THE COOLANGATTA GOLD (1984)

Title: THE COOLANGATTA GOLD (Alternate title: THE GOLD AND THE GLORY)

Year of Release: 1984

Director: Igor Auzins

Genre: Drama, Sport, Romance

Synopsis: Two brothers aim to compete in The Coolangatta Gold iron man race to appease their father, but he only supports the aspirations of his eldest son in this, causing a rift with his younger son.

Within a film history context: Films with a father-son conflict at their core have been in existence in cinema history since the sound era, with several notable examples. One of the first documented was F.W. Murnau's CITY GIRL (1930). In this movie, a woman marries a farmer, but has to face many difficult situations in her new life. Adding to her issues is the fact that her father-in-law refuses to accept her, this causing a wedge not only in her marriage but also, between father and son. With the exotic FIESTA (1947), directed by Richard Thorpe, a young man does not want to follow in his father's footsteps as a matador, this causing dissension between them, and complicating his sister's life in the process. Mervyn LeRoy's ANY NUMBER CAN PLAY (1949), featured Clark Gable as a casino proprietor whose activities impact not only upon his wife but also, his son, who disagrees with his father's business dealings. CONFIDENTIALLY CONNIE (1953), directed by Edward Buzzell, was of a more comic persuasion. It focused upon a college professor and his wife, and his father with whom he is at odds over the family ranch, where he does not wish to return. 

Edward Dmytryk's BROKEN LANCE (1954) followed a crusty ranch owner, and his four sons. Conflict emerges from how he treats the three older sons of his first marriage, and the very different, close relationship he shares with the youngest son from his second marriage. Western THE HALLIDAY BRAND (1957), directed by Joseph H. Lewis, concentrated upon the wrought relationship between a son and his father, who was an unorthodox sheriff who tried his best to control the lives of him and his siblings, his one son the only person able to take him on. An aristocratic take on matters was offered by Terence Young's MAYERLING (1968). An Austrian prince has a hostile relationship with his father, due in part to the patriarch's insistence on maintaining the status quo of the social order, his son holding more contemporary beliefs in 1880s Austria. Devious doings were the order of the day in THE HORROR OF FRANKENSTEIN (1970), directed by Jimmy Sangster. An utterly odious young man has a falling out with his father over his anatomy experiments, and subsequently kills him, continuing his mission to construct a body, which causes no end of grief. THE COOLANGATTA GOLD was a movie where the father-son conflict was one of the main drivers of action in the narrative.

The father-son difficulties were largely based upon the father's insecurities in THE COOLANGATTA GOLD, and how he came second in a surfing marathon in 1960. The father sees his younger son as the weak link in the family, as he is more motivated toward artistic pursuits such as being a rock band promoter, rather than an athlete. The son sees life in a less competitive manner, just wanting to do what he does, without the burden of being the best. He is constantly berated and belittled by the father, who sees the older son, and brother, as the child who will fulfill his dream of winning the surfing marathon. There are, in effect, elements of the stage father in this movie, which is far removed from the other portrayals, with fathers and sons not connecting for one reason or another.

FIESTA and CONFIDENTIALLY CONNIE had sons who did not want to continue in the life goals of their respective fathers, but THE COOLANGATTA GOLD stood out as the younger son actually wanted the love and esteem of his father, and tried to please him, but could not achieve this. The father could never see the younger son for who he was, and what he wanted out of life. In THE COOLANGATTA GOLD, it was always about what the father wanted for his sons, but not what they wanted for themselves. There was a tragic undertone to the movie where two family members could never see eye to eye, with feelings of resentment expertly depicted. It could be said that Steve in THE COOLANGATTA GOLD was similar to the son in THE HALLIDAY BRAND who tried to break away from his father's influence and carve his own identity. The use of the love interest in THE COOLANGATTA GOLD is also something which diverts from other movies with a father-son conflict.

In CITY GIRL, the father-in-law causes his new daughter-in-law many precarious moments, and, in turn, his son with the treatment of his wife. The wife in ANY NUMBER CAN PLAY is neglected by the husband for his work, and in MAYERLING, the prince has an affair with another woman to take his mind away from his loveless marriage. In THE COOLANGATTA GOLD, matters are much more subtle, and muted in tone. There is none of the melodrama which marked the other movies, but Steve and Kerri meld together in a natural way, real life and emotions making an impact on them. A backwards and forwards momentum marks their union, with Steve's personal, and professional difficulties highlighted, and Kerri's ballet obligations the issues. In addition, Steve's father views his attraction to Kerri as humorous, which is another deviation from the above movies, and view of male-female relationships, and prospective father-in-law. Steve's father does not even exchange a word with his son's love, even though he sees his son speaking with her on the beach, and at the hospital. For these reasons, offering a meaty view of father-son conflict, THE COOLANGATTA GOLD is one of the most extensive on the topic.

Overview: Igor Auzins is an Australian director who has helmed three motion pictures, being more active on television in episodic series, and telemovies. His first movie, HIGH ROLLING (1977), was a rollicking action film about the adventures of two carnival workers, with Joseph Bottoms in the lead role. Mr Auzins' second movie, WE OF THE NEVER NEVER (1982), was an historical story set in early 1900s Australia which had a warm critical reception at the time of its release. It also received a number of awards and nominations in various departments. THE COOLANGATTA GOLD was Igor Auzins' last movie, and one of his most-recognized cinematic efforts.

With THE COOLANGATTA GOLD, Igor Auzins has crafted a strong film which makes a definite impression on the emotions. Taking a deceptively simple narrative line by exploring a family, and how a father wants his eldest son to win an ironman race, effectively casting his younger son aside in the process, it keeps the spectator involved with the various viewpoints, and character desires and needs that are expressed. While there are some fiery moments, these are not forced, and come from the characters with a basis in honesty. The movie itself plays out in a naturalistic manner, eschewing obvious melodrama that can sometimes be jarring. This is one of the merits of THE COOLANGATTA GOLD, being that it is never over the top in its execution. Although the film has certain assets, it does, unfortunately, have downsides which take it down a few notches.

The first half of the movie does establish what is taking place, where, how, and why, but one wishes some sections could have been abbreviated. Several examples come to mind. The sequence where it is revealed that Steve aspires to be a rock band promoter, with the band playing a song in the background, while valuable as insight into his ambitions, is overlong. The song played also is not memorable in any way, especially when compared to a later song in the roof garden scene played by the band. The roof garden scene itself also takes too long to unravel, but the movie makes up for this with Adam's predicament, and the fallout from this. In addition, the later love scene between Steve and Kerri was a tacky 1980s segment that did absolutely nothing to further the story. As with the previously mentioned scenes, it was presumably included to be fashionable for its time, but all seem dated in retrospect. Thankfully, the second half of the movie picks up steam, and the various confrontations and character interactions are closer in proximity, making for a better film. The ending of the film is excellent, where all the pieces come together in a cohesive whole. In looking at the movie as a whole, certain things can be said about THE COOLANGATTA GOLD. It is a stirring film which deserves a higher reputation than what it has had in the past for the affecting experience it delivers to the viewer.

Acting: THE COOLANGATTA GOLD boasts fine performances from its cast which bolster its impact. In the lead role of Steve Lucas, a young man seeking to attain his father's love, but finding this an impossible task, Joss McWilliam is excellent. An actor for whom this was his debut role, he makes Steve a person of many edges, with passion, humor, anger, and sensitivity recalling the volatility James Dean displayed in his parts. As Joe, his father, and the thorn in Steve's side, Nick Tate shows why he is one of Australia's best actors. A performer adept at playing all sides of the emotional spectrum, his Joe could have been a caricature in other hands, but he manages to make him understandable and even sympathetic, despite Joe's treatment of his son. Colin Friels, as the favourite son of Joe, Adam, makes him a strong, but often silent figure in the movie. An actor who instinctively knows how to use his face and eyes, saying much in a non-verbal manner, Mr Friels is another attraction in the picture. His dance scene with Josephine Smulders' Kerri shows him an ace on the floor with his moves. Three other actors contribute great acting in the movie.

As Robyn, wife of Joe, and mother of Steve and Adam, Robyn Nevin is well-cast in a small role which she nevertheless makes the most of in the limited time she has onscreen. An actress who always brings conviction to her parts, making her characters believable to the core, she gives another viewpoint to the film, taking some attention away from the largely all-male perspective displayed. The ballerina who captures Steve's heart is given subtle treatment by Josephine Smulders. A ballerina in real-life for whom this was her only screen role, she is well-matched with Joss McWilliam, her serene and thoughtful nature a nice contrast to Steve's excitability and nerviness. The last actor of note in the film is Paul Starling as Steve's karate instructor. In real-life Mr Starling is a martial artist and karate master, and in the movie brings notes of authority and determination to his role as Steve's instructor, and closest confidant.

Soundtrack: What is most striking about musical accompaniment in THE COOLANGATTA GOLD is Bill Conti's rousing score. It is alternately quiet, passionate, spirited, and suits the story of people striving for the best they can achieve. Additionally, it provided the film with a sense of wonder and grandeur that the visuals many times lack, making up for this considerably. Aside from this, the movie has several rock and pop tunes which do not make an impression on the senses, the best of all these being 'Fraction Too Much Friction', performed by Wilbur Wilde. It functions not only in a pleasant manner, but also as a diegetic comment on the lives of its characters, particularly brothers Steve and Adam in this part of the movie. 

Mise-en-scene: What appears onscreen for viewers in THE COOLANAGATTA GOLD is one of its most problematic aspects. On the one hand, cinematography by Keith Wagstaff is crisp and clear, especially beautiful during the scenes on the beach such as the iron man race, taking advantage of the sun-drenched locations. On the other hand, the locations chosen for the movie, such as the Lucas family home and its surroundings, are unattractive, and do nothing for the film. It could be said that the family home is reflective of its characters, but visually is a liability. This, though, is symptomatic of many Australian films over the years, being how unappealing locations are spotlighted, possibly to create an image of realism, but they offer nothing but an eyesore to viewers. There is also the tendency to plunge the movie into darkness at times, such as the roof garden scene, the car park sequence, and, the private areas of the Lucas family home. Having more agreeable locales would have given the film a boost that the sets and places it utilized just do not possess. In the case of THE COOLANGATTA GOLD, these are not the best backdrop for its excellent cast, failing to serve them properly.

Notable Acting Performances: Joss McWilliam, Nick Tate, Colin Friels, Robyn Nevin, Josephine Smulders, Paul Starling.

Suitability for young viewers: Parental discretion advised. Infrequent coarse language, brief male nudity, brief female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Trailer

LITTLE FAUSS AND BIG HALSY (1970)

Title: LITTLE FAUSS AND BIG HALSY

Year of Release: 1970

Director: Sidney J. Furie

Genre: Action, Drama, Comedy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Grade: C

Link: IMDB Page

Trailer

FIVE QUESTIONS FOR ACTRESS MANUELA THIESS GARCIA ABOUT FASCINATING ACADEMIC TOPICS

I am very happy today to welcome actress Manuela Thiess Garcia back to CINEMATIC REVELATIONS. Manuela has been on the blog previously speaking about her role in CHANGES, and many other topics; the interview can be found here. In this post, we will be taking things in an entirely academic, but nevertheless, absorbing direction. Manuela will be discussing a number of fascinating topics close to her heart such as politics, existential philosophy, science, psychology, and biology.

Welcome back to CINEMATIC REVELATIONS Manuela!

Athan: Politics is a subject of interest the world over, and a matter of contention in many an instance. What is it that you find most interesting about politics?

Manuela: To not be concerned about what is going on in the world politically is to not be engaged in what controls your life. I think it essential to inform ourselves about the politics around us, so that if need be, we can find a way to make our little voices count. And, if we are fortunate enough to have a public platform of one kind or another, I think it is almost criminal not to use it to influence the larger good as we see it.  For example, we live on an endangered planet. We know this, and yet, all too often, we ignore the implications of global warming to our own peril.  

Even if we have no political voice for change, we can inform ourselves about what we can do at home to lessen our impact on the planet, and we can make our voices heard on social media, to people we talk to, in the grocery store where they try to hand out plastic bags, or wherever we encounter violations against the earth. I believe we must never be silent where we can see we might affect even a tiny change.

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Athan: Existential Philosophy is always very fascinating. I remember reading the works of Friedrich Nietzsche years ago, and how transfixing these were. His work was graceful and easy to read, but filled with meaning, and pertinent at the time he wrote, and now. What is it about existential philosophy that is so compelling for you?

Manuela: What I find most compelling with regard to how I live my own life influenced by existentialism, is the notion that we are our own makers and thus, we bear responsibility for our own choices. This also acknowledges that life is absurd.  It has no meaning other than what we give it, so we must choose what is important without letting anyone dictate to us what that importance should be. 

I am not a determinist. I believe in freedom of choice and that what you choose determines who you are. Hence, while I find religion serves people well who have no idea of how to live their own lives and want some sort of guidance, I also feel that it is sad that those people willingly give their freedom over to some dogma or other because they do not understand that they can make their own choices.  

People who let others make their choices for them are fair game for politicians who exploit this weakness by praying upon their beliefs and subverting them to their own ends. Look at the MAGA evangelicals in the U.S. for an example.

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Athan: Countless books have been written on science, with many television shows and movies also rooted in this topic. Is there a specific field of science that most intrigues you, and why?

Manuela: All of science intrigues and fascinates me, but if I had it to do over, I would become a physicist.  I enjoy learning about particle physics and quantum mechanics in particular. Unfortunately, I do not have a mathematical background and scientific formulas are indecipherable to me, so of course, my understanding is only miniscule. But the very idea - the wonder of it - that we are still just beginning to understand what lies at the subatomic level or that we are able to manipulate it, is fascinating.  And the very idea that we even know the subatomic level exists at all, is an astounding validation of what the human mind is capable of. You-tube abounds with videos on science, and to me, they are like attending free university lectures, and I am grateful for them. I have to admit, I also find them more digestible than some of the books which tend to be harder to decipher.

Perhaps it is better that we had never figured out how to split the atom and invented the atomic bomb, and very probably, we will destroy ourselves with our nuclear capabilities, and yet, if our ethics, our good sense, and our morals manage to catch up to our scientific discoveries before we do destroy ourselves, the possibilities are boundless. As I understand it, the new generation of computers, for example, will utilize the discovery of particle entanglement to operate quantum computers.

I also love cosmology but I can barely wrap my head around the notion of the Big Bang. I eagerly await more news from the Webb telescope discoveries and perhaps it will lead to a unifying field theory which will finally merge relativity with quantum mechanics. 

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Athan: Psychology is another riveting subject, something that is indispensable in everyday life, relating to fellow human beings but also, for example, what set films in motion, specifically the characters, and their motivations. For you, what is the allure of psychology?

Manuela: As a young person, I had many emotional problems which manifested themselves, among other things, in alcohol and drug addiction.  That is not to say that I am emotionally sound at this stage, but I have learned to cope with my defects by getting various types of therapies over the years and by studying psychology. My undergraduate studies are in that field.  

As in any scientific area, there is always more to be discovered and psychology is an area that has many different approaches. However, scientific discovery depends on empirical observations, and it is not so easy to peer inside of the brain, but we get closer all the time thanks to high resonance imaging and the like. Still, much of psychology is speculative, and that also makes it interesting as there is still so much to be learned.    

We live in an age where many people, especially the young ones, are getting more comfortable with virtual reality than real flesh and blood relations. What that does to the human brain is just being observed. Psychology will be essential in helping people transition into real life social situations. We live in a brave new world, indeed.

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Athan: Biology is yet another engrossing field of study. Do you find the study of human biology the most interesting, or the study of living organisms such as plants and animals, or both?

Manuela: All of the sciences tie together and augment one another, do they not? Biology and chemistry are responsible for many of the life-saving medications we have come to rely on. Without the study of biology, be it plant or animal, we would not begin to understand the inter-connections of the millions of lifeforms on the planet, nor would we be able to comprehend the toll that our ignorance of these interconnections has taken. But we are beginning to understand, and now it is up to us to convince the big corporations via the politicians to save our little pale blue dot and all the people on it, from the doom that many scientists predict.

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It has been a pleasure having you again on the blog Manuela, and I thank you for elaborating on the topics of politics, existential philosophy, science, psychology, and biology. It has been a fruitful, enlightening discussion with you in every way. You are always welcome to return whenever you wish.

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Thank you so much, Athan, for allowing me to expound on my views a little in your forum, here. We all like to have our ideas heard and you give me a chance to do that. I appreciate it greatly.

MELINDA (1972)

Title: MELINDA

Year of Release: 1972

Director: Hugh A. Robertson

Genre: Crime, Blaxploitation, Action

Synopsis: A disc jockey falls for a mysterious young woman, and is accused of her murder, but fights to clear his name.

Within a film history context: The early to mid-1970s saw a great number of films, coined as Blaxploitation movies, with African American protagonists in central roles, often supported by Caucasian actors in smaller parts. These films continue to be made to the present day. Up until the release of MELINDA in 1972, there were many notable films which explored the Blaxploitation theme in vastly different ways. One of the first with an African American actor in the lead role was Robert Downey Sr.'s PUTNEY SWOPE (1969). Arnold Johnson was the main character, the eponymous Putney Swope, being an advertising executive, in a sharply satirical film that was shot in stark black and white. COTTON COMES TO HARLEM (1970), directed by Ossie Davis, was another influential film. With its colorful characters and presentation, a sequel was produced in 1972, COME BACK CHARLESTON BLUE that was not as warmly received as the original. COTTON COMES TO HARLEM's humor, and spurts of violence, became a feature of other films in the Blaxploitation genre. 

Paul Bogart's HALLS OF ANGER (1970) was utterly different in style and tone from other movies in the genre. Centering around the arrival of white students in a predominately black school, igniting racial tensions, with the return of a black teacher there. It was a thoughtful film that offered no easy answers to race relations, but opened the door to further discourse about these. More exploitative was SOUL SOLDIER (1970), directed by John Cardos. Set during the Civil War, it was the story of a black man in a regiment managed by a white man, and whose cast included actors such as Barbara Hale and Cesar Romero. Topical in nature was Ralph Nelson's TICK, TICK, TICK (1970). With Jim Brown as the black sheriff of a small town simmering with racial tensions, it was a film that traded less in violence than others in the genre, and with more of a solid storyline than most. A comical take on race relations was on view in WATERMELON MAN (1970), directed by Melvin Van Peebles. With a mainly black cast, it was a fish out of water story with a white insurance man finding himself to be black after waking up one morning. It is remembered mainly for its comic atmosphere, witty asides, and the strength of the performances. 1971 brought more films that explored the Blaxploitation angle in various ways.

One of the rarest of these was Wendell Franklin's THE BUS IS COMING (1971). A young black Vietnam veteran returns home and discovers his brother was murdered by racist police officers, with revenge on the soldier's mind. A subdued, serious examination of racism in a small town, it was a well-made, convincing story that eschewed violence and sex, and made up for this in sheer story. Unlike other movies, HONKY (1971), directed by William A. Graham, had romance on its mind. The story of an interracial love story that involved narcotics, it was a change of pace for the Blaxploitation genre. The arrival on screen in 1971 of one of the most influential films in the genre stood out - Gordon Parks' SHAFT. The story of a black detective and the special case for which he was hired, it made a star of its lead actor Richard Roundtree, and its fashionable blend of violence, sex and salty language spawned several sequels and a television series. Another breakout film in the genre also appeared in cinemas in 1971 - SWEET SWEETBACK'S BAADASSSSS SONG, directed by Melvin Van Peebles. Notorious for its sex, nudity, language and violence, it was a film that pushed many buttons in the day, and was 'X' rated in its initial release. A groundbreaking film in 1971, it is still powerful today, time not diminishing its potency. MELINDA had features which were present in many of the blaxploitation movies, but possessed its own distinguishing marks.

The movie had a strong African American male protagonist at its core, something which also infused HALLS OF ANGER, TICK, TICK, TICK, THE BUS IS COMING, SHAFT, and SWEET SWEETBACK'S BAADASSSSS SONG. Frankie in MELINDA has that same streetwise demeanor of all the previous examples, but more in common with notions of black male sexuality from SHAFT and SWEET SWEETBACK'S BAADASSSSS SONG. Where Frankie in MELINDA diverts is that he does not have that unstoppable libido which Shaft and, especially, Sweetback possess. Frankie's sexual appetite is shown to a small degree in MELINDA, but in a more monogamous context than Shaft and Sweetback's raging sex drives. In comparison to Shaft and Sweetback, he could be described as being almost chaste in this department. 

Frankie has an affair with the mysterious Melinda, but the impact of her presence on his life is what drives him to find her killer. It is more of a mission for Frankie in MELINDA in identifying her murderer, something also present for THE BUS IS COMING's Billy, seeking who killed his brother. Frankie's one-woman man predilection is also apparent in his subsequent teaming with old girlfriend Terry to investigate the circumstances of Melinda's death. In this manner, Frankie and Terry's relationship is somewhat similar to Quincy and Lorraine's in HALLS OF ANGER, with Frankie and Terry's union tested on a grander, if sometimes more melodramatic scale, in MELINDA. A man and a woman teaming to find out the truth about something is also in THE BUS IS COMING, with Billy and Tanya's odyssey to locate his brother's killer an event which pulls them together. An interesting movie with some compelling moments, MELINDA is a sound example of a Blaxploitation film of the early 1970s.

Overview: Hugh A. Robertson was the director of three motion pictures in his career, being more active in various capacities such as sound, editing, and writing. He was notable for editing pictures such as MIDNIGHT COWBOY and SHAFT, and as sound editor on THE MIRACLE WORKER, MICKEY ONE, and A THOUSAND CLOWNS. His second film, BIM (1974), was the topical story of a Trinidadian young man involved in the independence movement in Trinidad and Tobago, coming up against many obstacles. Mr Robertson's third and final movie, OBEAH (1987), was a tale of two young people, and their entanglement in voodoo practices in the Caribbean. MELINDA was Hugh A. Robertson's film debut, and his most well-known movie.

With MELINDA, Hugh A. Robertson has made a satisfactory movie that ably maintains interest from beginning to end. There is a good execution of the story, with the many and varied events handled well by the director. The movie can be quite intricate in its storytelling, making it a film which is three-dimensional and not threadbare. One could imagine the scenario taking place in real life, giving MELINDA a realistic edge. It is a solid combination of crime, suspense, and romance elements that would appeal to various audiences, being broad in this respect which is pleasing to see. The overall presentation lends itself to a vividness which only assists the film in feeling authentic. While MELINDA has some good aspects, there are flaws which undermine the impact of the movie.

There is an interesting contrast in MELINDA between the pairing of Melinda and Frankie on the one hand, and Terry and Frankie on the other. It is implied by the narrative that the more physical union of the elusive Melinda and Frankie, which ends in her death, could not have been sustained in the long run. Terry and Frankie's pairing was evident on many levels, from loyalty, love, and sacrifice. This is something which is borne out by the story, but its delivery in one area does take matters down a notch. The air of intrigue around Melinda does permeate the film in a positive vein, but the love scene between her and Frankie is one of the movie's lowest points. Generally, love scenes in pictures are some of the most unnecessary, embarrassing segments which do not delve into character and story in a telling way, and here it is no exception. This scene does nothing to forward the story, and is risible for its attention to physical detail. It actually detracts more than it provides to the viewer, which is a drawback. This, though, points to a tendency that MELINDA has in retrospect.

There is a marked misogynistic emphasis in MELINDA which crops up from time to time in the movie. Melinda and Frankie's love scene is the first instance, with her physical attributes highlighted here. In addition, MELINDA also seems to relish showing the dead corpses of two female characters in a demeaning way. The presentation of these is tasteless, and could have been better shown by either obscuring, or not showing these sights for the viewer. This also leads to some other things which are visually imperfect in MELINDA. Some of the stunt work, specifically in its final stretches, appears artificial. Possibly slow motion may have worked better here, adding a taste of realism. Despite these faults, it can be said that MELINDA, on a basic level, is a watchable piece of Blaxpolitation cinema with some engaging moments.

Acting: MELINDA has a great cast who make the movie highly watchable. In the lead role of disc jockey Frankie, Calvin Lockhart is as lively as always as the passionate, volatile man on a mission. An actor who brought a sense of streetwise and earthiness to his parts, he is excellent, his anger palpable. As the enigmatic and lovely Melinda, Vonetta McGee is well-matched with Mr Lockhart, bringing good humor, and depth to her brief appearance. Rosalind Cash, on the other hand, is on fire as the explosive Terry, Frankie's ex-flame with whom he spends the majority of the movie. A thoroughly entrancing performer with unlimited range, able to express emotions with complete genuineness, she is one of the shining lights of MELINDA. As Tank, Frankie's erstwhile friend, Rockne Tarkington makes a duplicitous character sympathetic, with a sense of vulnerability present. The final actor of note in the movie is Paul Stevens as arch-villain Mitch, who sets the events in motion in MELINDA. A low-key, engaging thespian with a consoling speaking voice, mainly remembered for his part as lawyer Brian Bancroft in daytime serial Another World, his Mitch has many layers, making him anything but a cardboard gangster, and an intriguing figure indeed.

Soundtrack: The movie has an easy-going soundtrack, courtesy of Jerry Butler and Jerry Peters, which is in keeping with the film's casual aura.

Mise-en-scene: MELINDA has a very good handle on its visual experience for spectators. Cinematography by Bill Butler nicely captures the various Los Angeles locations in a naturalistic manner, without seeking to make these overly pretty. Sets by Sal Blydenburgh are also striking, special mention to the radio station where Frankie works, his apartment, and Mitch's house. Costume design by Norman Burza has stood the test of time, with both male, and female attire not dating as much as apparel featured in other 1970s movies, in particular, Frankie, and Mitch's wardrobes the standouts.

Award-worthy performances in my opinion: Calvin Lockhart, Vonetta McGee, Rosalind Cash, Rockne Tarkington, Paul Stevens.

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

Overall Grade: C

Link: IMDB Page

Trailer

MESSAGE IN A BOTTLE (1999)

Title: MESSAGE IN A BOTTLE

Year of Release: 1999

Director: Luis Mandoki

Genre: Romance, Drama

Synopsis: A newspaper reporter finds a love letter in a bottle on the beach, and seeks to find its author.

Within a film history context: Movies with a female journalist lead character have been plentiful in cinema history. One of the first was Harry Beaumont's DANCE, FOOLS, DANCE (1931). A young woman becomes a reporter after the family fortune is wiped out by the stock market crash, and is led to investigate the death of a fellow journalist, her brother having a part in this crime. With Howard Higgin's THE FINAL EDITION (1932), a resourceful reporter seeks to solve the murder of the police commissioner by becoming involved with a crime syndicate mobster. Different was A SHRIEK IN THE NIGHT (1933), directed by Albert Ray. A male, and a female reporter from different newspapers compete strongly for stories, but team up to solve murders being committed in an apartment complex. Michael Curtiz's FRONT PAGE WOMAN (1935) had Bette Davis as a feisty reporter who competes with a man at a rival paper for stories, but is slanted toward romance and comedy. A more period feel was present in A WOMAN REBELS (1936), directed by Mark Sandrich. In late 1800s London, a young woman with a messy personal life becomes the editor of a straitlaced magazine, and adapts it to her more progressive feminist ideals. Frank Capra's MR. DEEDS GOES TO TOWN (1936) was about a man who inherits a fortune, and those who try to fleece him. It features a resourceful female reporter who at first uses Mr Deeds for her stories, but gradually falls for him. 

With Michael Curtiz's FOUR'S A CROWD (1938), a female journalist, played by Rosalind Russell, seeks to save a newspaper in danger of being closed, and subsequently becomes enmeshed in romance. Miss Russell again played a journalist in HIS GIRL FRIDAY (1940), directed by Howard Hawks. In this movie, a female journalist wants to remarry, but the main obstacle is her ex-husband, who is the editor of the newspaper where they both work. Frank Capra's MEET JOHN DOE (1941), on the other hand, had Barbara Stanwyck as a columnist who creates a fictional man dissatisfied with society and its ills, and is forced to find someone to fill this role when this becomes a hot commodity with the reading public. Totally different in tone was THE CORPSE VANISHES (1942), directed by Wallace Fox. A journalist investigates the disappearance of young brides who are being used by a scientist for an insidious purpose, her life coming under threat in the process. George Stevens' WOMAN OF THE YEAR (1942) starred Katharine Hepburn, and Spencer Tracy as journalists who wed, but their married life is made difficult by their differences of opinion on many matters. It was the first of many movies made by the famous screen duo between 1942, and 1967. 

William C. Thomas' BIG TOWN AFTER DARK (1947) was a film noir with a devious female reporter trying to cheat her uncle of money, but stopped in her quest by another female journalist, and the publishing company's editor. A female journalist was also investigating something in FOLLOW ME QUIETLY (1949), directed by Richard Fleischer. A series of murders of women take place, with a police lieutenant failing to make any inroads, but the reporter does her best to get to the bottom of the truth. Into the late 1950s, Lewis Allen's ANOTHER TIME, ANOTHER PLACE (1958) focused upon a female reporter during World War II, and her many romantic entanglements both in the United States, and Britain. Fast forward into the mid-1960s, with J. Lee Thompson's JOHN GOLDFARB, PLEASE COME HOME! (1965), a journalist is thrown into intrigue, and the thick of things in this Cold War comedy. 

The 1970s, as with previous decades, also had varied depictions of female reporters on screen. SISTERS (1973), directed by Brian de Palma, was about a reporter who witnesses a murder in an apartment block, and her difficulties in convincing others of what happened. SUPERMAN (1978), directed by Richard Donner, had one of the most famous female journalist characters ever on film - Lois Lane. Between her busy schedule as reporter for the Daily Planet newspaper, and romancing Clark Kent/Superman on the side, she was one of the most prominent female journalists captured on celluloid. Similarly strong was Kimberly Wells from James Bridges' THE CHINA SYNDROME (1979). A journalist assigned to investigate the goings-on at a nuclear power plant, she was part of the engrossing happenings in this potent movie. 

Sydney Pollack's THE ELECTRIC HORSEMAN (1979) had a rodeo star play out his adventures, with a television reporter only too willing to follow him in his exploits, with love also on the agenda. In THE CONCORDE...AIRPORT '79 (1979), directed by David Lowell Rich, a female journalist played a major role in this tale of aeronautical intrigue and suspense. Sydney Pollack's ABSENCE OF MALICE (1981) had a journalist who dug into a story, and caused issues in the process for the son of a man accused of murder, with many consequences for both herself, and the man she has put under tremendous strain. REDS (1981), directed by Warren Beatty, had a principal character who was a journalist in this story of American, and Russian politics. More sadistic in tone was Jean-Claude Lord's VISITING HOURS (1982). A journalist is pursued by a psychotic murderer who wants to see her dead, and a parade of violent events ensue whereby he tries to finish her off, but life makes matters strenuous for him. 

FROM A WHISPER TO A SCREAM (1987), directed by Jeff Burr, featured a historian recounting four stories of murder, and mayhem, to a female journalist in this horror anthology movie. James Brooks' BROADCAST NEWS (1987) highlighted a tough female journalist who motivated most of the action in this movie. With SWITCHING CHANNELS (1988), directed by Ted Kotcheff, a romantic situation occurs as with BROADCAST NEWS, but in this instance, the manager of a television network tries to intervene in the upcoming wedding of his ex-wife, and another reporter at the same station. In Tim Burton's BATMAN (1989) a female journalist is on the tail of the mysterious Batman in this box-office blockbuster. 

The equally action-packed NAVY SEALS (1990), directed by Lewis Teague, had a journalist embroiled in a secret mission involving missiles. Douglas Jackson's WHISPERS (1990) was about a female journalist pursued by a man who is trying to kill her at any cost, with many twists and turns along the way. UP CLOSE & PERSONAL (1996), directed by Jon Avnet, centered around a young television reporter, and her relationship with her former boss, the contrast in their professional lives the crux of this movie. MESSAGE IN A BOTTLE was a movie where the female journalist was a central character, thus allowing for an extensive portrait of the protagonist to be constructed for the viewer.

Theresa in MESSAGE IN A BOTTLE was front and center of the movie, in comparison to those where a female journalist was in support. It was similar to many of the films where a woman is on a mission, either to find out about something which has meaning to them, or investigate a mystery. This intrigue/mystery angle was also evident in THE FINAL EDITION, THE CORPSE VANISHES, FOLLOW ME QUIETLY, and DANCE, FOOLS, DANCE. MESSAGE IN A BOTTLE does not, though, follow the murder mystery story elements of examples such as THE FINAL EDITION, A SHRIEK IN THE NIGHT, and THE CORPSE VANISHES; instead, the mystery is delivered at a lusher pace, and in a less obvious manner. MESSAGE IN A BOTTLE has a leaning toward love and romance that the above examples did not explore. The presentation of the lead character is also of interest, in that she is natural in her manner, of a dreamier disposition. This sets Theresa apart from the hard-boiled female reporters in HIS GIRL FRIDAY, and WOMAN OF THE YEAR.

MESSAGE IN A BOTTLE explores how a woman becomes emotionally entangled in a romantic situation by finding a message in a bottle on a beach one day. This leads her to locating the author of a love letter, and the journey for the protagonist begins. The movie subsequently contains facets of films where a woman journalist, at first, utilizes a man for a newspaper story, then falls for him, in the tradition of MR. DEEDS GOES TO TOWN, MEET JOHN DOE, THE ELECTRIC HORSEMAN, and ABSENCE OF MALICE. As with MESSAGE IN A BOTTLE, all these movies have the female journalist suffer for using the main male character in the way they do, with the exception of THE ELECTRIC HORSEMAN but, in general, all is well by the conclusion. One of the most ethereal of the movies about a female journalist, MESSAGE IN A BOTTLE is an uplifting, entertaining picture.

Overview: Luis Mandoki is a Mexican director who has made movies both in his native Mexico, and in Hollywood. Mr Mandoki made several movies in Mexico, his first American film being GABY: A TRUE STORY (1986), starring Liv Ullmann. It was the real-life story a woman with cerebral palsy, and the struggles of her family in Mexico. Next came WHITE PALACE (1990), a May-December romance about a widower, and his relationship with an older waitress. 1993 brought the remake of the 1950 Judy Holliday vehicle, BORN YESTERDAY. A wealthy, brittle businessman hires a reporter to culture his girlfriend, who is a showgirl, but things take an unexpected turn when his other half becomes more sophisticated, and falls for the reporter in the process. More dramatic was WHEN A MAN LOVES A WOMAN (1994). It observed the relationship of an airline pilot and his wife, a school guidance counsellor, and the difficulties they face due to her alcoholism. Into the 2000s came ANGEL EYES (2001), Luis Mandoki's tenth movie. This was another film with a male-female relationship at its core, in this instance, exploring the union of a man with a female police officer. TRAPPED (2002) was a change of pace for the director, with a family ravaged by the kidnapping of their daughter, made even more tenuous as she is an asthmatic. MESSAGE IN A BOTTLE was Luis Mandoki's eight movie, and one of his best.

With MESSAGE IN A BOTTLE, Luis Mandoki has fashioned a movie that is enchanting to watch, permeated by a lightness of touch, and feeling of warmth. Even though the film is a romance, it is not syrupy, or mawkish in any way. Mr Mandoki has successfully crafted a picture which nicely adds to his oeuvre, which consists of other romantic stories about unconventional couplings that are not always threatened by outside forces, but, by the participants themselves. Their actions, desires, and feelings are what drive the narrative, obviating the need for unnecessary villains, or third parties. While there may be some characters who oppose the union, nevertheless, the focus is on the male-female central relationship. This is something present in WHITE PALACE, BORN YESTERDAY, WHEN A MAN LOVES A WOMAN, and ANGEL EYES. Other aspects of MESSAGE IN A BOTTLE are also pleasing to witness.

The presence of a suspense-mystery angle, in which both Theresa, and the audience, find out about Garret's past, works well, and in a leisurely manner. The mystery angle exists to deepen knowledge about the characters, without being just for the sake of having a mystery. It is also woven throughout the film, well-paced, and without bombarding the viewer with red herrings. Aside from this, having a tight concentration on the two lead protagonists works to frame the movie, which is an admirable feature of MESSAGE IN A BOTTLE. Seeing matters from another viewpoint, though, this move also slightly robs the film of taking advantage of its rich tapestry of supporting characters.

What is striking about MESSAGE IN A BOTTLE is the strength of its peripheral characters. It is to be said, in reality, that there is only so much time that can be devoted to other characters in movies than the leads. These supporting characters are all well-drawn and memorable, but one wishes that they had been used more than they were. Many examples abound in the film. Garret's former brother-in-law Johnny Land is employed effectively, but his anger is just so palpable, it would have been good to see more of him. Lina, Theresa's best friend, and colleague at the newspaper, would also have benefitted from further spotlighting. Likewise for Alva and Charlie, also from the newspaper, who are in a few scenes. Showing these characters more on screen would have given the opportunity to further deepen knowledge of the main characters. In spite of this, though, the positives definitely outweigh the negatives here. MESSAGE IN A BOTTLE is a well-made romance movie that ably grabs the emotions, and heartstrings in its soft-centered, irresistible way.

Acting: The performances in MESSAGE IN A BOTTLE assist to make it the engrossing entertainment it is. In the lead role of Garret, Kevin Costner adds another distinctive role to his credits. Generally depicted as an easy-going man with a casual manner unexpectedly finding love, here likewise occurs, but with a more quietly hardened edge that works. As Theresa, the young woman led in her quest to Garret, Robin Wright does wonders as the inquisitive reporter in search of a story, but also finding love. A sparkling actress who handles varied and difficult emotions with aplomb, her graceful personality fits the movie like hand in glove. As Garret's father Dodge, Paul Newman displays another string in his bow. One of the biggest Hollywood stars of the 1950s, 1960s and 1970s, and afterward, here he takes a supporting role, but adds a touch of experience, and knowing, that only enchants. 

Garret's former brother-in-law, Johnny Land, is given intensive treatment by John Savage. A man of searing emotions ready to erupt at any time, Mr Savage lends a sense of danger, unpredictability but also, surprising humility, in his wonderful part. As Lina, Theresa's best friend, and confidante at the newspaper, Illeana Douglas contributes magic with her inimitable sincerity, and expressive visage. Alva, Theresa's other friend at the paper, is made memorable by Viveka Davis. Although her role is small in size, Miss Davis makes it count as the dazzling Alva who shows more than a passing interest in Garret. Crusty newspaperman Charlie is given fitting handling by Robbie Coltrane. An actor with a humorous expression of disdain on his face, he makes Charlie a charming presence in his limited appearances. 

Soundtrack: Gabriel Yared's score for MESSAGE IN A BOTTLE fully suits what is taking place on screen, expressing a myriad of emotions in its subtle, stylish manner. Alternately tender, urgent, inspirational, and suspenseful, to name but a few adjectives, Mr Yared's compositions are always spot on, enhancing the movie's impact to a great degree. The film also features a number of songs from various artists which also further the movie's message of love and hope. 

Mise-en-scene: MESSAGE IN A BOTTLE has a wonderful grasp of mise-en-scene that perfectly complements what is taking place on screen. Cinematography by Caleb Deschanel beautifully captures both interior, and exterior locales with elegance, a careful use of colour that is in keeping with the film's dreamy tone. Production design is another winner in MESSAGE IN A BOTTLE. Jeffrey Beecroft's vision creates a milieu the characters inhabit which is realistic, artistic, and beautiful to witness. Garret's home, Theresa's apartment, Garret's workshop, for example, are all evocative, and speak volumes of the characters, and their way of life.

Award-worthy performances in my opinion: Kevin Costner, Robin Wright, Paul Newman, Illeana Douglas, John Savage, Viveka Davis, Robbie Coltrane.

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

Overall Grade: B

Link: IMDB Page

Trailer

INTERVIEW WITH ACTOR SAM GROOM

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

Welcome to CINEMATIC REVELATIONS Sam!

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

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

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Athan: Where did you study acting?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It took all of my attention.

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

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

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

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

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

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

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

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

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

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

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

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Sam Groom links

+Sam Groom IMDb Actor Page

+THE BABY MAKER movie IMDb page