialogue in many instances. As Sarah, Dan's partner, Louise Ober radiates charm as a young woman, like Dan, who is seeking something else in life. An actress for whom this was her sole film role, Miss Ober passed away far too young, robbing cinema of further subtle acting interpretations. The thorn in the side of both Dan and Sarah is Sarah's father Jeffries, played with vigor by John McLiam. With his mixture of jauntiness, anger, disillusionment, and jolliness, Mr McLiam brings a quality of tragedy to his part which gives the movie punch. 

Soundtrack: RIVERRUN takes a spare approach to its selection of music which does wonders for the movie. Brahms' 'Clarinet Quintet in B Minor' by David Oppenheim and the Budapest String Quartet, is utilized in an excellent manner during the birth scene, heightening the drama of this major event in the film, but without overshadowing what is taking place onscreen. Other music by Richard Greene and Peter Berg, such as the short harmonica piece at the beginning, and the fiddle tunes played throughout the picture, exude a rustic charm and atmosphere which only adds veracity to the visuals.

Mise-en-scene: RIVERRUN has a sheer authenticity with everything that appears in front of the camera. It could be said that location shooting is another star of the movie, with riverways, the farm exteriors, and other locations evoking immediacy and realism. There is the feeling that the viewer is there with the actors, in on the action.  This extends to other locales in the movie. The interior of Dan and Sarah's home is warm and inviting, reflecting the people living there, with an assortment of furniture pieces, and accessories, nicely appointed. The impression is that Dan and Sarah are looking to create their slice of paradise here in their unpretentious manner, and it is a set that works very well in the movie to express this.

Notable Acting Performances: Mark Jenkins, Louise Ober, John McLiam.

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

Overall Grade: A

Link: IMDB Page

INTERVIEW WITH SCREENWRITER BARRY SANDLER

I have the immense pleasure today of welcoming a very special guest, screenwriter Barry Sandler, to CINEMATIC REVELATIONS for an interview. Barry is the writer of many movies including GABLE AND LOMBARD, THE DUCHESS AND THE DIRTWATER FOX, KANSAS CITY BOMBER [my review of the film can be found here] THE MIRROR CRACK’D, MAKING LOVE, and CRIMES OF PASSION, to name several examples. He also has produced the two latter afore-mentioned movies, and is Associate Professor at the University of Central Florida’s Nicholson School of Communication and Media. In this interview Barry will be discussing his role as writer of KANSAS CITY BOMBER, screenwriting, producing, and Academia.

Welcome to CINEMATIC REVELATIONS Barry!

Athan: Where did you learn the art of screenwriting?

Barry: I became obsessed with movies as a kid. My parents would take me to all the new movies until I was old enough to go on my own and I tried to see every movie I could in my hometown of Buffalo, NY.  Seeing that many movies, screenplay structure, character development and dialogue rhythms became subconsciously ingrained and instinctive so it was a solid foundation for the formal training I had at UCLA Film School, where I majored in Screenwriting.

*

Athan: Have you studied acting?

Barry: I took an acting class as an undergraduate at UCLA but that's about it.

*

Athan: KANSAS CITY BOMBER originated as a thesis you wrote for your UCLA Master of Fine Arts degree. Did what appear on screen alter much from your original vision of the story, and its characters?

Barry: Actually I wrote the script on spec as an undergraduate, then after it was made at a major studio with a famous movie star when I was enrolled in the UCLA Masters Program, I asked if it could serve as my Masters Thesis and they approved. The final film was considerably different from my original screenplay that I sold to Raquel Welch and Warner Bros.  It was much darker and more dramatic, more in the vein of "Requiem For a Heavyweight" and "They Shoot Horses, Don't They?" It went into turnaround at Warner Bros., got picked up by United Artists, then went into turnaround there and finally ended up at MGM. By the time it was finally made at MGM, after several other writers at three different studios had a hand at re-writing it, the final film became more of a documentary-style road movie.

*

Athan: KANSAS CITY BOMBER was one of the most successful releases for its studio, MGM, in 1972. How did it feel to see the movie do well at the box office?

Barry: Well it felt great of course, to see that my conception and creation was turned into a movie that a lot of people went to see. It felt particularly good because I owned a profit participation, albeit a small one, and I'm still getting profit and residual checks from it after all these years.

*

Athan: What did you most enjoy about the experience of making the KANSAS CITY BOMBER movie?

Barry: I think the origin story of the movie, how it came to be, is a pretty wild one, that became kind of legendary around town and especially at UCLA. 

When I was at UCLA, a few buddies took me to something called "roller games" (roller derby) which I wasn't too familiar with. I was fascinated by it, seeing skaters circle the track and jam into each other while the crowd roared and ate up the violence. I thought it would make a terrific backdrop for a movie, especially centered around a female roller derby queen. I constructed a story -- of a young woman from Kansas City who comes out to Hollywood to make it in show business as an actress, but just isn't good enough. Her dreams of fame and glory are shattered, when she meets a former roller derby star -- a broken-down alcoholic old dame who runs a skating rink -- who takes her under her wing and builds her into a roller derby star, re-living her own faded glory, and in doing so our heroine is able to find the fame and glory she sought as an actress only the perverse irony is as a black-jersey roller derby star, getting booed, hissed, spat on and popcorn boxes thrown at her.

I thought it would be a great role and character for Raquel Welch, who at the time was one of the biggest movie stars in the world and was looking to do more dramatic roles. I had a strong gut feeling she would respond to the material, so I set about getting it to her.

I found out where she lived from one of those "maps to the stars" and in a bold, impetuous burst of youthful daring, I drove to her house and rang the doorbell.  Her assistant answered, I told her I was a UCLA Film student who wrote this screenplay for Raquel and wanted to deliver it personally. The assistant was taken aback, told me Raquel was in Europe finishing a movie but she would read it herself and if she liked it, she'd give it to Raquel when she got back. Weeks went by, I didn't hear back. I called the assistant who told me Raquel was back but very busy, but the assistant did read the script and liked it and gave it to Raquel.  More weeks went by, I still didn't hear, so I decided to make another move -- I sat down and wrote Raquel a heartfelt letter, telling her my intentions in writing the script, saying I was sorry for invading her privacy by ringing her doorbell but that she would understand and appreciate it once she read the script.

A few days after I wrote that letter I got a call that Raquel read the script, loved it and wanted to buy it and star in it. A few days after that I went to her house and had dinner with her and her family, and this time I ENTERED the front door. I was only around 20 at the time, and I strongly advise my students not to do anything like that today or they might get shot.

*

Athan: Have you kept in contact with any cast members and crew from KANSAS CITY BOMBER?

Barry: No, since I really wasn't involved in the actual shooting in Portland, Oregon. I do see the story of getting the script to Raquel repeated occasionally, sometimes in interviews with Raquel and not too long ago in the intro to the film on Turner Classic Movies.

*

Athan: KANSAS CITY BOMBER was directed by Jerrold Freedman, who later also directed BORDERLINE, and NATIVE SON, and was his first feature film. What was your experience working with Mr Freedman on the movie?

Barry: I met him a few times but by the time he came on to direct, I was not really involved in the shooting.  He came on to the shoot late, replacing the original director -- the great Oscar-winning cinematographer Haskell Wexler -- who conflicted with the powers-that-be at MGM.

*

Athan: You were the producer and writer for films MAKING LOVE, CRIMES OF PASSION, and KNOCK ‘EM DEAD, films which pushed boundaries, and made their mark. How was it acting in both capacities for these movies?

Barry:  I don't have any interest in being a movie producer, but being a producer on a movie I've written gives me a much greater degree of involvement -- in casting, in making creative decisions, etc. -- depending of course on my relationship with the director.  Since I never had any desire to direct, only to write, the directors I've worked with were very willing and happy to have me involved, in most cases to serve as a partner and sounding board.  In some cases (Ken Russell, Sidney J. Furie, David DeCoteau) I made life-long friendships and while Ken R is deceased, I still have a strong friendship with Furie and DeCoteau, and saw them both last month when I was in L.A. Being a producer on movies I've written does give me far more opportunity for creative involvement.

*

Athan: Over the years you have received many awards for your services to filmmaking and humanity, such as the PFLAG Oscar Wilde Award, GLAAD Media Award, People for the American way Defending Freedom citation, and Southern California Psychotherapy Association Courage in Filmmaking Award. What was the feeling of winning these awards, and having your work recognized in this manner?

Barry: One of the most gratifying experiences any writer can have is knowing your work has had a profound impact on people. By writing MAKING LOVE, I was able to do so.  It was the first major studio movie in history to present a positive portrayal of a gay man, after years of depicting LGBTQ characters as freaks, degenerates, self-loathing suicides, butts of mocking jokes, etc. Here was the first movie, a coming-out story, to show a man who denied his true nature all his life, finally -- through a relationship with another man, an out gay man -- finally coming to terms with who he was and not only accepting it, but finding pride, dignity, and fulfillment living honestly. The film was embraced by the LGBTQ community -- still is, in fact -- we just had a special sold-out 40th anniversary screening and celebration in L.A. at the new Academy Museum. I received thousands of letters from gay men and women around the world thanking me for the film, telling me how it changed their lives, gave them the courage to come out to their families, etc. I'm very proud of the film, and the effect it has had over the years.

*

Athan: Since 2003 you have been on the faculty of the University of Central Florida, teaching screenwriting and film history. What is it that you most love about your work there?

Barry: I love sharing my knowledge and experience with students who are at the same point I was at way back when, though now I'm glad to say with more opportunities, more venues to sell their work and get hired to write (with streaming, cable, etc.)  I can guide them on the pitfalls to avoid and the challenges they will face, from my own experience, that will hopefully help and guide them in their careers. I can also give my input on their writing.  Plus I love showing them great classic films, films that I grew up with that made me love movies, and see them embrace these films as well.

*

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

Barry: I'm in the final stages of writing a new original screenplay -- a murder mystery with humor set in a 1980s Midwest high school with a dynamic young rebel-misfit protagonist. I describe it as Ferris Bueller meets Basic Instinct.

I'm also in the middle of workshopping a stage musical for which I've written the book, a really wild off-the-wall show in the vein of Little Shop of Horrors and Rocky Horror Show.

*

Thank you so much for your time today Barry, and for the understanding you have provided into the art of screenwriting, acting, the KANSAS CITY BOMBER movie, moviemaking, and working in academia. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Barry Sandler links

+Barry Sandler IMDb Page

+KANSAS CITY BOMBER movie IMDb page

KANSAS CITY BOMBER (1972)

Title: KANSAS CITY BOMBER

Year of Release: 1972

Director: Jerrold Freedman

Genre: Action, Drama

Synopsis: A young roller derby star dreams of becoming a champion on the circuit, but her personal life may get in the way of her ambitions.

Within a film history context: An abundance of movies over the years have been made about skating, such as the films of Sonja Henie, and roller skating, but the roller derby is a subject not often tackled in cinema. The first to deal with it was Tay Garnett's THE FIREBALL (1950). Following the exploits of a young man who becomes a roller skating champion, competing in the derby, it offered Mickey Rooney a meaty part in the main role. Many years later, in 1972, the same year that KANSAS CITY BOMBER was released, THE UNHOLY ROLLERS made its way to cinema screens. It was the tale of a young woman who becomes a roller derby champion, and details her personal, and professional lives. KANSAS CITY BOMBER was similar to these movies, particularly THE UNHOLY ROLLERS in charting the life of its protagonist, but was the best of the films about the roller derby. 

It is closest to THE UNHOLY ROLLERS in that it focuses upon a female lead character, and the audience becomes acquainted with her in an intimate manner. One finds out about her family, their place in her life, and how her relationships with others are influenced by her take on life, and decisions made. Her relationships with men are also explored, and that these are not any easier than those with the same sex. Both movies also feature a dynamic actress who ably evokes interest in the plight of the respective protagonist, and thus sympathy in the viewer. Where KANSAS CITY BOMBER diverts is in its focus upon the intricate emotional life of its lead character, K.C. Carr, and how this leads to consequences for her. While this is not to discount Karen Walker in THE UNHOLY ROLLERS, this film has more of an interest in exploitation elements such as sex, nudity, and coarse language, than presenting a fully dramatic portrait of its character. KANSAS CITY BOMBER is crisper in these areas, instead concentrating upon K.C.'s trials and travails, than permissive action. 

The sexual antics of Karen's friend, and her own are depicted in THE UNHOLY ROLLERS, but in KANSAS CITY BOMBER the affair between K.C. and team owner Burt Henry is suggested, and how the fallout from this affects other characters is clearly shown. In addition, the feelings of Hank Hopkins, and how K.C. stands up for him, is another standout segment of the movie. It takes things to another level in the film, giving depth to the characters, and the story, that it deserved. The subversive elements present in THE UNHOLY ROLLERS were not in evidence in KANSAS CITY BOMBER, such as Karen's tattoo session. In KANSAS CITY BOMBER, it was not just about a young woman wanting to buck the system to make it as with Karen in THE UNHOLY ROLLERS. K.C. in KANSAS CITY BOMBER strove to be the best she could, and came up against obstacles, but somehow managed to surpass these, which is an inspiring sentiment indeed. For these reasons, KANSAS CITY BOMBER stood above its movie counterparts as a whole.

Overview: Jerrold Freedman is the director of three motion pictures, being active in television, directing and writing for episodic prime-time programs, and helming twenty telemovies over the space of twenty-five years. Mr Freedman's second movie, BORDERLINE (1980) was an action film about a policeman on the trail of a smuggler responsible for his partner's death, with Charles Bronson in the lead role. The third, and final of Jerrold Freedman's pictures, NATIVE SON (1986) was set in the 1940s, and dealt with issues of race. A young black man assumes the role of chauffeur to a white family, but matters take a nasty turn when he unintentionally kills their daughter. His attempts to disguise his part in the crime might doom innocent parties to an unfair fate. KANSAS CITY BOMBER was Jerrold Freedman's motion picture début, and his most recognized cinematic work.

With KANSAS CITY BOMBER, Jerrold Freedman has crafted an entertaining, fast-moving film. The combination of drama, comedy, and action is well-handled by the director in his examination of the world of roller derby, and the personalities who make it come alive. While the life of lead character K.C. Carr takes center stage in the movie, there is also a rich tapestry of supporting characters who the movie spotlights in a savvy manner. The weaving of characters in an out of the narrative, and their reactions to events, give the movie balance. While the film in other hands could have been given over to the action sequences, which are plentiful in number here, one is given a sense that the people in the movie are authentic, and lead real lives away from the roller arena. K.C. Carr is portrayed as an ambitious young woman whose appearance, and persona, bring out the worst in some people without her even trying, which gives the film a realism and credence. The adage for K.C. of 'damned if you do, damned if you don't' makes matters all the more credible in the film. Sometimes whatever one does in life, others are never happy. Despite the fact that the movie does have its virtues, there are a number of flaws which do detract somewhat from its impact.

The interspersing of the personal lives of the characters between the action sequences is admirable, but in some instances, there is the sentiment that more of these scenes would have made a great film excellent. K.C.'s relationship with her mother, and son, are some of the best moments in the movie. The scene in which K.C. tries to connect with her young son, and fails in this mission, is one of the most touching parts in the entire film. Likewise, the emotional turmoil experienced by Jackie Burdette could definitely have been shown in greater detail. Jackie's drinking, and jealousy of K.C. are vividly presented, but, as with K.C. and her son, one yearns for more of these moments. The friendship of K.C. and Lovey could also have been extended as it was another true-to-life story. The relationship of K.C. and Burt Henry, though, was documented in detail, in comparison to the other threads, and not as abrupt in its resolution. In all, though, and despite several deficiencies, KANSAS CITY BOMBER does have the courage of its convictions. It is an action-packed motion picture which not only diverts but also, offers its audience a thoughtful backbone to all its visual razzle dazzle.

Acting: KANSAS CITY BOMBER boasts great performances from a talented cast. In the lead role of K.C. Carr, roller derby champion, Raquel Welch is in one of her best early roles. An actress with a poise, and dignity, which is too often overlooked in favour of her physical appearance, she is believable as an honest young woman seeking fame on the derby circuit. As the manager of the roller derby, Kevin McCarthy exudes an ease as the older man used to getting what he wants, which includes the attention of K.C. Carr. With his handsome looks and way about him, Mr McCarthy convinces as Burt Henry. As Jackie Burdette, K.C's rival on the roller circuit, Helena Kallianiotes excels. Making an impression as the volatile woman prone to fighting, drinking, and jealous spats, Miss Kallianiotes makes the most of her meaty part. Another pithy role is that of Hank Hopkins, played by Norman Alden. As K.C's only friend on the circuit, Mr Alden brings a touching slice of sympathy to Hank which gives the movie a melancholic edge. Four other actors deserve mention whose individuality infuses the movie.

Katherine Pass, as Lovey, K.C's first friend, is delivered with realism and frankness by the actress. A performer who unfortunately has not been active in movies since the 1980s, she brings a note of loyalty and real friendship to the movie. Mrs Carr, K.C.'s mother, is brought to life by character actress Martine Bartlett. An actress who played mother roles to perfection, Miss Bartlett strikes a chord as the righteous maternal figure. Randy, a Lothario with wandering hands, is made memorable by William Gray Espy. An actor who made his mark on daytime soap operas with his singular presence, here he shows cheeky magnetism as the irreverent Randy. The final acting of note was by Jeanne Cooper as Vivien, the coach of the roller derby team. As with William Gray Espy, Miss Cooper was notable for her work on daytime serials, and here shows her authority as the no-nonsense, gravelly-voiced Vivien.

Soundtrack: KANSAS CITY BOMBER has a subtle soundtrack, by Don Ellis, which is a nice contrast to the highly audible roller derby action scenes. It is generally employed during the movie's quieter moments, such as the sequence where K.C. and Burt converse on the waterfront. The boldest musical piece is the film's theme song which is played both during the opening, and closing credits.

Mise-en-scene: Attention has been duly paid to the onscreen experience for viewers in KANSAS CITY BOMBER. Cinematography by Fred Koenekamp is beautiful, the roller derby scenes colorful, but not to a garish degree. The scenes away from the roller derby have also been handled nicely, with a softer use of colour creating a point of difference with the red hues in the stadium. Editing by David Berlatsky is smooth and satisfying, giving the film a grace in this department. Costuming by Ronald Talsky shrewdly takes into account the personalities of the film's characters and their roles in the narrative. Notable instances of costuming are the stylish uniforms worn by K.C. and Jackie, Burt Henry's elegant suits, and Mrs Carr's more everyday attire. Interior locations are all excellent, from Mrs Carr's house, Lovey's houseboat, Burt's office, to the roller derby stadium. Exteriors are likewise of a high standard, with the outside of the Carr family home, and the train station just some examples.

Notable Acting Performances: Raquel Welch, Kevin McCarthy, Helena Kallianiotes, Norman Alden, Katherine Pass, Martine Bartlett, William Gray Espy, Jeanne Cooper.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer

SCREAM FOR HELP (1984)

Title: SCREAM FOR HELP

Year of Release: 1984

Director: Michael Winner

Genre: Drama, Suspense, Horror

Synopsis: A teenage girl suspects her stepfather is planning to murder both herself and her mother for the family inheritance, and seeks to find out the truth.

Within a film history context: Teenage girls with a penchant for being amateur detectives have not been a common sight on cinema screens over the years. One of the first, and most notable was the Nancy Drew film series, all directed by William Clemens, and starring Bonita Granville in the title role. Beginning with NANCY DREW...DETECTIVE in 1938, followed by NANCY DREW...REPORTER (1939), NANCY DREW...TROUBLE SHOOTER (1939), and culminating with fourth entry NANCY DREW AND THE HIDDEN STAIRCASE in 1939, it followed the adventures of a teenage girl who delves into mysterious events, and solves these cases. Robert F. McGowan's HAUNTED HOUSE (1940) had a teenage girl and boy team up to assist their friend who has been suspected of the murder of a woman. They makes mistakes along the way, but are able to find the real killer in this Monogram Pictures movie. 

One of the most notable films about a teenage amateur female detective was SHADOW OF A DOUBT (1943), directed by Alfred Hitchcock. A young lady is overjoyed that her uncle will be coming to visit her and her family, but his actions over time make her suspect him of crimes that are occurring of late. In contrast, Lloyd Bacon's HOMICIDE, SWEET HOMICIDE (1946) was about a novelist and her three young children, two of them girls, the youngsters taking it upon themselves to help solve the murder of a neighbour. 13 FRIGHTENED GIRLS (1963), directed by William Castle, centered upon a teenage girl who was the daughter of an ambassador, and assists a detective in espionage matters. SCREAM FOR HELP was one of the later films about a teenage female amateur detective, and no holds barred in terms of its narrative.

It was an updated version of the Nancy Drew films, with a teenage girl playing detective by acting upon her suspicions of her stepfather, who she believes wants to kill her mother, and herself, for their inheritance. In this way, it goes further than the Nancy Drew movies in the fact that it delves into the personal life of its main character, who is seeking answers to a something which is a burning issue for her, rather than just a mystery to be solved. This is a trait it shared with SHADOW OF A DOUBT's protagonist, whose intuition, as with Christie in SCREAM FOR HELP, guided her in finally reaching the truth about her uncle, regardless of what other people thought. SCREAM FOR HELP is also notable in this genre in the manner that Christie is treated in the narrative. 

This is unlike the other movies, mainly the Nancy Drew series, where the mystery is the key element more than the personal life of its lead character. Not only is Christie a daughter to Karen, girlfriend to Josh, thorn in the side of stepfather Paul Fox, and latterly Lacey and Brenda Bohle, this allows her to be seen from different vantage points in the movie. It is not just a matter of a teenage girl playing amateur detective, but this is supported by a private life which gives reasons for Christie's behaviour. SCREAM FOR HELP itself is not just a mystery movie but also branches out into other genres including horror, coming of age, teenage angst, and family drama. This is in line with the film's overall uncompromising presentation, thereby making Christie Cromwell anything but a cardboard character, but real, the audience able to relate to her situation. One of the most intense of the movies about a teenage female amateur detective, SCREAM FOR HELP is a gutsy film. 

Overview: Michael Winner was a British film director with thirty-four motion pictures to his credit over the space of thirty-eight years. He made many films which contained themes of crime, and people battling this, but also comedies, and musicals. Mr Winner's first film, SHOOT TO KILL (1960) is considered to be a lost movie. Detailing the activities of a showbusiness reporter, and his involvement in politics, it was mainly of interest as it featured Lynn Redgrave in a small role. Next came CLIMB UP THE WALL (1960), which was a musical comedy starring bandleader Jack Jackson, and a number of other celebrities. In programmer MURDER ON THE CAMPUS (1961) a man is suspicious of his brother's death, which appears to have been suicide. With the assistance of a woman, whose father has vanished, he sets out to prove that it was homicide, and not suicide, which occurred. Veering into exploitation territory was SOME LIKE IT COOL (1961), a comedy which was concerned with nudism. PLAY IT COOL (1962), on the other hand, charted the escapades of a rock singer and his band who become friendly with a young woman, the film containing many musical numbers. 

Michael Winner made another musical with THE COOL MIKADO (1963). In this movie, a young man does not want to marry a young woman of his father's preference, and joins the army, but falls for a Japanese woman while in Tokyo, with many romantic complications ensuing. It was back to crime themes for Michael Winner in WEST 11 (1963). A footloose young man is convinced by a criminal to murder his aunt for her money, but things take another turn. THE SYSTEM (1964) followed a Lothario photographer aiming to entrance a young woman during vacation season, but finding that she is more than a match for him, and his libidinous ways. Into the late-1960s THE JOKERS (1967), was another comedy, with two brothers hatching a plan to lift the Crown Jewels from the Tower of London, but matters were not as clear cut as they first thought. At the end of the 1960s came HANNIBAL BROOKS (1969), an action-comedy following a prisoner of war in Nazi Germany, and how he escapes with his elephant, headed for Switzerland. In the 1970s, Michael Winner made some of his most-recognized, famous movies.

THE GAMES (1970) was about several athletes competing at an Olympic Games marathon event, with an illustrious cast including Michael Crawford, Ryan O'Neal, and Charles Aznavour. THE NIGHTCOMERS (1971), unfortunately, was one of Michael Winner's most disappointing efforts. The tale of a sadomasochistic relationship between a governess, and a gardener, set in Victorian times was heavy on violence and sex, but light on atmosphere and suspense. Western CHATO'S LAND (1972) had a half-Native Indian killing a sheriff in self-defense, but this act leads to the rape of his wife, and revenge against those who had done this. THE MECHANIC (1972) was a character study of two men, one an older hitman, the other an aspiring assassin, but events occur to bring their relationship to melting point. THE STONE KILLER (1973) featured Charles Bronson as a private eye who investigates the killing of a hitman, and is drawn into an elaborate plot involving the Mafia. Next came one of Michael Winner's most controversial films - DEATH WISH (1974). The story of an architect whose wife is killed, and daughter raped during a home invasion, thus the impetus for him to become a vigilante on New York City streets, was a startling and successful movie. The DEATH WISH franchise led to several sequels, and Mr Winner directed the next two entries in the series, being DEATH WISH II (1982) and DEATH WISH 3 (1985). Both of these films, though, were not as critically acclaimed as the original, seen to indulge in an excess of violence. 

Michael Winner's next movie, WON TON TON: THE DOG WHO SAVED HOLLYWOOD (1976)  was a change of pace for the director. A comedy about a silent screen dog who reaches the heights of stardom, it was notable for its many guest stars from the Golden Years of Hollywood. Mr Winner then made a foray into horror with THE SENTINEL (1977), where a young woman goes to live in a Brooklyn apartment, but discovers that the building is a hotbed of demonism. It was back to crime territory with THE BIG SLEEP (1978). Another instalment in the film version of Raymond Chandler's detective story, it was set in London rather than Los Angeles, and starred Robert Mitchum in the lead role. Michael Winner ended the decade with FIREPOWER (1979) an action movie about a woman seeking revenge for the murder of her husband, and thereafter finding an intricate web of lies and deceit. Into the 1980s and after, Michael Winner made several movies, but none that matched his output from the 1960s and 1970s.

THE WICKED LADY (1983) was a racy remake of the 1945 film of a restless young woman who plays with hearts, but falls for a highwayman, in turn becoming both his accomplice, and lover. In complete contrast, a piece with a decidedly period feel was APPOINTMENT WITH DEATH (1988), set in the 1930s. Based upon Agatha Christie's Hercule Poirot mysteries with an all-star cast, a hated woman is found dead, and many people suspected of her demise. Softer in tone was A CHORUS OF DISAPPROVAL (1989). A young widower becomes part of an amateur theater musical group, which not only helps him, rising to male lead but also, success with the female members of the group.  BULLSEYE! (1990) was a financial failure concerning two inept scientists, and their various schemes which result in much intrigue and derring-do. Michael Winner's second last movie, DIRTY WEEKEND (1993) was a violent film about a young woman harassed by a man, then killing him, and continuing a murder spree, subsequently dispatching six more men. Mr Winner's final film, PARTING SHOTS (1998), was a variation on the director's common themes of crime and revenge, with a terminally ill man purchasing a gun, and planning to exact retaliation on those who had wronged him. SCREAM FOR HELP was one of Michael Winner's later films, and a satisfactory, if flashy work.

With SCREAM FOR HELP, Michael Winner has made a fast-paced, watchable film that easily keeps the attention from beginning to end. Utilizing the suspense-investigative structure that permeated some of his movies, such as MURDER ON THE CAMPUS, THE STONE KILLER, and FIREPOWER, in this instance, the person doing the probing this time is a teenage high school student. While, at the outset, this might seem to be an inappropriate choice for a protagonist, the director, through the twists and turns of the movie, makes this work in a convincing manner. Aside from this, SCREAM FOR HELP is also reminiscent of Michael Winner's other movies with a revenge theme. This is something that Mr Winner explored in CHATO'S LAND, DIRTY WEEKEND, PARTING SHOTS, and, in particular, DEATH WISH. 

SCREAM FOR HELP recalls the home invasion scenario which DEATH WISH contained as the crux of that film, but in SCREAM FOR HELP turns this on its ear. Instead of the mother and daughter being the tragic victims of the home invasion, powerless to fend off their attackers, in SCREAM FOR HELP, Christie and her mother turn the tables on their assailants. They set up an elaborate chain of events which spell the demise of these criminals, taking these protagonists far and away from DEATH WISH's ill-fated mother and daughter. The bonding of these two women is one of the best parts of the film, giving it a sympathetic edge in the face of seemingly insurmountable odds. This is an example of one of the strongest segments of SCREAM FOR HELP, where the psychological processes of these characters are laid bare to audiences. In saying this, though, the movie also has accompanying flaws which are evident when analysing the film as a whole.

Several key story points in SCREAM FOR HELP, while understandable to the audience, would have benefitted from further expansion and elaboration. Christie's dislike of her stepfather, effectively stealing her mother away from her father, while clear, is treated as a sideline, rather than the deeply emotional event it should have been. It does propel Christie to act the way she does, but it is slightly flimsy in its execution. The relationship of Brenda and Lacey Bohle is another story that could have had further depth. Aside from their criminal leanings, there is the domestic violence between Lacey and Brenda, his maltreatment  of her, which seems to be borne out of aggression and poverty, seeing the rundown house they inhabit. Again, the movie glosses over these situations, and makes them two-dimensional, where there could have been deeper psychological portraits drawn of these people. Instead, SCREAM FOR HELP takes the easy way out, indulging in visual thrills and spills to cover up its deficiencies. The movie, in effect, is high concept in the way it treats its situations, always going for the jugular in a visual sense, which does become grating. A more nuanced feel to the film in terms of pacing, building suspense, and seeing things more through the eyes of its characters, would have been helpful. All in all, SCREAM FOR HELP, while having many weaknesses, is nevertheless an entertaining motion picture with punch.

Acting: SCREAM FOR HELP has an attractive cast who provide great performances. In the lead role of Christie Cromwell, Rachael Kelly does an excellent job as the intuitive young lady who listens to her instincts no matter what other people say in the movie. A lovely actress for whom this, unfortunately, was her only film role, her acting gives the movie a strong point from which the other actors, and events, radiate. As Christie's mother Karen, Marie Masters is well-suited with Miss Kelly, seeming like a real mother and daughter, even though it would have been beneficial to have seen more of Miss Masters in the movie, as she had a nicely funky style to her acting. The pivotal role of Paul Fox, husband of Karen, and stepfather to Christie, is given a malevolent edge by David Allen Brooks, A good-looking actor who seems utterly at home in a dinner jacket on the one hand, and spouting sadistic epithets on the other hand, he does a great job as the secretive, slow-burn Paul. Three other performances emphasize the distinctive acting in SCREAM FOR HELP.

As arch-villain Lacey Bohle, Rocco Sisto puts his all into the sweaty, complex character he inhabits, making him utterly compelling. Even though the resolution his character receives is violent, he still evokes a small slice of sympathy in the viewer. His wife, Brenda Bohle, is played with a sinister, yet vulnerable edge by Lolita Lesheim. An actress with an unconventional beauty, Miss Lesheim's deep voice, and ability to amplify her character's feelings with just the raise of an eyebrow make her one of the 1980s best femme fatales. The final acting of note was by Corey Parker as Josh, Christie's boyfriend. Despite playing someone who could be classified as a young adult bodice ripper, having his way with the young women in the movie in his subtle manner, Mr Parker makes it understandable to the audience with his charm, and sympathetic ways.

Soundtrack: SCREAM FOR HELP has a very good soundtrack, but the employment of it within the film is questionable at times. On the one hand the sweeping orchestral music is lush, and pleasant to take in, adding drama to what is taking place onscreen. On the other hand, the musical score has the habit of overwhelming scenes, taking attention away from moments which should have been touching, or quiet. Aside from this tendency, 'Christie', the theme song of the lead character is somewhat incongruous, and detracts from the mood at the end of the movie. It would have been better to feature the 'Christie' piece without lyrics, as these tend to give the film a cheesiness it does not deserve. It could be said that as SCREAM FOR HELP is not the most subtle motion picture overall, that possibly this more blaring approach to its music may, in some ways, suit it.

Mise-en-scene: SCREAM FOR HELP is well-done in its onscreen experience for spectators. Cinematography by Robert Paynter makes the New York locations pretty to witness, outdoor scenes being particularly beautiful. Set decoration by Gary Brink draws telling contrasts, for example, between the wealthy Cromwell mansion, with its well-appointed rooms and expensive furniture, and the lower-level Bohle house, with its unkempt gardens and surroundings. Stunts and, in particular, special effects, especially during the various death scenes, are realistic, and effectively bloody.

Notable Acting Performances: Rachael Kelly, Marie Masters, David Allen Brooks, Rocco Sisto, Lolita Lesheim, Corey Parker.

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

Overall Grade: C

Link: IMDB Page

A CITY'S CHILD (1971)

Title: A CITY'S CHILD

Year of Release: 1971

Director: Brian Kavanagh

Genre: Drama

Synopsis: After her invalid mother passes away, a young woman descends into a dream world, and meets and falls for a young man, who may or may not really exist.

Within a film history context: One of the first movies to prominently feature a spinster was Sidney Franklin's silent QUALITY STREET (1927). A property for Marion Davies, it was about a woman whose fiancé goes to fight for the Napoleonic Wars in the early 1800s. He returns after a decade to find his fiancée entirely different, and she schemes to reignite their love by posing as her fictional niece. This property was later remade in 1937 with Katharine Hepburn in the lead role, both versions unsuccessful at the box office. PEACOCK ALLEY (1930), directed by Marcel de Sano, had a middle-aged woman seeking a husband in New York City, and charted her romantic difficulties. Sam Taylor's OUT ALL NIGHT (1933), was a comedy of a middle-aged man with a spinster employed in a department store. THE OLD MAID (1939), directed by Edmund Goulding, featured a complex series of events between two female cousins, particularly dealing with love, offspring, and how the one cousin ends up unmarried, with a secret. In a more comic vein was Fred Guiol's MISS POLLY (1941). A vehicle for Zasu Pitts, it starred her as a spinster with a chequered past, and possessing a penchant for unexpected behaviour, who finds romance. NOW, VOYAGER (1942), directed by Irving Rapper, was one of the most famous movies about a spinster. A woman dominated by her mother has emotional issues, and is assisted by her sister-in-law in changing her life. After being treated by a psychiatrist she takes a cruise, and meets a man with whom she falls in love, but the path to true fulfillment is not an easy one. 

A farcical view of spinsterdom was offered by Frank Capra's ARSENIC AND OLD LACE (1944). A man who writes about marriage, and how it is passé, has two aunts who murder selected men to relieve them of their loneliness, and the writer becomes embroiled in their activities. With THE CORN IS GREEN (1945), directed by Irving Rapper, a spinster, again played by Bette Davis, is entirely different in scope. A woman arrives in a Welsh mining district, and seeks to bring education to the town. One of her major projects is assisting a troubled but clever young man become a man of vision, which she achieves. Andrew L. Stone's THE BACHELOR'S DAUGHTERS (1946), in contrast, was comic in nature. A man working in a department store is convinced by four spinsters to act as their father, the women seeking husbands, and projecting an image of wealth. The bittersweet WINTER MEETING (1948), directed by Bretaigne Windust, once again featured Bette Davis as a spinster. This time, she was a poetess who falls for a man considering priesthood, and was one of Miss Davis' last movies for Warner Brothers. More prominent was William Wyler's THE HEIRESS (1949). A wealthy young spinster treated shabbily by her father falls for a handsome man, but his intentions for her may, or may not be honorable. Into the 1950s and after, equally interesting portraits of spinsters were offered in cinema.

The lushly romantic SUMMERTIME (1955), directed by David Lean, starred Katharine Hepburn as a spinster who falls for an Italian man in Venice, but complications ensue when she discovers that he is married. Joshua Logan's PICNIC (1955) had a schoolteacher supporting character whose passions were on full display in this memorable movie. Another movie with Katharine Hepburn as a spinster, THE RAINMAKER (1956), directed by Joseph Anthony, had her in this instance as a woman who was charmed by a shady man, with many unexpected twists and turns. In the 1960s came the arrival of a series of films about an indomitable spinster detective - the mysteries of Miss Marple. In the person of the unique Margaret Rutherford, four Miss Marple films were produced, the first being George Pollock's MURDER SHE SAID (1961), MURDER AT THE GALLOP (1963), MURDER MOST FOUL (1964), with MURDER AHOY (1964) the last in the series. These dealt with Miss Marple solving various mysteries, albeit with a comic twist. Entirely contrary was SUMMER AND SMOKE (1961), directed by Peter Glenville. This was about a spinster who falls for a doctor of loose morals, but whose attentions are on another woman. 

Robert Rossen's LILITH (1964) had an emotionally unstable, and manipulative spinster, who turns the life of a troubled man upside down in a mental health facility. Lighter in tone was DEAR HEART (1964), directed by Delbert Mann. A middle-aged spinster and postmaster seeking romance finds it at a convention in New York City, but matters takes assorted directions in this comedy-romance. Robert Aldrich's HUSH...HUSH, SWEET CHARLOTTE (1964) was more flamboyant in nature, and an off-the-wall movie for Bette Davis. In this film, a woman is shattered by the return of a relative, who seeks to send her insane, and take her fortune, but things do not turn out as expected in this Grand Guignol-style movie. In complete contrast was the down-to-earth RACHEL, RACHEL (1968), directed by Paul Newman. A thirtyish unmarried schoolteacher living with her mother becomes involved with a man, this the impetus for a life change for her, seeing things through different glasses. 

With Ronald Neame's THE PRIME OF MISS JEAN BRODIE (1969), released at the end of the 1960s, a teacher in 1930s Scotland flouts conventions, and causes waves in the girl's school in which she works. AGE OF CONSENT (1969), directed by Michael Powell, had a spinster character who makes a play for the artist protagonist in this comedy-drama which was mildly risque in its time. Robert Altman's THAT COLD DAY IN THE PARK (1969) was about a spinster who becomes obsessed with a young man, not wishing to let him leave her apartment in this psycho-sexual movie. As with the other films in the genre, A CITY'S CHILD had a spinster as its focus, which consequently allowed for a thorough examination of its main character.

A CITY'C CHILD was similar to those pictures where a spinster was at the center of the action rather than a peripheral figure, such as QUALITY STREET, PEACOCK ALLEY, THE OLD MAID, NOW, VOYAGER, THE CORN IS GREEN, THE HEIRESS, SUMMERTIME, THE RAINMAKER, and LILITH, to name a few examples. In these films as with A CITY'S CHILD, the viewer gains an intimate knowledge of the character, finding out what makes her tick, and feeling what she does during the movie. In other words, A CITY'S CHILD, with the others, creates a three-dimensional portrayal of the spinster, rather than something threadbare or lacking depth, which MISS POLLY, ARSENIC AND OLD LACE, and THE BACHELOR'S DAUGHTERS do in their more comical orientation. It could also be said that there is also an interesting parallel to NOW, VOYAGER in one particular feature of A CITY'S CHILD. 

The presence of a domineering mother figure who makes an indelible psychological mark on their respective daughter is present in A CITY'S CHILD as with NOW, VOYAGER. Where the films differ is that while both mothers are boorish in the treatment of their daughters, the mother in A CITY'S CHILD is an invalid, and bedridden. This gives an added layer of poignancy to the film as there is a rationale of sorts for the mother being so mean to the daughter, in light of her ill health. It is not just a matter of a mother being nasty to her daughter because she is malevolent. Aside from this, the spinster in A CITY'S CHILD also suffers from emotional issues, something which distinguished not only NOW, VOYAGER but also LILITH, HUSH...HUSH, SWEET CHARLOTTE, and THAT COLD DAY IN THE PARK. The spinsters in the last three movies were marked in their unpredictable behaviour and penchant for violence, but the spinster in A CITY'S CHILD, as with NOW, VOYAGER, were delicate in comparison, not wishing to spite others, or cause trouble. There was more of a leaning toward blossoming romances and sexuality in these entries, and an avoidance of campy elements. One of the most credible of the movies with a spinster lead, A CITY'S CHILD is a thoughtful, diverting film.

Overview: Brian Kavanagh is an Australian director who made only three movies in his career, which spanned fifteen years from 1971 until 1986. He was more active as a film and television editor, and also produced all three of the movies he made. Mr Kavanagh's second feature film, DOUBLE DEAL (1983), was a drama about a woman married to an older man, her restlessness leading her to take up with another man, planning with her lover to fleece her husband. Brian Kavanagh's final movie, DEPARTURE (1986), centered around the life of a married couple who intend to uproot from Australia to live in Rome, but before leaving, spend a final weekend in Tasmania. A CITY'S CHILD was Brian Kavanagh's first motion picture, and his best-known, most fluent movie.

Brian Kavanagh has made a haunting, moody work with A CITY'S CHILD. The story of a woman living with her invalid mother, and then on her own after her mother's death, has been given sympathetic, intensive treatment by the director. It intimately charts the life of its protagonist, closely following her transition from a meek woman seeking to emerge out of her shell, and her mother's influence, into someone of her own beliefs, and actions. The difficulties of this change from one life chapter to the next are handled well by Mr Kavanagh, making audience identification, and empathy toward the lead character, one of the best features of A CITY'S CHILD. This also entails a journey into the woman's psychology, specifically her burgeoning sexuality. This is explored in her time at the beach, watching a swimmer toweling himself, and, her relationship with a beguiling young man. While these are some of the best aspects of the movie, there are omissions in the story which could have strengthened it, providing more clarity.

To its advantage, A CITY'S CHILD has a small cast, which intensifies the drama, doing away with superfluous characters and scenes. On the one hand this is a positive, on the other, makes matters too abbreviated. The woman does not appear to have had any relatives, or anyone come around to see her after the funeral of the mother. This, in one way, is something which does occur in life, being that death does sever ties with relatives in many cases, but in A CITY'S CHILD no one at all appears to offer their condolences to the woman. A scene or two with a relative, or family friend could have deepened knowledge about the woman, but nothing appears. In addition, one never finds out how the woman actually supports herself, as this is left open to interpretation. It seems that she is of a high socio-economic profile, given the house in which the woman resides, but, this is fuzzy. Offering another perspective of the woman are two female neighbours who critique her actions and movements. This gives the movie a dimension, possibly elaborating how certain audience members might interpret her life. Despite these gaps, some things can be said about the movie. A CITY'S CHILD is a credit to its director, and an intimate, meditative work that deserves to be viewed.

Acting: A CITY'S CHILD has a small cast, but the performers are all highly effective in their roles. As the lead character in the movie, Monica Maughan is in one of her finest parts as the eponymous city's child. An actress who makes her character utterly real and likable, laying bare all her thoughts and desires to the viewer, Miss Maughan shines. The male object of desire of the city's child is given careful execution, and shading, by Sean Scully. With an air of allure, style and mystery, Mr Scully takes what could have been a shadowy figure, and transforms him into someone the spectator wants to know more about with his subtle, intriguing manner. 

As the woman's mother, Moira Carleton brings a vivid sadness to her scenes. While playing someone who is insensitive on the surface, Miss Carleton makes the invalid mother a person who had deep emotional scars, these made evident by the actress. The final acting of note in the film was by Roger Scales as the man the city's child sees on the beach, unable to stop watching him. An actor who did not utter a syllable in the film, but whose facial expressions and body language said it all, being watched by the city's child, his scenes work on two levels. On the one hand, Mr Scales brought a sense of the vulnerable, being seen as an objectified sex object by the woman, but also, liking the attention, and when not receiving what he wants from her, moves on. An actor whose credits are unfortunately limited to early 1970s Australian film and television, Roger Scales' contribution rounds out the fine cast of A CITY'S CHILD.

Soundtrack: A CITY'S CHILD takes an understated approach toward to its music. Music by Peter Pinne is spare, and emphasises the mood of scenes well, especially in sequences such as the man following the woman in his car, and the moments where the city's child is observed in detail, such as doing her gardening. The city's child theme is played after the opening scenes, and when she is on the train going to the beach. It is a late 1960s/early 1970s style piece which effectively provides a commentary on the main character, and her life.

Mise-en-scene: A CITY'S CHILD has a very good attention to detail for the viewer's onscreen experience. Cinematography by Bruce McNaughton emphasizes darker hues which is in keeping with the film's somber, psychologically complex orientation. Costuming is naturalistic, with characters appropriately attired for the early 1970s, and the movie's suburban setting. Apparel for Sean Scully's character is in direct comparison to Monica Maughan's, with his snappy suits and colorful shirts, to her dark block colours, and more conservative wear. Settings are authentic and well-chosen, from the interiors of the woman's house, outside her home, the suburban shopping strip, and the beach where the woman relaxes, and gazes at the swimmer, all excellent.

Notable Acting Performances: Monica Maughan, Sean Scully, Moira Carleton, Roger Scales.

Suitability for young viewers: No. Male nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Trailer