INTERVIEW WITH ACTOR JOHN ORCSIK

Today I have the lovely pleasure of welcoming a very special guest, actor John Orcsik, to CINEMATIC REVELATIONS for an interview. John has acted in many motion pictures over the years, making his film debut in the NUMBER 96 movie [my review of the film can be found here] PETERSEN, THE MAN FROM HONG KONG, THE EDGE OF POWER, KOKODA CRESCENT, and, most recently in THE BBQ, to name a few films. In this interview John will be discussing his part in the NUMBER 96 movie, acting, television, and his role as founder and director of The Australian Film & Television Academy (TAFTA).

Welcome to CINEMATIC REVELATIONS John!

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

John: When I was about 6 or 7 years old.

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Athan: Where did you study acting?

John: I didn’t. I began with an amateur theatre company in Perth, Western Australia and went to workshops and classes there. I read everything I could and tried to invoke “The Method”, but it really didn’t work for me. 

It actually didn’t make logical sense even though I’d read Stanislavski’s books several times.

I auditioned for NIDA in the mid 60’s and was accepted and even offered a scholarship but sadly my father got very sick and then died. And the course then was only two years full time.

During my father’s lengthy illness I was offered a role in a Shakespeare play at the then Playhouse Theatre. It was fully professional and the equivalent would be, say The Melbourne Theatre Company or the Sydney Theatre Company. So I began to work with professionals, some of whom were imported from England. My training therefore was on the job for about two years.

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Athan: Your performance in the NUMBER 96 movie as businessman Simon Carr was a finely-drawn, perceptive portrait of a man confused about his sexuality, making Simon Carr a fascinating figure. You appeared in the first year of the serial, but left thereafter. How did it feel to be asked to star in the movie version of the program?

John: I didn’t want to do it. The offer came while I was shooting Petersen in Melbourne and when I read the script I thought that they “tinkered” with the character of Simon Carr. I foolishly thought that I had some kind of ownership on the character and wasn’t prepared to play it as written. That was pretty naïve of me.

And stupid. But I eventually agreed and have not regretted it one iota.

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Athan: What did you find most exciting about the experience of making the NUMBER 96 movie?

John: Working at a pace I’d never worked before. The cast and Producers and Writers had all become my friends and it never seemed like “work”. I was to experience that again some years later when I joined the cast of Cop Shop. The camaraderie was incredible. I have many wonderful and fun stories during the show.

And even though I wasn’t a regular cast member of Number 96 it felt like I was.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming NUMBER 96 the movie?

John: Probably the infamous kiss. I’d never kissed a man before. Not like that.

Joe and I decided we wouldn’t talk about it. Not discuss it. I didn’t talk to anybody about it and come the day every Tom, Dick and Harry came on the set. It’s ridiculous to think now how much pressure that scene was beginning to place on myself and Joe. Then we just did it. The sky didn’t fall in. The earth didn’t tremble. I remember the Director called ,”CUT” and I just turned to Joe and said something like, “You should shave more closely,” which brought laughter and a round of applause from crew and the onlookers. And then sadly it was all over and I was looking to my next job.

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Athan: In the NUMBER 96 movie there was an excellent confrontation scene between Simon Carr and Maggie Cameron, who was lamenting her loneliness, and lashed out in a drunken rage at Simon, Vera, and Don. How for you was it filming these emotionally heated scenes?

John: Bettina and I had become good friends as had Elaine and I and Joe.

During the series Bettina (Maggie) and I would often travel to Channel Ten together and we’d rehearse along the way and these scenes were a lot of fun.

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

John: Not really. Sadly most have passed away. Elaine, Bettina, Johnny Lockwood, and Joe married and moved to Indonesia where he still is. I think. Of course I worked with Joanna Lockwood for many years after in Cop Shop.

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Athan: NUMBER 96 the movie was directed by Peter Benardos, who also directed the television version of NUMBER 96. What was it like being directed by Mr Benardos in the NUMBER 96 movie?

John: Peter was the perfect director for a fast turn-around series and when it came to the movie he was the perfect choice. No nonsense. No in-depth soul searching about where to go with a scene - Just do it. A principle that has stayed with me since. 

I loved working with him and Producer Bob Huber who became a very close friend.

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Athan: Apart from motion pictures, you have appeared in many television shows and telemovies over the years. What for you are the main differences between acting in feature films, and acting on television?

John: Pace. The speed at which things are done. In films you probably shot three to four minutes of screen time on average but in a TV Series like Number 96 or Cop Shop you probably shoot 13 to 18 minutes of screen time in a day. The attention to small details is the key in a film. On all levels not just performance.

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Athan: You have been an acting coach for many years, being the founder, and director of The Australian Film & Television Academy (TAFTA), which began in 1994 on the Gold Coast, Australia, and has grown to Melbourne, Sydney, and Adelaide. What is it about coaching students in acting that gives you the most satisfaction?

John: Watching them grow, develop and become aware of their talents. Also their ultimate success and we have had many. 

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

John: I am waiting on COVID to die down somewhat and I have two exciting new Australian plays that I am going to Act in and Direct. They are called REAL and Sharaf written by Michael Griffiths.

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Thank you so much today for your time John, and for the understanding you have provided into the art of acting, the NUMBER 96 movie, television, cinema, and your role as an acting coach. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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John Orcsik links

+John Orcsik IMDb Actor Page

+NUMBER 96 movie IMDb page

+John Orcsik Official TAFTA Website

INTERVIEW WITH ACTRESS LYNN RAINBOW

Today I have the great pleasure of welcoming a very special guest, actress Lynn Rainbow AM, to CINEMATIC REVELATIONS for an interview. While Lynn has acted in two motion pictures over the years, being the big-screen version of NUMBER 96 [my review of the film can be found here] and the animated film SHERLOCK HOLMES AND THE SIGN OF FOUR, she has acted prolifically on Australian television. Some of Lynn’s television credits include the series version of Number 96, Homicide, Division 4, Matlock Police, A Country Practice, and Home and Away, to name a few examples. In this interview Lynn will be discussing her role in the NUMBER 96 movie, acting, being recognized for her work as a Member with the Order of Australia (AM) in 2016, and as Vice-President of the Actors & Entertainers Benevolent Fund in Brisbane, Australia.

Welcome to CINEMATIC REVELATIONS Lynn!

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

Lynn: I think it was in my DNA.  I am the fourth generation. My great grandfather John Fuller came to New Zealand from England and was known as the ‘Silver throated tenor of New Zealand. My Grandfather Sir Benjamin Fuller was a theatrical entrepreneur with his brother Johnny and created Fuller’s Theatres all around Australia and New Zealand. My mother was a dancer and her partner was Ron Shand (Herbie in Number 96).  Then there was me.  I don’t remember not performing.

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Athan: Where did you study acting?

Lynn: With Dame Doris Fitton at the Independent Theatre school, North Sydney. We were taught by the wonderful movement teacher Keith Bain, Robert Levis and Peter Summerton. Doris only paid the main 2 or 3 actors so all the smaller parts were played by the students. Also the students performed the Saturday afternoon Children’s plays. There is nothing harder than a restless young audience.

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Athan: I loved your performance as Sonia, a young woman whose husband attempted to steal her fortune by trying to drive her insane in NUMBER 96. You had left the series the previous year, and were invited back for the movie. How did it feel reprising the role of Sonia for the NUMBER 96 movie?

Lynn: Well I knew the character so well even though the circumstances were different. I had been working solidly in theatre since I left the TV series.  I remember how much fun it was to be back with the old gang. We were a very close knit unit and we were truly all good friends. By this time Tom (Oliver) and I were married. It was a very happy time.

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Athan: What did you most enjoy about the experience of filming the NUMBER 96 movie?

Lynn: Enjoy is probably not the word. Sadly, it was shot so fast like the TV series. I shot 18 scenes in one day. It was lucky I knew and understood my character. There was no time to get deep and meaningful, ‘just say your lines and don’t bump into the furniture’.

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Athan: What for you was the most demanding, but emotionally satisfying segment of making NUMBER 96?

Lynn: In the TV series it was probably the relationship and kiss I had with black dancer and actor Ronnie Arnold as it was the main reason Number96 the series could not be sold to the USA.

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

Lynn: Oh yes! I was very close to Bettina Welch (our families shared Christmases) and darling Elaine Lee and Gordie McDougall until their deaths. Sheila Kenelly knew my second husband before me, as she bought one of his bulls and lived near us. I see Joe Hasham whenever I go up to Indonesia. Liz Kirkby and Carol Raye live in the country now, so I don’t see as much of them.  David Sale (the creator of Number96 the TV series and the film) and I are still close as he has recently moved up to Queensland.

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Athan: NUMBER 96 was directed by Peter Benardos, who also directed the series version of Number 96, and was his only feature film. What was it like being directed by Mr Benardos in the NUMBER 96 movie?

Lynn: Peter was such a nice man, a gentle director. He was under pressure to get the film done, but he knew we knew our characters and so I think he trusted us not to let him down.  Just few gentle words here and there.

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Athan: You filmed all your scenes in the NUMBER 96 movie over the course of a single day, and subsequently acted on stage in a play the same evening, which is a significant achievement. How was the experience of undertaking this for you?

Lynn: Yes, as I have said I shot 18 scenes in one day, then went straight to the theatre to play the lead Elvira in “Blythe Spirit”, which was the same night my in-laws who had just arrived from England, came to see the play!! You might say a very full day.

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Athan: You have done much stage work, and in television. What were the differences you found in acting for the screen, and in the theatre?

Lynn: I am a creature of the theatre. Film and Television technique were not taught when I was at drama school. I always felt at home on stage it was my domain and our voices (with no mics) had to reach the back stalls and the gods 6 nights and 2 matinees a week.  It is so much fun winning over an audience on a cold winters evening when you know they’d rather be at home. I never felt comfortable on camera as I felt too constricted.  I learned by watching others, by the seat of my pants really.

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Athan: You received the Order of Australia in the 2016 Queen’s Birthday Honours for ‘significant service to the community through support for a range of cultural and charitable organisations, and to the performing arts as an actor’. How did it feel to receive this tremendous honour?

Lynn: Oh, it is such an honor and such a secret to keep. You are contacted several months before, to see if you are willing to accept the Honour.  I was like a little bubbling kettle.  The strap on my shoe broke just before the ceremony at Government House in Brisbane.  The shoe was whisked away, fixed and placed back on my foot a la Cinderella before I knew it. The wonderful thing is that although you are the recipient of the Honour, it is really about all the people who have helped realise the dream. The Judge Rainbow Memorial Fund, of which I am now Patron, La Boite Theatre, The Rainbow Reid Endowment fund at Creative Industries (acting) for Artists in Residence, and of course my beloved Actors Benevolent Fund.

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Athan: You are Vice-President of the Actors & Entertainers Benevolent Fund in Brisbane, Australia. How did you become involved in the Fund? What makes you most proud of being a member of the Fund?

Lynn: It seems I have been involved with the Actors Benevolent Fund all my life. I was on the ABFNSW for two 10 year stints and another continuing stint when I moved up to Queensland. I became involved with the fund in the late sixties.  It is such a wonderful group who help their fellow performers and is totally confidential. Recently, and long overdue, we have amalgamated (while retaining each States autonomy) into the Alliance of Australasian Performing Arts Benevolent Funds, AAPABF with Cate Blanchett as our Patron. During this pandemic when so many people in the Arts are hurting, it never ceases to amaze how generous the Public is.

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

Lynn: Not really, just more of the same. If something new comes up.  I’ll let you know.

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Thank you so much today for your time Lynn, and for the insight you have provided into the art of acting, NUMBER 96, theatre, the Order of Australia, and the Actors & Entertainers Benevolent Fund. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Lynn Rainbow links

+Lynn Rainbow IMDb Actor Page

+NUMBER 96 movie IMDb page

+Order of Australia page 2016 Queen's Birthday Honours

+Actors & Entertainers Benevolent Fund page Vice-President Lynn Rainbow

NUMBER 96 (1974)

Title: NUMBER 96

Year of Release: 1974

Director: Peter Benardos

Genre: Drama, Comedy

Synopsis: The lives, and loves, of the residents of an inner-city apartment building named Number 96.

Within a film history context: Movies which have an apartment block as their focus, charting the lives of those living in these buildings, have sometimes been featured in film history. One of the first to deal with the topic was Frank Tuttle's LADIES SHOULD LISTEN (1934). In this movie, a woman working as a switchboard operator in an apartment complex falls for a man living in the building, discovering his amour is trying to cheat him financially, and seeks to expose her, and her scheming husband. Equally focused on romance was THAT MAN'S HERE AGAIN (1937), directed by Louis King. It followed the blossoming relationship between an elevator operator, and a homeless young woman, with a number of misunderstandings before a happy ending. In a more suspense vein was H. Bruce Humberstone's I WAKE UP SCREAMING (1941). An apartment building is where the majority of the action occurs, specifically the apartment two sisters share, where one of them loses her life to a psychotic man. An exceedingly glamorous take on the theme was offered by DISHONORED LADY (1947), directed by Robert Stevenson. A fashion magazine editor's high life causes her emotional issues, and she is urged by her doctor to change her ways, and move to a smaller apartment, but her past resurfaces to create torment. 

A comical view of apartment living was the gist of Delmer Daves' A KISS IN THE DARK (1949). A pianist discovers that he is the owner of an apartment building, and this leads to romance with one of the tenants, but also involvements with the other occupants in this breezy movie. The noir film THE WINDOW (1949), directed by Ted Tetzlaff, was also largely set in an apartment building. A young boy witnesses a murder committed by fellow residents, and is not believed by either his parents, or the police, but events conspire for his testimony to be finally validated. Similar to A KISS IN THE DARK, the action in Joseph Newman's LOVE NEST (1951) revolved around an apartment complex, this time a married couple owning the building, and coming into contact with wacky tenants. One of the most famous films set in an apartment building was REAR WINDOW (1954), directed by Alfred Hitchcock. A man uses a telescope, and views his neighbours in the opposite complex, and believes one of them has committed a murder, which leads to many unexpected developments. Also filled with tension, Roman Polanski's ROSEMARY'S BABY (1968) had its main characters live in a spooky apartment building, where they encounter neighbours who have more to them than first meets the eye. 

A serio-comic take on apartment living was taken to new heights by THE LANDLORD (1970), directed by Hal Ashby. A wealthy young man purchases a dilapidated apartment building, and sets about to refurbish it, with many obstacles thrown in his way, and involvement in the lives of his tenants added, in this thoughtful film. Much more outrageous was Herbert Ross' THE OWL AND THE PUSSYCAT (1970). Mainly set in an apartment complex, and focusing upon the comings and goings in the home of a bookseller, and his involvement with a brassy prostitute, the movie's comedic elements, and racy action and dialogue, delivered by Barbra Streisand and George Segal, ensured it was a box office success of its time. Much of the action in LAST TANGO IN PARIS (1972), takes place in the lead protagonist's apartment, where an explosive love affair between a widowed man, and a young woman, develops. The intimate, and emotional nature of the affair differentiates this film in terms of the other movies with an apartment block setting. NUMBER 96 took a cue from the comedy films set in an apartment block, but added its own touches to the genre.

In terms of a multi-character emphasis, NUMBER 96 was closest to A KISS IN THE DARK, LOVE NEST, and THE LANDLORD in charting the events which occur to a large number of characters who all live in the respective apartment building. The comic elements in all three films somewhat matched the quirky story twists and turns of NUMBER 96, possibly the only difference is the attention in NUMBER 96 to sexual situations and saucy comedy, rather than more straight-laced comedy. In comparison, THE LANDLORD's sexual themes were more subtle in nature, addressing race and class, than the franker portrayals in NUMBER 96. Vera's romance with politician Nicholas Brent was the exception, one with pathos and guilt, deviating from the more physical interactions of Jack and Diana, Vera and Simon, and Simon and Don. Aside from this, other features of NUMBER 96 were worthy of discussion in retrospect.

While the overwhelming priority was on comic aspects, NUMBER 96 was not all fun and games. There is an easy blending of comic and dramatic components, with the serious sequences giving another perspective on the characters, deepening the viewer's knowledge about them. NUMBER 96 variously deals with issues such as rape, homosexuality, loneliness, and mental illness within its parameters. Some of the film's best set pieces revolve around Sonia's mental issues, and how her husband is trying to gaslight her. Likewise Vera's rape is shocking without being too explicit, cutting away at the right moment. The travails of career woman Maggie Cameron are also revealing, especially her drunken tirade, and gay slur against Don and Simon made for riveting viewing. In addition, the number of different character viewpoints makes the film reminiscent of THE LANDLORD, but in a livelier, bawdier manner. A likable movie, and an interesting addition to films set in apartment buildings, NUMBER 96 has some thoughtful moments which work well alongside its more raucous stretches.

Overview: Number 96 was a nightly adult soap opera, broadcast on the Australian 0-10 Network from 1972 until 1977. The show caused a sensation when it first aired, being a bubbling combination of drama, broad comedy, and hijinks, with a concentration on sexual content, specifically nudity. Its controversial profile ensured high ratings, and in its tenure tackled many subjects such as cancer, crumbling marriages, homosexuality, interracial relationships, and rape. The campy nature of the program eventually faltered, though, with ill-considered decisions, mainly the death of beloved characters, making their impact felt on viewers' consciousness. In the early 1970s, when the program was at its height, it was decided to film a movie version of the television series. It was a financial success, filmed in colour, that was another lure as the television series was still shot in black and white at the time. NUMBER 96's director was Peter Benardos, an Australian director and producer of episodic television in Australia for soap operas such as Neighbours but, is best known for his contributions to Number 96. As NUMBER 96 is Mr Benardos' sole motion picture directorial credit, this overview will be devoted to a discussion of his role in this movie. 

On the surface, NUMBER 96 is an entertaining extension of the popular series, featuring many of the characters who graced television screens with their presence. It moves quickly, at a good pace, without being too fast, and, thankfully, never drags. Basically following an episodic structure similar to the television series, it features a large ensemble cast, with many stories intertwined to sound effect. The way the movie is written, it is easy to pick up on the action, and characters, without any overt complexity. While familiarity with the television show was possibly a given, one would not have to have been a viewer to enjoy this film. The combination of drama, and comedy is also good, never jarring in moving from one story to the next. The comic vignettes have some very amusing passages, such as Dorrie's marriage woes, without being too over the top. Aside from this, there are also subtle references to class conflict through the use of character Claire, and her glamorous story is a contrast to the more everyday lives of the residents of the apartment block. NUMBER 96 does have a number of good qualities such as those described, but there are issues with the film when examined in more detail.

Two of the main stories, while adequately presented, could have benefitted from further work. The introduction deals with Vera's rape, which is shown as being an act of violence, given a haunting aura with a woman from the biker gang watching the rape unfolding, laughing demonically. The story deals with this situation in a quiet manner in the beginning, by having Vera recuperate from her ordeal at friend Claire's mansion. Vera then falls into bed with a younger man, and subsequently becomes involved with an older man. There is no real examination of the aftermath of Vera's rape, for example, by staying distant from men, or other romantic involvements. The rape is used as a point for Vera to end her relationship with the politician, but just because the rapist was the older man's son. There is no scene where she vents her anger at what happened, and this event, unfortunately, is played down psychologically, where it could have been more emotionally explosive. Another story in NUMBER 96 was also problematic in its execution.

The story of Sonia's mental issues, and marriage to Duncan, a man who only wants her money, and seeks to drive her insane, is good, but lacking in certain areas. The build-up to showing her husband Duncan as the louse he really is was not there, the viewer not given any idea until late in the story of his real intentions for his wife. Similarly, the use of Diana is equally indifferent. Shown as a bed partner for Jack Sellers, dressing and undressing, one is never given the sense that she dislikes being involved with Jack until the final scenes. There could have been scenes where Diana glowers after her session with Jack, which would have created additional suspense with the story. Instead, she is mainly used for nude scenes, but the sequences where Diana and Duncan try to send Sonia crazy are well-done, and visually artistic. A related issue is the leaning toward nudity in the film, especially in the case of Diana, which reeks of exploitation.

It is understandable that nudity would be shown in the film version, as the television series had a heavy emphasis on this, and sexual situations and innuendo, but having too much of it becomes grating. While it may have been seen as a drawcard for viewers, being that they could see things on the big screen that they could not on the small screen, one wishes that it could have been toned down. The rape scene could be noted as the exception, realistic in its horror, and brief use of nudity, but scenes such as Diana prancing around naked, bare in the horror sequence, and Vera and Simon's bed scene were unnecessary. Covering up more would have benefitted these parts, and not making the nudity the key element in the scenes. As it is, there is sufficient interest in the characters, and their plights, without having nudity shoved in front of one's nose at every opportunity. 

The most comical scenes of nudity were the man in the laundromat undressing, and being caught by Dorrie Evans, and Dorrie stumbling into the male sauna, which both worked. A common element in 1970s Australian movies, and international cinema, male and female nudity, in retrospect, may have worked against what the filmmakers were trying to achieve. The intention to shock and surprise seemed to be paramount, and was in keeping with the uninhibited times of the era, but too much of this can detract from moments that should have been more telling in a humanistic manner. In summing up NUMBER 96, although it was, overall, a flawed piece of filmmaking, it was nevertheless an engaging film in its carefree, risque way.

Acting: While the entire cast performed well in NUMBER 96, there were some actors whose contributions in the film version stood out. Pat McDonald, as busybody Dorrie Evans, was an ace comedienne whose energetic performance was one of the reasons why the film, and the television show worked so well. In other hands this character may have been vapid and one-note, but Miss McDonald gives her Dorrie not only a brash attitude which is fun to watch but also a vulnerability, and moral compass, that makes Dorrie Evans a thoroughly three-dimensional character. Tom Oliver, as Jack Sellers, is the upbeat playboy whose witty wisecracks make him an appealing contrast to the other male characters. A personable actor with great charm, he shows a serious side in the story with Sonia that makes his Jack well-rounded. As Sonia, a woman plagued by mental issues, Lynn Rainbow is convincing as the put-upon heroine in a difficult predicament. With her eloquent dialogue delivery and warmth, Miss Rainbow draws sympathy with her predicament in the movie. On the other hand, NUMBER 96 wastes the talents of Rebecca Gilling as Diana. An attractive actress with the ability to connect with the audience, as borne out by her other cinematic, and television appearances, here her intensity has not been properly utilized. Joe Hasham, as gay lawyer Don Finlayson, contributes a thoughtful performance as the logical, friendly Don. The object of desire of both men, and women in both film and television versions of NUMBER 96, he is the most centred of all the characters. Five other actors also present distinctive performances in the movie.

Chard Hayward emits magnetism as waiter Dudley Butterfield, displaying a facility with saucy one-liners. Mr Hayward's larger-than-life personality is a delight to witness, providing some of the movie's most pleasurable moments. As Vera Collins, Elaine Lee exudes glamour as the seamstress with a questionable past. An actress with a smoky voice and charismatic personality, she shines as the beleaguered heroine with a pleasing sense of humor. In a completely different vein was the bewitching Bettina Welch as businesswoman Maggie Cameron. The bitchy Maggie is most comfortable when chewing people up, and with a propensity for tipsiness, but Miss Welch makes Maggie a character with depth, where there is more going on beyond first appearances. John Orcsik, as businessman Simon Carr, Vera and later, Don's lover, strikes a subtle note in the film. An actor with a composed, low-key aura, and soothing voice, he does great work as the sexually-confused, intriguing Simon. His confrontation scene with Bettina Welch's Maggie is powerful to witness. As the haughty Claire Houghton, Thelma Scott brings an air of the aristocratic to NUMBER 96. With her plummy voice and snobby dismissals of modern society, Miss Scott is another memorable portrayal. The final acting of note in NUMBER 96 was by Patrick Ward as Tony Brent, the son of politician Nicholas Brent. An actor whose model looks made him appear out of the pages of a fashion magazine, he brings a simmering anger and danger to the movie that is potent, despite his character appearing for a short time on screen.

Soundtrack: NUMBER 96 has a spare soundtrack, mainly consisting of the opening, and closing credits theme, which was the same one utilized on the television series. Composed by Tommy Tycho, this score perfectly encompasses the variously madcap, raunchy, serious tone of the film, and series.  The only other non-diegetic music was the creepy piece accompanying Sonia's nightmare, with diegetic music employed in Dorrie and Herb's costume ball wedding anniversary party.

Mise-en-scene: The film version of NUMBER 96 uses the opener, and closing theme from the television series, which provides a sense of comfort, and familiarity, to the movie. Filmed in colour at a time when the television series was still taped in black and white, the colour is quite good, if not entirely crisp. The sets are similar to what was shown in the television version, and the movie also contains quite a few outdoor sequences, such as Claire Houghton's pool, which give the goings-on a realism that only authentic locations can provide.

Notable Acting Performances: Pat McDonald, Tom Oliver, Lynn Rainbow, Joe Hasham, Chard Hayward, Elaine Lee, John Orcsik, Bettina Welch, Thelma Scott, Patrick Ward.

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

Overall Grade: C

Link: IMDB Page

STATE (2021)

Title: STATE

Year of Release: 2021

Director: Alain Nouvel

Genre: Drama, Suspense

Synopsis: Two war veterans, one a young man, the other his grandfather, have an explosive encounter at the latter man's home which leads to tragedy.

Within a film history context: Movies which explore post-traumatic stress disorder (PTSD) as a result of military participation have been around for many years onscreen. One of the first was William Dieterle's THE LAST FLIGHT (1931). Young veterans from World War I spend their time whiling away time in Paris, drinking excessively to dull their pain, and become involved with a woman, among their exploits. William Dieterle also directed another film about PTSD, being I'LL BE SEEING YOU (1944), this time, with an American setting. In this movie, a man suffering from shell shock falls for a woman just released from prison to spend time with family at Christmas, but her past may get in their way in this sentimental romance. Edward Dmytryk's TILL THE END OF TIME (1946) concentrated upon several World War II veterans, and the difficulties they faced in coming to terms with their lives as civilians. One of the most famous films dealing with returning veterans was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. A touching exploration of veterans, and their return to society, albeit with great hurdles, it was one of the highest-grossing films of the decade, and a triumph for all involved. Anthony Kimmins' MINE OWN EXECUTIONER (1947) featured a character who suffered from psychological trauma after being trapped in a Japanese prisoner of war camp. 

At the beginning of the 1950s came one of the most famous films dealing with PTSD, being THE MEN (1950), directed by Fred Zinnemann. Dealing with a World War II army veteran who lost the use of his legs after being shot in the spinal region, and his relationship with his fiancée, it gave Marlon Brando a meaty part as the young veteran. Another closeup of emotional issues caused by war could be found in Fred Wilcox's SHADOW IN THE SKY (1952). Here, a man has been placed in a mental facility as his psychological issues have taken over his life, but his return to society is successful in the end. 5 AGAINST THE HOUSE (1955), directed by Phil Karlson, had a character who suffered from PTSD after his stint in the Korean War. Richard Thorpe's TIP ON A DEAD JOCKEY (1957) showed how a man who fought in the Korean War experienced PTSD, manifested in his behaviour, such as divorcing his wife, and falling into drink and gambling. The real-life story of American Indian Marine Ira Hayes was dramatized in THE OUTSIDER (1961), directed by Delbert Mann. In this film, Mr Hayes' depression after serving in the Marine Corp during the Iwo Jima battle, and subsequent alcoholism were spotlighted, with Tony Curtis in the lead role. A rare film dealing with PTSD was Bobby Davis' A TORN PAGE OF GLORY (1968). Concentrating upon the problems of Vietnam veterans, and the emotional upheaval they experienced, it was mainly notable for starring Aldo Ray in the central role. As with the 1960s, the 1970s had varied types of films with carefully-drawn PTSD characters.

A central character in RYAN'S DAUGHTER (1970), directed by David Lean, in this case an Army Major from World War II, suffered PTSD in the form of flashbacks to his time in the trenches. A Vietnam veteran with major psychological issues causes untold problems in John Guillermin's SKYJACKED (1972), including an unending hostage crisis. One of the most trenchant depictions of PTSD in film was captured by TAXI DRIVER (1976), directed by Martin Scorsese. In this movie, a disturbed Vietnam veteran drives taxis for a living, and the audience is taken through the odyssey of his life, his shattered state of mind drawn with precision for the viewer. PTSD from serving in Vietnam was also explored in John Frankenheimer's BLACK SUNDAY (1977). A man suffering from PTSD after being a prisoner of war becomes involved in terrorist activity in this taut thriller. ROLLING THUNDER (1977), directed by John Flynn, also had a character plagued by PTSD. A Vietnam veteran returns home, his family subsequently killed, but he exacts his revenge in a methodical manner, the stigma of war still fresh for him in this suspenseful movie. Hal Ashby's COMING HOME (1978), presented PTSD in an intensive manner, with two characters going through this after having served in Vietnam, a study in contrasts and mindsets. Similarly potent was THE DEER HUNTER (1978), directed by Michael Cimino. In this instance, three characters who have done a tour of duty in Vietnam are compared, particularly their emotional states, in this financially successful but controversial, movie. 

Segueing into the 1980s, there were plenty of movies featuring characters with PTSD from military activity. William Peter Blatty's THE NINTH CONFIGURATION (1980) had a mentally disturbed Vietnam veteran, whose unstable recollections and flashbacks caused much mayhem in the narrative, and as head of a mental health facility, encouraging patients to act upon their wildest thoughts. In comparison FIRST BLOOD (1982), directed by Ted Kotcheff, began the blockbuster film franchise which told the story of a Vietnam veteran who unwittingly became enmeshed with unsavoury characters. He goes on the run as a fugitive, being pained by PTSD along the way. Andrei Konchalovsky's MARIA'S LOVERS (1984) was the sensitive story of a man returning home after being a prisoner of war in a Japanese camp during World War II. He finds things have changed greatly at home; his first love is now with another man, and the road back to her is complicated by his PTSD, and memories of his harsh experience in the camp. BIRDY (1984), directed by Alan Parker, was another movie that contrasted the aftermath of Vietnam veterans in a different manner. While one veteran is mentally well, the other has emotional issues, always wanting to become a bird, their friendship tested on many levels when they return home. In a decidedly exploitation vein was Buddy Giovinazzo's COMBAT SHOCK (1984). A Vietnam veteran with severe PTSD has an horrendous time trying to find work, his mental state and messy personal life exacerbating his despair, leading him to commit heinous acts. In CEASE FIRE (1985), directed by David Nutter, the pressures of life, including employment issues, and recollection of Vietnam make a veteran's life a living hell, almost ending his marriage in the process.

Erik Jacobson's FURY TO FREEDOM (1985), marked the real-life journey of Paul Ries, Vietnam veteran who suffered mightily from PTSD, with violent tendencies, but one day was inspired to find the strength to rebuild his life through religion. A MONTH IN THE COUNTRY (1987), directed by Pat O'Connor, charted the lives of two emotionally-delicate World War I veterans, and their recuperation while carrying out work in a country church. Gilbert Cates' BACKFIRE (1988) mined similar territory with CEASE FIRE in the form of a Vietnam veteran with PTSD,  but this time with an unfaithful wife, and a psychotic man after his wife. DISTANT THUNDER (1988), directed by Rick Rosenthal, was not only notable storywise for its PTSD-plagued Vietnam veteran character, and his efforts to connect with his teenage son, but also, its miniscule box office take. More vigorous, but also inspirational, was David Jones' JACKNIFE (1989). Following the lives of two Vietnam veterans suffering from PTSD, and their interpersonal relationships, colored by their war experiences, it was a showcase for Robert De Niro, and Ed Harris in the main roles. A Korean war veteran was the focus of CHATTAHOOCHEE (1989), directed by Mick Jackson. In this film, based upon a true story, a man causes harm to himself, and is committed to a mental facility, where he discovers stunning inequities and crimes occurring in the hospital by doctors, and staff members. Oliver Stone's BORN ON THE FOURTH OF JULY (1989) was one of the most famous of the real-life stories about a Vietnam veteran. Based upon the life of Ron Kovic, who was paralyzed in the Vietnam war, it was a critical and financial success, and gave Tom Cruise one of the best roles of his career. Into the 1990s, more films about PTSD war veterans appeared on screen, albeit less in quantity.

In a more suspense vein was JACOB'S LADDER (1990), directed by Adrian Lyne. A Vietnam veteran is caught in an emotional web and tug-of-war with himself, and life. A thoroughly different spin on the theme was served up by W. Blake Herron's SKIN ART (1993). A Vietnam veteran has an uncommon occupation for the genre, being a tattoo artist, but his emotional issues are still present for him, which cause him setbacks. The touching THE WAR (1994), directed by Jon Avnet, had a Vietnam veteran released from a mental health facility, and the difficulties he encounters gaining employment due to his time in the hospital. Marleen Gorris' MRS DALLOWAY (1997) included a small PTSD component within its structure, with a World War I soldier suffering mightily from mental problems, and taking his life, unable to control his memories of war. The 2000s also spotlighted varied depictions of PTSD for audiences. 

PTSD from military participation is also given a workout in THE HUNTED (2003), directed by William Friedkin. This time around, a United States Army Sergeant is in distress after serving in the Kosovo War, this experience leaving a heavy emotional toll. The trials and tribulations of returning to civilian life were explored in Irwin Winkler's HOME OF THE BRAVE (2006). The lives of three American soldiers who had done a tour of duty in Iraq are contrasted, one of these being a female Sergeant, and the obstacles they faced in attempting to find normality in their everyday lives. As with HOME OF THE BRAVE, STOP-LOSS (2008), directed by Kimberly Peirce, also dealt with veterans of the Iraq War, with one of the two soldiers in the narrative exhibiting signs of PTSD in his behavior, while the other was more philosophical in character. PTSD is also examined in detail in Hunter LeMoine's SAM'S RAIN (2009). The return home of a war veteran from Iraq is not as cut and dry as expected, with his psychological issues manifesting themselves in his everyday life, despite being well-received by family and friends. With BROTHERS (2009), directed by Jim Sheridan, a United States veteran from the Afghanistan mission, once presumed dead, returns to his life, and goes on a downward spiral, mainly due to his part in a fellow soldier's death. Unlike the 2000s, the 2010s had many more movies dealing with PTSD from being in the military.

A more positive view of PTSD was present in Ryan Piers Williams' THE DRY LAND (2010). A young veteran returns home from serving in Iraq, and finds solace with a old army friend, but still feels out of place. IN OUR NAME (2010), directed by Brian Welsh, was about a female soldier who has come back from Iraq, how her mental state affects her marriage, and also, relationship with her daughter. With Christopher Martini's TROOPER (2010), contrasts are drawn between two veterans, in this case, of a father and son who had both served in the military at different times, being the Vietnam, and Iraq Wars respectively. HAPPY NEW YEAR (2011), directed by K. Lorrel Manning, focused on an Iraq War veteran who at first finds happiness with fellow veterans in a hospital, but their contentment is short-lived, as their war experiences come back to severely haunt them. Another account of veteran displacement at home was Jeff London's A WARM WIND (2011). An Iraq veteran with both mental, and physical issues finds difficulties as he is misunderstood by his closest and dearest, but is cared for by his cousin. 

THE LUCKY ONE (2012), directed by Scott Hicks, focuses on a veteran with PTSD, and his family, and romantic problems. A World War II Marine veteran was the protagonist of Paul Thomas Anderson's THE MASTER (2012). The veteran in this case not only suffered from PTSD, but also drank to excess, indulged in sexual activity, and became involved with a man from a religious cult, in turn showing the veteran's vulnerability. A World War II British soldier is hampered by PTSD after being held captive by the Japanese in THE RAILWAY MAN (2013), directed by Jonathan Teplitzky. The movie shows how his psychological trauma has continued for many years after his ordeal, and is heightened when he discovers his torturer is still alive. The story of soldier Chris Kyle was dramatized in Clint Eastwood's AMERICAN SNIPER (2014). Following the Marine's four tours of duty in Iraq, his subsequent PTSD, and personal life, it was a profitable film, and offered Bradley Cooper a standout part in the lead role. Challenging in tone was AN ACT OF WAR (2015). directed by Ryan Kennedy. A veteran who has served in the Middle East returns home, finding work in a cinema, but his desperation leads him into dangerous situations that only heighten his psychological problems. Danny Buday's BATTLE SCARS (2015) was like AN ACT OF WAR, in this instance the veteran was from the Afghanistan war, but also become enmeshed with brutal people and activities, not assisting the healing of his PTSD. 

With BILLY LYNN'S LONG HALFTIME WALK (2016), directed by Ang Lee, a young Iraq War veteran is haunted by his experiences during the war, and how these colour his everyday life as a civilian. In a more period vein was Dee Rees' MUDBOUND (2017). The movie posits oppositions between two World War II veterans, one white, one black, and charts their friendship when they return home to Mississippi, one suffering from PTSD. A contemporary take on matters was on show in THANK YOU FOR YOUR SERVICE (2017), directed by Jason Hall. Several Iraq War veterans suffering from PTSD are not only haunted by the past, but have to endure the present tenuous circumstances of their lives. Paul Cook and Carmel Hannant's British film MAGPIE (2018) was about the effect a World War II veteran's PTSD had on his marriage, and his wife's relationship with an American soldier. Related, but at the same time contrasting was Max Martini's SGT. WILL GARDNER (2019). Again looking at PTSD through the eyes of an Iraq War veteran, this film had its titular character take to the road on a motorcycle to reunite with his young son, and mend fences with his family. STATE was reminiscent of many of the PTSD-themed movies of military personnel, and the consequent emotional war wreaked on their protagonists, but possessed its own unique traits.

It shared that thoroughgoing focus of the effects of PTSD on its characters, such as in the movies TILL THE END OF TIME, THE MEN, COMING HOME, and THE DEER HUNTER, to name a few examples. The vast majority STATE is devoted to talk about war, particularly with reference to the grandfather character. Where it diverted was in the extremely small number of characters whose PTSD was placed under the microscope, being two, with only one other main character. This has the effect of making STATE even more rigorous in its execution of PTSD themes, as the film itself is short, and no time is spared on minor details, incidents, or characters. While, in one way. the lack of extra characters means there are no alternate events with which to compare the brooding story of the grandfather and his grandson, it works as a tight, consuming narrative. A creditable foray into a subject that has received vast coverage in cinema, STATE works well despite its limitations, in particular, its brief running time.

Overview: STATE is the film directorial debut of Alain Nouvel, who has credits in various areas such as producing and sound. As this is the first film for Mr Nouvel, and there is no other movie with which to compare it, a review concentrating on STATE will follow. In essence, STATE is a sound picture that moves quickly, and is compelling to watch. Mr Nouvel has made a film that possesses a definite atmosphere of suspense, with good pacing, and a foreboding sense of doom that works. Despite the film's short running time, Mr Nouvel has succeeded in fashioning a movie that keeps the attention from beginning, to end, and contains a good flow of narrative events. In saying this there are, though, issues with the film which did stand out, and lessen its effectiveness.

There are a number of confrontation scenes between the characters, and these are heated and explosive. In these powerful scenes, the use of a certain expletive was extremely distracting, and overused. There was the hope that other words could have been utilized to offer some variety in terms of the dialogue, but this never happened. Having swear words spoken at a frequent clip took away from the tense mood the film was attempting to build. There is another issue with the film which seemed discordant when taking the whole movie into account. The young woman in the movie was, essentially, problematic as a presence. It felt as if she only existed for the sex scene between her and the young man, which, any which way, was out of place in the film. In addition, this sequence did not explore much between them; a compelling dialogue exchange would have been better, enlightening the viewer about their relationship. This tendency is also reflective of other parts of the film which could have been fleshed out better, as they left questions open that needed answering.

While the movie is brief and there is not sufficient time to explore everything, it left a number of questions unresolved. The nature of the relationship between the young man and woman, as stated earlier, such as how long they knew each other, was not addressed. In addition, her relationship to his grandfather, and why was she so affected by his passing at the end, did not receive attention. The older man, and the younger woman never shared a scene together, yet she was in the young man's arms at the end, consoling him. Other burning questions were also posed by the film. How long the young man was in the military, finding out more about his post-traumatic disorder, and why he was so annoyed by his grandfather, would have clarified these interactions. As things stand, it left the viewer both intrigued by its ellipses but also, dissatisfied. In the final analysis, STATE was a good film. The director, Alain Nouvel, exhibits a style which is individual, and knows what makes a good story. It would be interesting to see more from Mr Nouvel, albeit in a longer format, as there is the sense with this film that it was too truncated in nature. A film of greater length would allow for a fuller exploration of the feelings, and emotions of his characters that Mr Nouvel has proven with proficiency in STATE.

Acting: The film has a small cast of three actors, but they ably provide the viewer an engaging experience. In the lead role of the young man returning from armed combat, Patrick Cragin is excellent. His intensity, and ability to say so much in a non-verbal manner with his face, body language and, especially, his eyes, makes him a compelling performer. One could easily discern that he was a veteran with PTSD judging from his actions, such as when the young woman attempts to feed him, and he initially flinches at this. As the young man's grandfather, Myles MacVane is equally adept as expressing emotions without having to utter a word. His slow actions, filled with thought and angst, and confrontations with his grandson are the scenes in the movie that are the most memorable. The young man's girlfriend, played by Courtney Sturm, does a creditable job, even though her role is small, and character somewhat unsympathetic at times. Lurching from passion to anger to confusion, with some quiet moments at the end, Miss Sturm is convincing as the kittenish young woman.

Soundtrack: STATE has an effectively creepy soundtrack, consisting of background music that sets a mood of gloom and doom from the first frames. Aside from this, there is also an effective use of songs, especially the beautiful 'Les Feuilles Mortes' performed by Yves Montand. This particular song gives the final scenes a lushness, and the entire film an unexpected aura of release from its heated emotions.

Mise-en-scene: STATE is beautifully shot by cinematographer Toby Petch, the color restrained, and not bright, which complements the dark nature of the film. Outdoor settings are well-utilized, particularly the scenes in the street where the young woman plays games with the young man's backpack during the evening. The most prominent interior setting, being the older man's house, is concentrated upon the living room, where the majority of the action occurs. The spare lighting in the room, with only a television set on, and a flickering fireplace, work in a metaphoric manner, denoting the heady emotions in play in these scenes, and the movie in general. One of the most interesting scenes was the final few that featured a subtle use of colour, specifically highlighting the trees and landscapes of the filmic milieu. The colour here was a contrast to the majority of the film, where the feel was dark and unsparing. In these sequences, there was the intimation that a new beginning was in store for the characters, and their lives, in consequence, would be rosier than their past haunting experiences.

Notable Acting Performances: Patrick Cragin, Myles MacVane, Courtney Sturm.

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

Overall Grade: C

Link: IMDB Page

Trailer

THUMB TRIPPING (1972)

Title: THUMB TRIPPING

Year of Release: 1972

Director: Quentin Masters

Genre: Drama

Synopsis: A young man and woman meet while hitchhiking in California, having various experiences together, learning about life, and each other along the journey.

Within a film history context: Films which feature hitchhiking characters have been around in cinema since the silent era. E. Mason Hopper's THE RIGHT DIRECTION (1916) is an early documented example of this. A young woman begins hitchhiking to take herself, and her younger brother, to a better life away from their miserable existence, and finds problems with the family of the man who picks up her and her brother. One of the most famous scenes of hitchhiking can be found in IT HAPPENED ONE NIGHT (1934), directed by Frank Capra. With Claudette Colbert attempting to gain a ride for her and Clark Gable in a most amusing sequence, it was one of the best ever scenes of hitchhiking to be presented in cinema. William Dieterle's DR. SOCRATES (1935) had a supporting character who was a hitchhiker, in this crime film which starred Paul Muni in the title role. In the overtly titled HITCH HIKE LADY (1935), directed by Aubrey Scotto, a mature woman hitchhikes from New York to California to visit her son, who, unbeknown to her, is in jail. With Leigh Jason's THAT GIRL FROM PARIS (1936), an opera star hitchhikes after leaving her husband-to-be in the lurch, and encounters romance and adventure while hitchhiking. On the other hand, HEAVEN WITH A BARBED WIRE FENCE (1939), directed by Ricardo Cortez, starred Glenn Ford as a young man who hitchhikes across America, accompanied by another man and a woman, to reach his land in Arizona. As with the 1930s and prior, the 1940s also had varied hitchhiking scenarios.

Preston Sturges' SULLIVAN'S TRAVELS (1941), the story of a film director who conducts unconventional research as a vagrant for his next movie, finding romance along the way, featured a lead character, played by Joel McCrea, who hitchhiked as part of his personal journey. DETOUR (1945), directed by Edgar G. Ulmer, was much more dramatic. As with SULLIVAN'S TRAVELS, it also had a hitchhiking male protagonist, this time a pianist who becomes enmeshed in intrigue, taking on the identity of the mysterious man with whom he rode. Tay Garnett's THE POSTMAN ALWAYS RINGS TWICE (1946) had a central character who hitchhiked his way into the lives of others in the movie, causing torment. Another film with a shady hitchhiker was THE DEVIL THUMBS A RIDE (1947), directed by Felix Feist. In this tale, an upstanding man takes in a murderous hitchhiker, with many unexpected consequences. Similar to THE POSTMAN ALWAYS RINGS TWICE, Delmer Daves' DARK PASSAGE (1947), began with a main character who hitchhikes to another life, this time escaping from jail, leading to an intricate set of compelling events. Into the 1950s, there were equally interesting hitchhiking scenarios and characters.

As with the films of the mid to late 1940s with their dark post-war premises, TOMORROW IS ANOTHER DAY (1951), directed by Felix Feist, follows a couple involved in a crime who hitchhike to evade capture. Dangerous hitchhikers are again presented in Ida Lupino's THE HITCH-HIKER (1953). In this movie, two fishermen make the grave error of picking up a psychotic man who gives them a chilling pronouncement - after they arrive at their destination, he will kill both of them. Equally tense was THE NIGHT HOLDS TERROR (1955), directed by Andrew L. Stone. A wealthy man picks up a hitchhiker who, along with several others, cause mayhem for the man and his family. In a more exploitation, but surprising vein was Charles Saunders' KILL HER GENTLY (1957). A man picks up two hitchhikers who are wanted criminals, but does not turn them over to the authorities, instead, he propositions them to murder his wife. As with other film decades, the 1960s also had diverse hitchhiking themed films.

A benign view of hitchhiking was brought forth by the Elvis Presley vehicle IT HAPPENED AT THE WORLD'S FAIR (1963), directed by Norman Taurog. Here, two friends hitchhike to the Seattle World Fair as their mode of transport was confiscated by police, finding romance and fun. Marc Lawrence's NIGHTMARE IN THE SUN (1965), co-starring real life couple John Derek and Ursula Andress in the lead roles, followed a married woman who picks up a male hitchhiker, their affair leading to intrigue and murder. A romantic view of hitchhiking could be found in WILD SEED (1965), directed by Brian Hutton. A young woman runs away from home after discovering her true parentage, and meets a drifter, their fraught relationship blossoming over the course of the movie. In contrast, Dennis Hopper's EASY RIDER (1969), altered the mode of transport from automobile to motorcycle, the bikers in the film picking up a number of hitchhikers on their way across the country. CHASTITY (1969), directed by Alessio de Paola, featured Cher as a young woman who hitchhikes to find a new life, and get away from her tragedy-twinged existence. Before the release of THUMB TRIPPING there were several films which looked at hitchhiking in varying ways.

Bob Rafelson's FIVE EASY PIECES (1970) showcased two hitchhiking scenes. The first is a revealing scene where Bobby picks up two hitchhikers, one of whom speaks continuously about anything and everything in the car, which is one of the film's best. The second scene occurs at the movie's end when Bobby hitches a ride from someone, subsequently abandoning girlfriend Rayette at the gas station. A more exploitative journey into hitchhiking was evident in JANIE (1970), directed by Roberta Findlay and Jack Bravman. A young woman hitchhikes to reach her father, but the means by which she accomplishes this are thoroughly decrepit and base, with murder and sex on her mind. Richard Sarafian's VANISHING POINT (1971), most notably, features a gay couple whose intentions with the driver are anything but legal. TWO-LANE BLACKTOP (1971), directed by Monte Hellman, had a number of hitchhiker characters, including a woman, and a gay man. In Jerry Jameson's BRUTE CORPS (1971), a man and woman hitchhiking together fall in with brusque soldiers, and pay a hefty price in this violent melodrama. THUMB TRIPPING shared elements of the previous films with hitchhikers, but added its own touches to the genre.

Where THUMB TRIPPING overlapped with other hitchhiking films was in that the hitchhiking served as a mean to an end for its characters, and without any tragic consequences. This was something also present in HITCH HIKE LADY, IT HAPPENED ONE NIGHT, and IT HAPPENED AT THE WORLD'S FAIR, where overall the narrative itself was light, and not meant as a diatribe on the evils of hitchhiking. It was more of characters experiencing the world, with the films themselves charting their perceptions of the events occurring to them, such as in CHASTITY. It is about learning, self-awareness and enlightenment, more than moral considerations taking place. Aside from this, THUMB TRIPPING was the first movie to totally focus upon hitchhikers in its narrative. While the other films featured hitchhikers as supporting characters, or an event that occurs in isolated instances, here it took up the whole running time, making THUMB TRIPPING a specialized film on the topic. Other features of THUMB TRIPPING also made it stand out compared to other entries.

As with many of the other films, such as the afore-mentioned examples, the hitchhikers in THUMB TRIPPING were not of a malevolent nature, which was a trend marked from the mid-1940s onwards. The people who pick them up along the way are all of different persuasions and states of mind, while one in particular is especially psychotic. This is the exception, rather than the rule in THUMB TRIPPING. The remainder of the people who pick up Gary and Chay have emotional issues that are sometimes addressed via the presence of the hitchhikers, who in a manner of speaking 'heal' their drivers. This is especially evident in the truck driver who has a sexual relationship with Chay, to Gary's consternation. The married couple also are better after being with Gary and Chay, even though there are hiccups along the way with their open marriage. One of the most revealing parts was the woman who picks them up, and talks about her family and their problems. These are the most unique segments of the movie, those that are the most memorable in retrospect. A different take on hitchhiking, THUMB TRIPPING is an unconventional movie with some interesting moments.

Overview: Quentin Masters is an Australian director who helmed four feature films in his career, with several other writing, cinematography, and producing credits. His second film, THE STUD (1978) is perhaps Mr Masters' best-known movie. Starring Joan Collins in this tale of a woman who owns a nightclub, and her various marital, and extra-marital problems, it was adapted from a novel by Miss Collins' sister Jackie Collins. Mr Masters' third film, A DANGEROUS SUMMER (1982), was a thriller about the burning of a hotel, and the investigation mounted surrounding this incident. Quentin Masters' last movie, MIDNITE SPARES (1983), as with his previous picture, was made in Australia. This adventure film centred around a man's pursuit in finding his father's killers, with plentiful action sequences included. THUMB TRIPPING marked Quentin Masters' movie debut, and is of interest for several reasons.

Mr Masters has made a film that is entirely devoted to an examination of hitchhiking, and how his characters interact with the various people they encounter along the road. He tackles the different scenarios with vigor, making them all as individual as possible to avoid repetition in the narrative. The people who pick up Gary and Chay are variously happy, sad, comfortable within their own skin, while others are jumping out of it with regularity. This gives the film a spontaneity that works, and a realistic quality. It also makes the point that the world is filled with individuals whose mindsets are never alike, which is valid. While this is to be lauded, not all of the vignettes are as effective as each other, or as powerful in effect. The stop and start nature of events has the effect of running the viewer hot and cold with great regularity.

The scenes with the psychotic man, played by Bruce Dern, are compelling to watch, and one does not know what will happen to Gary and Chay, but these are downplayed by their laughter after leaving his car. It dulls the effect of what has taken place prior, and while their laughing might have been a nervous reaction to being in danger, it does not help the film's mood. Another scene that is rather incongruous is the one with the mother and her children. While it works as an acting showcase for Joyce Van Patten, it does not have that much punch. The other two vignettes in the film function in a similar watchable, but odd manner. The randy truck driver who takes more than a passing interest in Chay, and the frustrated married couple who see Gary and Chay as a diversion, are both well-acted, but the effect in total does not add up in an emotionally fluent way. Possibly it was the movie's intention of having its characters witness human nature in often bizarre ways, but it needed more to strike a powerful mental chord. There were some other ellipses which could have made an average film so much better.

While there is a segment at the beginning where Gary and Chay are with some campers, who are possibly the most level-headed of all the characters, there are no further characters without neuroses, which makes the movie topsy turvy. Not everyone in the film had to be alienated to make an impact, which does become a little tiresome as the picture unreels. Apart from this, we never really find out why Chay has taken to the road hitchhiking, the lack of access to her character makes her enigmatic to a degree. While there is a voiceover explaining the rationale for Gary's actions, which is helpful, nothing of the same degree is presented for Chay. Nevertheless, in summation, some things can be said about THUMB TRIPPING in retrospect, in spite of its deficiencies. It is an original film that sheds light not only about hitchhiking but also, humanity, in its thoughtful, but clipped, way.

Acting: The performances in THUMB TRIPPING are one its strongest assets. Michael Burns, as hitchhiker Gary, exhibits a naturalistic acting style, and is the film's central focus. His reactions to everything, moods and feelings are all spot-on, and expertly delivered by Mr Burns. As his hitchhiking partner, Meg Foster is equally fine. An actress with striking eyes, utilized in the movie to express non-verbal behavior, Miss Foster does a great job as the intriguing, but ultimately faithless Chay. In complete contrast, Bruce Dern as the psychotic man who picks up Gary and Chay gives another excellent performance, but the number of unbalanced men Mr Dern played in the early part of his film career makes one wish his tremendous talents had been used in more complex ways. Four other actors make the most of their appearances in THUMB TRIPPING to make indelible impressions.

As Diesel, the truck driver with eyes for Chay, Michael Conrad plays his role with steamy assurance, seeming every bit his part, his eerie expression just right. Joyce Van Patten, as a mother who picks up Gary and Chay on the side of the road, contributes another excellent portrayal in THUMB TRIPPING. Her crumbling psychological excesses, mumbling, and lack of remorse make her mother character one of the most complex people to appear in THUMB TRIPPING. Burke Byrnes, as Jack, one half of the film's married couple, does a fantastic job as the virile husband with definite reservations about his life, carried out beautifully by the good-looking Mr Byrnes. A performer with a resemblance to Australian actor Rod Taylor, his mix of working class man bravado, and sadness is excellent. The last acting of note in the movie was by Marianna Hill as Lynne, Jack's wife. Exhibiting marital frustration with her high-strung, overwrought behavior, this coming to a head when she starts dancing in a bar wearing just a bikini, Miss Hill makes the viewer wonder what went so badly she had to resort to this, and empathize with the emptiness her character is feeling.

Soundtrack: THUMB TRIPPING has a soothing introspective score that is in keeping with its pensive mood. The opening credits feature an instrumental tune that works well to set the film's easy-going, casual tone. The movie has a number of 1970s songs which are played at various intervals, such as 'Go Where The Feeling Takes You', during a montage of Gary and Chay together by the ocean, that deftly emphasize what is occurring onscreen. A screaming rock score would not have been appropriate for THUMB TRIPPING, and would have detracted from its elegaic aura, thus making it one of the film's best aspects.

Mise-en-scene: The cinematography by Harry Stradling, Jr is beautiful, taking advantage of the film's many outdoor sequences by presenting the landscapes in a soft, pleasant manner, without ever being garish or harsh in its color hues. THUMB TRIPPING takes advantage of lush locations in the California Big Sur Coast, and San Francisco, giving the movie crispness and immediacy, and centering the characters in this dreamy milieu.

Notable Acting Performances: Michael Burns, Meg Foster, Bruce Dern, Michael Conrad,  Joyce Van Patten, Burke Byrnes, Marianna Hill.

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

Overall Grade: C

Link: IMDB Page

Trailer

ROE V. WADE (2021)

Title: ROE V. WADE

Year of Release: 2021

Director: Nick Loeb, Cathy Allyn

Genre: Drama

Synopsis: The story of Roe V. Wade, the historic 1973 decision legalising abortion in the United States, and Dr Bernard Nathanson, prominent American abortionist.

Within a film history context: Movies which tackle the topic of abortion have been present in cinema since the silent era. One of the earliest noted films was Harry Pollard's THE MIRACLE OF LIFE (1915). Starring silent screen heroine Marguerite Fischer in the lead role, it was about a newlywed young woman who discovers she is pregnant, and wants to abort the child, but a dream leads to a mind change on her impending motherhood. WHERE ARE MY CHILDREN? (1916), directed by Phillips Smalley and Lois Weber, took matters in an entirely different direction. Opposition to abortion is found in the local district attorney, and his stance makes him uncomfortable with the community, in this drama. The same directors also made THE HAND THAT ROCKS THE CRADLE (1917), but this time, with another point of view. A woman supporting birth control faces difficulties in her professional life, landing her in trouble with the police for her beliefs about abortion. 

An abortion is averted in MASTER OF HIS HOME (1917), directed by Walter Edwards. Here, a young woman is urged by her mother to abort her child, leading to the young woman's husband leaving her, but she decides to keep the baby, and makes up with her husband. Samuel Brodsky's THE HOUSE WITHOUT CHILDREN (1919) features a character who advocates birth control, causing dissension with her husband, but eventually changes her mind, this saving her marriage. THE SCOFFER (1920), directed by Allan Dwan, had a decidedly more religious tone. An honest doctor is set up by a crooked fellow practitioner as having performed an abortion, and is subsequently sent to jail. He has lost faith in the world, but a chain of events, including an operation on a young boy, reaffirms his belief in a higher power. In a more exploitation vein was Norton Parker's THE ROAD TO RUIN (1928). A wayward young woman indulges in different forms of promiscuity and falls pregnant, aborting the baby, but pays the price for her licentiousness. It was remade in 1934 by directors Dorothy Davenport and Melville Shyer, with lead actress Helen Foster reprising her role from the 1928 silent film. There were several Hollywood films in the 1930s that, in the main, intimated abortion as a topic.

CHANCE AT HEAVEN (1934), directed by William Seiter, had a character who undergoes an abortion, at the behest of her mother, who disapproves of her daughter's relationship with a mechanic. S. Roy Luby's grindhouse film RACE SUICIDE (1938) focused upon an abortion ring which takes impressionable young women into their clutches. With the advent of the Hays Code in the early 1930s, motion picture content underwent a drastic change from beforehand. Mention of abortions became non-existent after this period, and this is reflected in the lack of films dealing with the topic. While foreign films did deal with the issue in many instances, Hollywood largely shied away from it. An exception was the American film STREET CORNER (1948), directed by Albert Kelley. A young girl falls pregnant, and becomes involved with an abortionist. Curtis Bernhardt's THE DOCTOR AND THE GIRL (1949) also featured an abortion plot, but handled in a more edifying manner than STREET CORNER. Both these films were the exception, though, rather than the rule in this era for this kind of content. Into the 1950s, films about abortion appeared on a more regular basis in American films.

A PLACE IN THE SUN (1951), directed by George Stevens, had a character who sought an abortion to appease her boyfriend, but it was not distinctly stated. The abortion theme had a larger component in William Wyler's DETECTIVE STORY (1951). In this movie, a hardened detective pursues an abortionist who was suspected of causing a woman's death. PEYTON PLACE (1957), directed by Mark Robson, among its myriad of stories, featured a young woman who was raped by her stepfather, and wanted an abortion to rid herself of his child. More controversial was Philip Dunne's BLUE DENIM (1959). Two young people find solace with each other, and the young girl falls pregnant, which causes them to seek an abortion, which is thwarted by their parents. In contrast, the glossy THE BEST OF EVERYTHING (1959), directed by Jean Negulesco, also had a character who wanted an abortion, but this is avoided in a tragic manner. The 1960s began to have even franker portrayals of abortion on screen than beforehand.

Karel Reisz's SATURDAY NIGHT AND SUNDAY MORNING (1960) also had a character considering an abortion, in this realistic account of life in Nottingham. THE TOUCH OF FLESH (1960), directed by R. John Hugh, was about a promiscuous young woman who tries to convince her doctor, being her father, to assist her in having an abortion. In Daniel Petrie's touching A RAISIN IN THE SUN (1961), a character wanted to have an abortion to avoid the financial strain of another child; a different, and tragic angle theretofore not presented until that time in film. Also potent in content was PATTY (1962), directed by Leo Handel. A young woman is raped, and falling pregnant, finds immense difficulty in procuring an abortion, which were still illegal at the time. With Bryan Forbes's THE L-SHAPED ROOM (1962), a young woman is so astounded by her doctor's statement that she either abort her child, or marry its father, she has the child, but remains unmarried. Abortion is a small component of LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. A young woman falls pregnant to a musician, and both seek an abortion, but do not proceed with this. 

In Jack Clayton's THE PUMPKIN EATER (1964) a woman does go through with an abortion, but also, a sterilization, in order to avoid having more children, one of the many issues causing problems in her marriage. THE YOUNG LOVERS (1964), directed by Samuel Goldwyn Jr., featured a university student falling pregnant to her boyfriend, and thinking about abortion, but not going ahead with it. The lead character of John Schlesinger's DARLING (1965) has an abortion in order to maintain her libertine and bohemian lifestyle, vastly different from other entries such as THE PUMPKIN EATER. In ALFIE (1966), directed by Lewis Gilbert, a character does go through with an abortion, but there are many emotional repercussions for both the woman, and her lover. A high-grossing major movie, Mark Robson's VALLEY OF THE DOLLS (1967), showed a character who underwent an abortion to avoid having a physically impaired child, as her husband suffered from a medical condition. UP THE JUNCTION (1968), directed by Peter Collinson, also had an abortion that had devastating effects for the woman involved. Mark Robson's DADDY'S GONE A-HUNTING (1969) was more sinister in its narrative. A young woman falls pregnant to a man, but aborts the baby when she discovers an unsavory side to him. Marrying another man and giving birth to his baby, she is taunted by her former lover to kill her baby in revenge for her past abortion. Into the 1970s, more challenging depictions of abortion began to appear on screen, aided greatly by the censorship breakdown of the late 1960s.

END OF THE ROAD (1970), directed by Aram Avakian, had a detailed abortion scene that was startling for its time, in this unconventional movie. In Stephanie Rothman's THE STUDENT NURSES (1971) one of the film's titular nurses sought an abortion, and despite some opposition, eventually went through with one. With MAKING IT (1971), directed by John Erman, a young man tries to obtain an abortion for his girlfriend, believing she is pregnant. When it is uncovered that she is not expecting, he instead arranges the abortion for his mother, who undertakes the procedure. Ken Loach's FAMILY LIFE (1971) portrayed parents who force their daughter into abortion when she falls pregnant, and charts the fallout from this event. In TO FIND A MAN (1972), directed by Buzz Kulik, matters were vastly contrary. The efforts of a young man assisting his friend in obtaining an abortion, and their blossoming relationship, are explored in this sensitive movie. 

With Frank Perry's PLAY IT AS IT LAYS (1972) an actress with psychological issues aborts her baby without any recriminations. In UP THE SANDBOX (1972), directed by Irvin Kershner, a woman fantasizes about having an abortion, one of a number of her daydreams in the film. A character dies after having an abortion in Peter Hyams' OUR TIME (1974), which was set in 1950s America, one of many events in the movie. THE GODFATHER II (1974), directed by Francis Ford Coppola, had main character Kay admit of an abortion to her husband, which sabotaged her marriage irreparably. David Miller's BITTERSWEET LOVE (1976) had a character wishing to abort her child for a tragic reason - she has unwittingly married her brother, and they are half-siblings. This was more complex than other narratives, whereby unwanted babies, or rape were not the reason characters wanted to abort their children. More insidious was COMA (1978), directed by Michael Crichton. A patient in a hospital is pronounced brain dead after having undergone an abortion in this suspenseful movie. Into the 1980s, there were other interesting variations on the topic of abortion.

With Alan Parker's FAME (1980) a character considers abortion, a small part of this movie about aspirants in the performing arts. A satirical take on lifestyles, and abortion, was offered by POLYESTER (1981), directed by John Waters. Here a woman aggressively seeks an abortion, and is hindered at every turn, attempting suicide, but eventually miscarries her child. A young woman in Amy Heckerling's FAST TIMES AT RIDGEMONT HIGH (1982) has an abortion after her promiscuity leads to unhappiness, and takes a more celibate approach to her personal affairs as a result. HEAT AND DUST (1983), directed by James Ivory, contrasts two characters with regards to abortion. While one of them has an abortion, the other decides to not go ahead with it, in this tale of life in both 1920s, and 1980s India. The protagonist of Peter Sasdy's THE LONELY LADY (1983) has an abortion when she discovers that her lover does not want any part of her baby. With a more period atmosphere, the main character of RACING WITH THE MOON (1984), directed by Richard Benjamin also obtains an abortion, in this story of love in 1940s America. 

Emile Ardolino's high-grossing DIRTY DANCING (1987) featured a subplot with a character having an abortion which was somewhat overshadowed by the film's romantic and dancing segments, but still has punch. In FOR KEEPS (1988), directed by John G. Avildsen, a young woman finds herself pregnant, and wants to have an abortion. Both her parents, and the parents of her boyfriend, direct the couple to either abort, or adopt the child, with the young woman giving birth to her child in the end. LISTEN TO ME (1989), directed by Douglas Day Stewart, differed from other movies in that a debate over abortion took place during the film by its characters, who were part of a college debating team. Chris Thomson's THE DELINQUENTS (1989) followed the romance of two teenagers in the Australia of the 1950s. Finding herself pregnant, the young girl and her boyfriend run away from their parents, as they want to keep the baby, but police and their parents catch up with them, and force the girl to have an abortion. The 1990s also had diverse presentations on the abortion topic, as with other decades. 

FALLING OVER BACKWARDS (1990), directed by Mort Ransen, had a character who mused about getting an abortion as she is in a new relationship, and pregnant to an old boyfriend. In Phillip Borsos' BETHUNE: THE MAKING OF A HERO (1990), a woman undergoes an abortion as she believes having a child will do nothing for her marriage to her surgeon husband. BITTER MOON (1992), directed by Roman Polanski, had a woman who was coerced into an abortion by her cruel boyfriend, one of a number of indignities she endured in this relationship. Stephen Gyllenhaal's WATERLAND (1992) painted a portrait of a man and his wife who had experienced a bad abortion which left his wife infertile. More pungent was RAIN WITHOUT THUNDER (1993), directed by Gary Bennett. In this science fiction film, women are being convicted, and sent to jail for aborting their babies, which takes a number of twists and turns with the law. In a shorter narrative scope, one of the stories in Clement Virgo's RUDE (1995) focused upon a young woman who had an abortion, with depression an after-affect of this. 

Irreverent could very well describe CITIZEN RUTH (1996), directed by Alexander Payne, and its treatment of abortion. A wayward woman unexpectedly rises to national prominence as she becomes involved in the abortion debate, and many try to manipulate her, but she manages to give as good as she receives in this comedy. In Jeff Abugov's THE MATING HABITS OF THE EARTHBOUND HUMAN (1999), a man and his girlfriend clash over her pregnancy, with him not wanting the baby. He has a change of heart, and finally discourages her from having an abortion, thus ensuring a renewal of their relationship. Guilt about abortion comes to the fore in THE HAUNTING OF HELL HOUSE (1999), directed by Mitch Marcus. This horror film examines the feelings a man experiences after the death of his girlfriend, whom he had pressed to have an abortion, and the unsettling dreams he consequently has of her. The 2000s also featured varied interpretations on the abortion theme for audiences.

Tamra Davis' SKIPPED PARTS (2000), set in the 1960s, was about a young woman who falls pregnant, but considers an abortion. In the end she does not have the abortion, and keeps her child. A truly different take on the abortion theme was presented by PARSLEY DAYS (2000), directed by Andrea Dorfman. A woman does not want to have her boyfriend's child, but does not wish to have an abortion due to the waiting time for one. Her friend suggests she go on a diet of parsley as a way of losing the child. A contradiction is also apparent in the movie as to the attitude of the baby's father to abortion. While he spouts pro-choice ideals, he surreptitiously does not support these, as his actions with his girlfriend during their lovemaking suggest a pro-life stance. In a film about the adult film industry, Richard Glatzer and Wash Westmoreland's FLUFFER (2001), a character has an abortion as she is pregnant, and believes her boyfriend will not be able to help her, as he is mixed up in drugs, and adult movies. With BABY BOY (2001), directed by John Singleton, a reckless and sexually irresponsible young man makes his girlfriend have an abortion, which is symptomatic of his selfishness and lack of concern for anyone but himself. Alejandro Inarittu's 21 GRAMS (2003) had a character whose past abortion was discovered by her husband at a much later date, and this led to a breakup of their marriage with him leaving her, similar to THE GODFATHER II.

PALINDROMES (2004), directed by Todd Solondz, had a complicated storyline which included a young woman who had an abortion, unknowing that she cannot have children after this. There is also a character who despises those who procure abortions, and kills the practitioners who provide them. In comparison, Mike Leigh's VERA DRAKE (2004) was the character study of a woman who assists young women in having abortions, but is imprisoned for her activities, in 1950s London. THE LAST KING OF SCOTLAND (2006), directed by Kevin Macdonald, was based upon the life of Idi Amin, whose wife suffered a terrible end after undergoing an unsafe abortion, attempting to hide the result of her extra-marital affair. Jason Reitman's JUNO (2007) has a young woman initially seeking an abortion, but who has a change of mind, with many relationship twists and turns occurring. THE LIFE BEFORE HER EYES (2007), directed by Vadim Perelman, focused upon a woman remembering the abortion she had in her youth. An abortion is seen by the wife in a marriage as a solution as her relationship is on shaky ground in Sam Mendes' REVOLUTIONARY ROAD (2008), but leads to a shocking result for the wife when she performs it on herself. A distinctly radical line on abortion was pursued in MESSIAH COMPLEX (2009), directed by Hale Mednik. A preacher with extreme views on curbing certain freedoms becomes president, with one of these being abortion, in this barnstorming movie. The 2010s, as with preceding decades, brought with it equally gripping variations on the abortion theme in cinema.

Derek Cianfrance's BLUE VALENTINE (2010) had a character who, like many other protagonists, decided to forgo an abortion, and gave birth to a daughter. Abortion played a major role in FOR COLORED GIRLS (2010), directed by Tyler Perry. It is one of several topics the film examines, with a woman recalling her abortion at the hands of a treacherous female abortionist. Michael Fredianelli's THE SCARLET WORM (2011) had a Dutch man who was an abortionist and bordello owner, but who was marked by execution by a wealthy man. OCTOBER BABY (2011), directed by Andrew and John Erwin, followed a more introspective route with its storytelling. A young woman discovers that her birth mother wanted to abort her, but the procedure was unsuccessful, and that she was adopted, which turns her world upside down. A softer, more benign view of abortion was apparent in Gillian Robespierre's OBVIOUS CHILD (2014). When a woman finds out she is pregnant she determines to have an abortion, the film taking the viewer through events in her life, to her final decision of undergoing the procedure. 

GRANDMA (2015), directed by Paul Weitz, followed the story of a young woman who wants to have an abortion, and the various mishaps and relationship issues she encounters along the way. With Stephen Fingleton's science fiction THE SURVIVALIST (2015) a woman attempts to perform an abortion on herself, but baulks at the last moment. A pro-life stance was the crux of VOICELESS (2015), directed by Pat Necerato. A war veteran comes to live in Philadelphia, and voices his vocal opposition to an abortion clinic which has opened across from his residence. In total contrast, Bruce Isacson's SOUTH DAKOTA (2017) involved two characters who became pregnant, and experienced anguish with what to do about their predicaments, the narrative balancing opposing views on abortion within its context. ASK FOR JANE (2018), directed by Rachel Carey, had a major concentration upon the topic of abortion in its narrative. Examining the subject through the eyes of women teaming together to give other women the opportunity of having an abortion, albeit illegally, in 1960s America, it treated abortion in a more exhaustive manner than others of its time. 

Cary Solomon and Chuck Konzelman's UNPLANNED (2019) detailed the life of one-time Planned Parenthood director Abby Johnson, and her subsequent change to being pro-life. Much tenser was SWALLOW (2019), directed by Carlo Mirabella-Davis. A woman's life becomes nightmarish as she attempts to live up to the ideals of her family, and develops an eating disorder. When she falls pregnant, this becomes a point of contention between her husband and herself, finally taking an abortion medication, causing her to abort her baby. A delicate treatment of abortion can be found in Eliza Hittman's NEVER REALLY SOMETIMES ALWAYS (2020). A young woman's odyssey in having an abortion, with her cousin at her side, was unraveled by the director in a telling, and sympathetic manner. THE GLORIAS (2020), directed by Julie Taymor, was the biography of feminist Gloria Steinem, and explored abortion within its filmic boundaries, specifically Miss Steinem's beliefs on the topic, and her own abortion during her fellowship. ROE V. WADE was possibly closer to late 2010s films such as ASK FOR JANE and UNPLANNED in terms of its focus upon an abortionist lead character, but deviated greatly in other arenas.

ROE V. WADE featured a male abortionist, something not uncommon from past pictures such as PLAY IT AS IT LAYS, but where the movie strikes a conflicting note is in the attention it affords this character. While ROE V. WADE has a combination of medical and legal themes, it is also a character study, in its case, of real-life abortionist Bernard Nathanson. Where the other movies treated the abortionist character in a perfunctory manner, specifically someone who just performs the abortion, and does not have a further role in the movie, the life, passions, and loves of Dr Nathanson are left, right and center in ROE V. WADE. This provides ROE V. WADE a point of difference in that the abortionist is given a background, is fully fleshed out, and not a character who falls into the trap of being just either good, or bad. It is admirable that he is presented warts and all, as a person with real flaws, and virtues, unlike the evil abortionist from DETECTIVE STORY. Other facets of ROE V. WADE also made the film edifying viewing.

Aside from Dr Nathanson, the other characters are also three-dimensional, making clear their motivations in the film, and what makes them tick. This is one of the refreshing qualities of ROE V. WADE, in that the characters are relatable. One main example stands out in the movie. It is fascinating how there are snippets, in the case of attorney Sarah Weddington, who fights for the right for womens' access to abortions, and her personal connection to this issue. This can also be said of Dr Nathanson, as the movie intimately follows his views on abortion, and how events over time change his mind on the topic. The film has an emotive quality without ever going too far, making the viewer feel for its characters, and not resorting to cheap melodrama to present its points. There are no cardboard villains or do-gooders, which raises the film's credibility. A respectable example of a multi-character narrative, showing the impact of abortion on different people, ROE V. WADE is a quality addition to the ongoing debate about the issue, bringing with it moments of enlightenment.

Overview: For directors Nick Loeb and Cathy Allyn, ROE V. WADE marks their directorial debut. Mr Loeb has credits in acting and producing, while Miss Allyn has producing and writing credits. As this is the inaugural film for both directors, and there is no other film as yet in their filmography to which it can be compared, this review shall closely examine ROE V. WADE. With ROE V. WADE, Mr Loeb and Miss Allyn have made an auspicious first film. They have crafted a movie which tackles the sensitive subject of abortion in a thought-provoking, fluent manner. In the main, there is a balancing of both sides of the topic, being both the the pro-choice, and the pro-life groups. In this respect there were neither large gaps, nor staginess present in the film, with the scenes evenly distributed in terms of telling a good story in an effective manner. There is an easy combination present of pathos, tragedy, drama and, surprisingly, lightly comic moments, in the movie. The humor was not antic-based in its intentions and delivery, and provided an appropriate reprieve from the more emotion-filled sequences. Aside from this, there are other reasons why ROE V. WADE works as a movie. A movie which has its foundations in both legal, and medical territory may have become bogged down in difficult mumbo-jumbo that would put off its intended audience. ROE V. WADE, though, has been written in a way to make it understandable to a wide audience, not only those familiar with legal and medical terminology. While the film has a great number of virtues, there are some ellipses which stand out when considering the movie as a whole.

The introduction of Dr Nathanson's first wife is abrupt, and something which takes one aback when she first appears. There was no prologue or prelude to her introduction, which is surprising as the movie has generally been careful with such details. The viewer has just witnessed the death of Dr Nathanson's girlfriend several minutes prior, and he is now married to another woman. There are some other scenes which are incongruous in ROE V. WADE, and slightly confusing. Dr Nathanson's wife, in addition to the above, did not have a clear opinion of her husband's occupation after her first scenes. Without a clearly defined role, her character served a small purpose, minus a voice, which would have added some complexity to the movie. Having the couple converse more about his job would have revealed further insight about the doctor's personal life, and what impact it had on his professional life. While the film has not as such delved deeply into Dr Nathanson's private life, it would have been revealing to have seen his wife's thoughts on his work. Another scene in ROE V. WADE seems out of place when looking at the film in its entirety.

The sequence with Dr Nathanson and his partner Larry on the beach, speaking with two women, was jarring. While it gave both characters a chance to boast about their achievements in their field, which gave depth to the doctors, it posed a number of questions. Who exactly were these women, and why were Dr Nathanson and Dr Lader admitting these things to what seemed like strangers in the context of the movie? It could be inferred that these women were mistresses of the doctors, but there was no explanation as to their role. Aside from this, there is another lapse which must be mentioned. On the whole the film had a balance between both sides of the abortion debate, but in the last half-hour it seemed to be slanted towards the pro-life movement. While ROE V. WADE was faithful to Bernard Nathanson's life, and how many things changed irrevocably after a certain event, it would have been good to have seen more of the pro-choice group, consisting of Larry Lader, Betty Friedan, and Sarah Weddington. This would have given the film more uniformity in terms of covering both sides of the abortion spectrum. All in all, though, some things can be said about ROE V. WADE. It is an ambitious, thoughtful, compelling film that is a credit to its first-time directors, and it would be interesting to see more stimulating motion pictures from them in the future.

Acting: ROE V. WADE has a number of performances which deserve recognition. Nick Loeb, as Dr Bernard Nathanson, the movie's lead protagonist, projects sincerity as the doctor who has a lot going on both personally, and mentally. He does an excellent job with his character, who is a mixture of sympathy, greed, self-deceit, charm, and guilt, to name a few emotional traits. As Dr Mildred Jefferson, Stacey Dash is thoroughly convincing as the determined, upright doctor. It is interesting how Miss Dash says so much with her eyes without uttering a word; one can understand exactly how she feels, so forthright is her performance. On the other hand, Greer Grammer was great as Sarah Weddington, one of the two attorneys responsible for winning women the right to an abortion in the United States. A lovely actress with an easy manner, Miss Grammer also brings pathos in the scenes which examine why Sarah Weddington was so adamant about legal abortions. Four other actors likewise make an indelible impact in ROE V. WADE.

As Justice Warren Burger, Jon Voight lends his considerable presence to his role as a judge with major qualms about abortion. While Mr Voight does not have a lot of screen time, he nevertheless makes his mark, his concern about abortion deeply etched on his face. Tom Guiry, as Father James, representing the religious side of the abortion debate, does a wonderful interpretation of the well-meaning, thoughtful priest. An actor of energy and passion, it would have been lovely to have seen more of him in the movie. Joey Lawrence, as Robert Byrn, also falls into this category. As the pro-life university professor, Mr Lawrence offers a savvy performance, seeming at home in the lecture theatre. The final acting of note in ROE V. WADE was by Lucy Davenport as Betty Friedan. An engaging actress who brings Bette Davis to mind with her acting, Miss Davenport was highly watchable as the unique quirky Betty Friedan, pushing boundaries with a lazy smile, and an inimitable way about herself.

Soundtrack: ROE V. WADE has an unobtrusive musical score throughout the entire movie which works to give the film a pensive, contemplative aura. Properly emphasizing what is taking place onscreen without ever being overpowering, it adds an appropriate touch of urgency to the movie.

Mise-en-scene: Cinematography by Alan McIntyre Smith bathes ROE V. WADE in a warm orange light, which suggests the 1970s, when the majority of the film's action occurs in a subtle, appropriate manner. Period atmosphere is also pleasing, with costuming another highlight, the cast well-adorned in garments of the time. Sets, such as Dr Nathanson's home, also are of the era without being heavy-handed, with homewares and accessories appearing authentic.

Notable Acting Performances: Nick Loeb, Stacey Dash, Greer Grammer, Tom Guiry, Jon Voight, Joey Lawrence, Lucy Davenport.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

Trailer