ALOHA, BOBBY AND ROSE (1975)

Title: ALOHA BOBBY AND ROSE

Year of Release: 1975

Director: Floyd Mutrux

Genre: Drama, Romance, Action, Crime

Synopsis: A garage mechanic and a fast food employee fall in love, but his impetuous behaviour one evening lands them both in deep trouble with the law.

Within a film history context: Films about lovers on the run have been featured many times in cinema. One of the first was William Wellman's BEGGARS OF LIFE (1928). A young woman kills her stepfather, and takes to the road with a young man. They indulge in various adventures while eluding the law, the young woman also dressing as a man to conceal her identity from the authorities. In BARBARY COAST (1935), directed by Howard Hawks, a woman and her true love run away from the scheming casino owner who tried to dominate her life in this film set in 1850s San Francisco. Nicholas Ray's THEY LIVE BY NIGHT (1948) was about a young woman who falls in with an escaped convict, and is drawn to him, and into his criminal doings. With GUN CRAZY (1950), directed by Joseph Lewis, a husband and wife crime duo with a penchant for arms use guns to steal, but the wife is more trigger-happy, and deadly to others, than her spouse in this film noir. Jean-Luc Godard's BREATHLESS (1960) revolved around a petty criminal who kills a policeman, and goes on the run. He hooks up with a young American woman, and they fall in love, but she eventually finds out about his crimes. Another Jean-Luc Godard French film, PIERROT LE FOU (1965), also starred Jean-Paul Belmondo in the lead. This time around, a man leaves his wife, and life, and takes up with an old girlfriend who is involved in criminal activity. 

One of the most famous films about lovers on the run was Arthur Penn's BONNIE AND CLYDE (1967). Based upon the real-life story of criminals Bonnie Parker and Clyde Barrow, who teamed up to rob banks, and killed many people along the way, it was a turning point in cinema for depictions of violence, and a deserved box office success of its time. THE GETAWAY (1972), directed by Sam Peckinpah, was another film with a substantial amount of violent content. A man is freshly released from jail after serving time for armed robbery, and undertakes another robbery with his wife's support, but things take many twists and turns in this suspenseful movie. Equally intense was Terrence Malick's BADLANDS (1973). A young woman in a Southern town hooks up with a footloose young man, and they embark on a killing spree across the United States, the man responsible for the carnage. Based upon the real-life crime spree of Charles Starkweather and Caril Ann Fugate in the late 1950s, it was a critically acclaimed movie that was thoroughly well-made and acted. Another film based upon real events, THE SUGARLAND EXPRESS (1974), was directed by Steven Spielberg. In this movie, a woman assists her husband to escape from jail, in order to kidnap their son who will be placed in the care of foster parents. Along the way they take a policeman hostage, and roam the country in their car to avoid capture. ALOHA BOBBY AND ROSE was reminiscent of many of the films about lovers on the run, but had its own distinct traits.

It was similar to the movies where a young woman is pulled into the criminal life of her other half, such as THEY LIVE BY NIGHT, BREATHLESS and BADLANDS. Where ALOHA BOBBY AND ROSE differs, though, is that Rose has the most obvious discomfort with boyfriend Bobby's activities. She has the most active conscience of all the female characters who have been propelled into their lover's life of crime. This is displayed in the scenes such as after the accident, and her reaction to this incident. Aside from this, Rose also stands out as she has a young child and a mother, which gives her a depth lacking from some of the other portrayals. It was a more real-life, relatable story for Rose than others, such as BEGGARS OF LIFE, which amped up the melodramatic personal lives of its female characters. BONNIE AND CLYDE, as a matter of fact, did feature Bonnie's mother in a short sequence, but in comparison to ALOHA BOBBY AND ROSE, did not have the same depth, despite giving another insight into Bonnie. Rose being both a mother, and a daughter gave the movie a tragic quality, whereby she loves Bobby, but is also mindful of her responsibility to her child. The film's treatment of Bobby is also interesting for various reasons.

Unlike many of the movies with a criminal male protagonist, such as THEY LIVE BY NIGHT, BREATHLESS, PIERROT LE FOU, BONNIE AND CLYDE, and BADLANDS, Bobby in ALOHA, BOBBY AND ROSE is not actively criminal in his nature and actions. He is more of the rebellious and irreverent type, someone whose reckless behaviour lands him in hot water, something for which he is not prepared. Bobby is not premeditated in his actions, which Kit indeed was in his bloodless disregard for human life in BADLANDS. Romancing Rose was Bobby's main intention in ALOHA, BOBBY AND ROSE, something that the male characters of BONNIE AND CLYDE, and BREATHLESS possessed to a smaller degree in their narratives. There was a sweetness, and a quality of being misunderstood, that made Bobby one of the most comely of the male characters landing in hot water with the law. These are some of the reasons why ALOHA, BOBBY AND ROSE is one of the most interesting of the films with a lovers on the run theme.

Overview: Floyd Mutrux is the director of five feature films over twenty-three years, his first being released in 1971, and his final one in 1994. His inaugural movie, DUSTY AND SWEETS MCGEE (1971) was a drama about two young drug addicts in Los Angeles, roaming the streets, and documents their lives. Mr Mutrux's third film, AMERICAN HOT WAX (1978), was an entertaining story about the 1950s disc jockey Alan Freed, one of the figures who spearheaded rock and roll. His penultimate picture, box office success HOLLYWOOD KNIGHTS (1980) was a variation on AMERICAN GRAFFITI, following the antics of car club members in the mid 1960s. Floyd Mutrux's final movie, THERE GOES MY BABY (1994), was another foray into 1960s America, this time charting the lives of several Los Angeles high school students, and their reactions to events in the society of the time. ALOHA, BOBBY AND ROSE was not only one of Floyd Mutrux most-recognized works, but was also popular commercially.

With ALOHA, BOBBY AND ROSE, Floyd Mutrux has made a movie which captures a definite mood and spirit of the mid-1970s in a most convincing manner. In what is essentially a love story played out against the backdrop of real-life obligations, loyalty, crime, and the consequences of one's actions upon their lives, ALOHA, BOBBY AND ROSE is blessed with a vivid sense of time, and place, that not all films can readily boast. One is swept up by the emotions of the characters, the unhurried nature of their blossoming love story, and the doses of reality that the film dispenses from time to time. The relationships of Bobby and Rose, Rose and her mother, and their interactions, all ring true in an emotional sense. In addition, there is an irresistible quality to the film's spotlighting of the various locations which add an air of verisimilitude to the action. From the gas stations to the take away diners, the shops on the street, these seem to have a life of their own. While ALOHA, BOBBY AND ROSE has certain virtues, there are some flaws which, unfortunately, take away from the film's power.

The first third of the movie is the best in terms of laying out to the audience the central relationships, and why people do what they do in the narrative. Rose's union with her mother, what binds them together, Rose's loyalty to her son, and how life events put her in the position she is, are all explained to the viewer. Once Bobby enters the picture, and how his actions affect his, and Rose's life, are compelling to witness. Where ALOHA, BOBBY AND ROSE comes unstuck, though, is in the second third of the movie, where the heart-stopping action comes to an end. The entrance of Buford and Donna Sue into the picture, while giving the film another point of interest, unfortunately bogs the movie down in talk and a lack of action, thereby cutting the suspense level considerably. One wants to see how Bobby and Rose will evade capture, and other things that could have happened, but this never takes place. Showing Rose's mother toward the end of the movie takes the film back to a good emotional plane, but by then it is too late. When the conclusion arrives, while shattering, its impact has been undercut by the second third of the movie, and its listlessness. This hurts the movie in an irreparable way. What could have been a great movie becomes rudimentary. A picture that runs its audience hot and cold by its lack of cohesion, ALOHA, BOBBY AND ROSE is a film that could have been so much better with firmer handling.

Acting: ALOHA BOBBY AND ROSE has a triad of terrific performances which boost the movie despite its inadequacies. As the restless Bobby, Paul Le Mat gives another of his distinctive portrayals. An actor who was one of the shining lights in AMERICAN GRAFFITI, here he also does likewise, but adds a further element of danger and romance that were not present in the other movie, nicely delivered by Mr Le Mat. His ladylove Rose, played by Dianne Hull, is another standout performance. Getting deep into the core of her character, Miss Hull makes Rose someone who could really exist, and her acting provides the movie with its second authentic role. Martine Bartlett, Rose's mother in the film, rounds out the singular acting in the movie. An actress whose presence alone oozes realism, saying much without dialogue in many instances, along with Dianne Hull, makes the mother-daughter relationship one of the best aspects of ALOHA BOBBY AND ROSE.

Soundtrack: ALOHA BOBBY AND ROSE has a great rock soundtrack, with a varied number of songs which pleasingly pepper the movie at just the right moments. The best use of a tune is Elton John's 'Bennie and the Jets' which is played at both the beginning and end of the film, and throughout on sporadic intervals. It nicely sums up the relationship between Bobby and Rose, and is especially memorable at the picture's end.

Mise-en-scene: ALOHA BOBBY AND ROSE offers viewers an evocative on screen experience. Cinematographer William A. Fraker captures both the interior, and exterior Los Angeles locations in a beautiful manner. Daytime locales such as the diner where Rose works, and the garage where Bobby is employed all exude verisimilitude, and casual comfort. Nighttime photography is where the movie is at its height, with images of the freeways, Bobby and Rose riding in the car, the convenience store scene, to name some examples, all perfect.

Notable Acting Performances: Paul Le Mat, Dianne Hull, Martine Bartlett.

Suitability for young viewers: No. Adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

Trailer

BLOODBROTHERS (1978)

Title: BLOODBROTHERS

Year of Release: 1978

Director: Robert Mulligan

Genre: Drama

Synopsis: A young man from an Italian-American family yearns to make his own mark on the world, but his biggest stumbling block may be his own father's expectations to follow him in the construction industry.

Within a film history context: Movies about Italian-American protagonists can be found from the silent era. One of the first was Reginald Barker's THE ITALIAN (1915). The life of an Italian man who comes to the United States for a better life, marrying the woman of his dreams, and the difficulties they encounter, were charted in this realistic production. With THE SLEEPING LION (1919), directed by Rupert Julian, an Italian-American man leaves New York City with his adopted son for the West, but romantic troubles plague him. George L. Cox's THE TIGER LILY (1919), differed from the previous two films as the main character was a woman.  In New York City, a charming young Italian-American working at her uncle's inn causes hearts to flutter, and becomes involved in many romantic scenarios in the process. Into the sound era came THE GUILTY GENERATION (1931), directed by Rowland Lee. The love affair of two young Italian-Americans whose gangster fathers were at war in New York City had a touch of romance along with crime. On the other hand, Howard Hawks' SCARFACE (1932) revolved around the rise, and precipitous fall of an Italian-American gangster, played by Paul Muni. One of the most famous of the early crime-themed movies, it was influential and remade in 1983, this time starring Al Pacino in the lead role. 

HUDDLE (1932), directed by Sam Wood, was entirely different in scope. The life of a young Italian-American man working in a steel mill, later attending Yale on a scholarship, and falling for a young woman, was slanted toward romance, something the other movies barely touched upon. James Cruze's RACETRACK (1933) followed a bookmaker, played by Leo Carrillo, who takes on the responsibility of raising a homeless young boy, but complications ensue when the boy's mother comes back into the picture. Another Leo Carrillo vehicle, THE WINNING TICKET (1935), directed by Charles Reisner, had the star as a barber who buys a lottery ticket, but hides it as his wife disapproves of gambling, with the ticket winning a major prize. The kicker is that the barber cannot find where he placed the ticket, but his baby son has more to do with this than he realizes. Edwin L. Marin's MAN OF THE PEOPLE (1937), had an attorney as its main character dealing with the Mafia in his profession. More earthy was FISHERMAN'S WHARF (1939), directed by Bernard Vorhaus. A fisherman, played by Leo Carrillo, and his young son live happily together, but things change when the fisherman's sister-in-law moves in with them, her young son in tow. Into the 1940s and 1950s, many varied depictions of Italian-Americans made their way to cinema screens.

Garson Kanin's THEY KNEW WHAT THEY WANTED (1940) had a wealthy farmer involved in a complex web of events, hoping to attract a young waitress by using the photo of another man as himself. CRY OF THE CITY (1948), directed by Robert Siodmak, was much darker in execution. An Italian-American police lieutenant is dogged by a fellow Italian-American criminal who causes him no end of grief. Criminality was also examined in Nicholas Ray's KNOCK ON ANY DOOR (1949). A young Italian-American man accused of murder is defended by an attorney, appealing to the court in light of his turbulent life, but this makes no difference in the eyes of the law. HOUSE OF STRANGERS (1949), directed by Joseph Mankiewicz, concentrated upon the family dynamics in an Italian-American family. It focused on the relationship between a father and his sons, specifically their reaction to their father being apprehended for dubious financial activities. Richard Thorpe's BLACK HAND (1950) was about an Italian-American man whose father was killed by the Black Hand extortion racket, and how he attempts to avenge his death, and bring the racket to justice. MARTY (1955), directed by Delbert Mann, was entirely contrary to this. The pathos-filled love story of a butcher and a teacher was a popular success in its time, earning star Ernest Borgnine an Oscar for best actor but also, winning for best picture and director. Daniel Mann's THE ROSE TATTOO (1955), as with THE TIGER LILY, was notable in that it sported a female Italian-American protagonist. The tale of a New Orleans seamstress and her messy family, and interpersonal relationships was another winner not only at the box office but also, for actress Anna Magnani in the lead. 

SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was a showcase for Paul Newman as real-life boxer Rocky Graziano, charting his life, and the many events he experienced. Richard Quine's FULL OF LIFE (1956) was in a much more comedic vein than the other movies with Italian-American characters. A couple expecting a child run into difficulties with a home repair, and reluctantly ask his father, a stonemason, to carry out the work, despite their tenuous father-son relationship. It was back to drama territory with THE MIDNIGHT STORY (1957), directed by Joseph Pevney. When an Italian-American priest is murdered, a policeman investigates this incident, and suspects a restauranteur of the crime. With Phil Karlson's THE BROTHERS RICO (1957), a trio of brothers is the focus, with one a former Mafia accountant who is drawn back to them on account of his two siblings. The fraught love affair of an Italian-American man and an Italian woman was the crux of WILD IS THE WIND (1957), directed by George Cukor. A widower travels to Italy to marry his late wife's sister, but his memories of the past cause many issues between them. Melville Shavelson's HOUSEBOAT (1958) was another movie with an Italian-American female protagonist. Sophia Loren spreads charm and joy to not only an American family living on a houseboat but also, the widowed father, played by Cary Grant. Entirely more sinister was AL CAPONE (1959), directed by Richard Wilson. Detailing the tumultuous life of the notorious Chicago criminal, it offered a meaty part to Rod Steiger in the lead. The 1960s, as with previous decades, also had differentiated views of Italian-American characters onscreen.

Richard Wilson's PAY OR DIE! (1960) was another crime-related film. The biographical account of New York City policeman Joseph Petrosino, and his efforts to stop organized crime in the early 1900s, it featured Ernest Borgnine in the main part. LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan, was about two Italian-Americans, one a department store assistant, the other a musician, documenting the ups and downs of their love affair. Gordon Douglas' TONY ROME (1967) had an Italian-American private investigator as its lead, enlisted by a millionaire to find his daughter's missing jewellery piece, and becoming enmeshed in intrigue. Full-blooded could be said to describe WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese. The character portrait of a young Italian-American man, and his issues of guilt and religion was a great showcase for not only the director but also, Harvey Keitel in the lead part. Into the 1970s, Cy Howard's LOVERS AND OTHER STRANGERS (1970) had an engaged couple as the main focus, with the groom Italian-American. The movie also includes the bridegroom's family as an essential part of the action, with humorous and touching results. One of the most famous ever of the films with Italian-American protagonists was THE GODFATHER (1972), directed by Francis Ford Coppola. The epic story of a Mafia family was awarded several Oscars, grossed a tremendous profit, and led to two sequels over the space of eighteen years. 

An uninhibited view of Italian-Americans was provided by Ralph Bakshi's HEAVY TRAFFIC (1973). The life of a young illustrator of both Italian, and Jewish parentage slayed many dragons in its wake, and was one of the most original films of the genre. MEAN STREETS (1973), directed by Martin Scorsese, once again had Harvey Keitel as an Italian-American, this time as a smooth thug who lies and cheats his way through life, falling into nothing but trouble along the way. Sidney Lumet's SERPICO (1973) was about a real-life New York police officer, and his attempts to block corruption in the police force, but finding his own colleagues turn against him. A more domestic take on Italian-American characters can be found in A WOMAN UNDER THE INFLUENCE (1974), directed by John Cassavetes. Examining a crumbling marriage, and the effect the wife's mental illness has on the union, it was a showcase for Gena Rowlands in the eponymous role. Real-life criminals were again on display in CRAZY JOE (1974), directed by Carlo Lizzani. New York arch-criminal Joe Gallo was spotlighted in this disappointing movie, with Peter Boyle convincing in the titular part. One of the most celebrated films with a central Italian-American character was John G. Avildsen's ROCKY (1976). The life of a boxer who rises to fame, it was a breakout movie for Sylvester Stallone, a massive box-office hit, and led to several sequels. SATURDAY NIGHT FEVER (1977), directed by John Badham, was another huge box office success. The story of a young man who finds his niche on the disco floor, despite the roughness of his personal life, made John Travolta a star, had a pulsating soundtrack, with a sequel in 1983. BLOODBROTHERS had many features in common with the films with Italian-American characters, but possessed many of its own individual traits.

BLOODBROTHERS was similar to those films which spotlighted Italian-Americans in difficult situations where the human spirit is challenged, such as THE ITALIAN, HUDDLE, and FISHERMAN'S WHARF. It also had the complex family interactions which characterized THE GUILTY GENERATION, HOUSE OF STRANGERS, THE ROSE TATTOO, and, to a lesser degree, LOVERS AND OTHER STRANGERS. BLOODBROTHERS clearly defines its characters, being who they are, what they want, and why they want it. The family in BLOODBROTHERS could be labelled as being dysfunctional to a large degree, but watching the action gradually unfold is one of the film's graces. In addition, the movie was also reminiscent of those pictures where a young Italian-American man wants to make it on his own, many times running up against opposition to his aspirations, such as in THE SLEEPING LION, HUDDLE, SOMEBODY UP THERE LIKES ME, WHO'S THAT KNOCKING AT MY DOOR, HEAVY TRAFFIC, and SATURDAY NIGHT FEVER. This is explored in one key manner in BLOODBROTHERS.

Stony's main opposition is his father, who wants him to be a construction worker, while Stony yearns to help children at the local hospital. In this way, BLOODBROTHERS' more benign central character conjured memories of the characters in the first two entries of the previous movies than the latter four. This is also where BLOODBROTHERS diverts away from the more heavy-going films. Stony in the picture is not only looking for romance but also, seeking to make his mark in the world as he wants, similar to HUDDLE's Tony in his persuasions. This is refreshing to witness as many of the films in the genre, while well-made, had a leaning toward Italian-Americans involved in crime, and dangerous situations. BLOODBROTHERS recognises that there are enough obstacles in life which can be examined in a film without the need for sometimes trumped up peril. This is also evident in the romance between Stony and Annette. There are no parents to keep them apart, or actions they have committed which could have a detrimental effect on them. Their own feelings, and view of the world are what both pulls them together, and drives them apart, which is interesting to watch. One of the most full-blooded of the movies about Italian-American characters, BLOODBROTHERS is a worthy entry in this film genre.

Overview: Robert Mulligan was the director of twenty motion pictures over thirty-three years, with many years spent in television. His movies are stories with a sympathetic edge, making audiences comprehend what makes characters tick in an intensive manner. After spending several years working in television, Mr Mulligan made his directorial debut with FEAR STRIKES OUT (1957). The story of real-life baseball player Jimmy Piersall, it was notable for starring Anthony Perkins in his third movie role. After a few more years in television, Mr Mulligan made THE RAT RACE (1960). It was a comedy-drama with Tony Curtis and Debbie Reynolds of a musician who arrives in New York, and falls for a dancer. TO KILL A MOCKINGBIRD (1962) was one of Robert Mulligan's most warmly-remembered movies. The story of a Southern lawyer defending a black man accused of rape, it boasted a fine performance by Gregory Peck as lawyer Atticus Finch. In a similar but more dramatic vein was one of his most famous pictures, LOVE WITH THE PROPER STRANGER (1963). Natalie Wood and Steve McQueen were, respectively, a department store assistant and a musician, with Miss Wood falling pregnant to Mr Queen's character. More great films followed in the years after for Mr Mulligan. BABY THE RAIN MUST FALL (1965) was a melodrama about a footloose man just out of jail, and trying to make it up to his wife and young daughter. Fine work from both Lee Remick, and Steve McQueen as the lead actors, it was a memorable and moody piece of cinema, shot in stark black and white. 

Continuing with realistic stories and situations, 1967 marked the release of UP THE DOWN STAIRCASE. Featuring Sandy Dennis as a school teacher in a New York high school, it was hailed for its lead performance and its authenticity. Four years after this film, one of Mr Mulligan's most commercially successful movies was released, SUMMER OF '42 (1971). The sensitive recollections of a young man who falls in love with a married woman in the early 1940s, it is remembered for its performances, and the evocation of a time and place which Mr Mulligan delicately conveyed on screen. Another distinctive film in his collection was SAME TIME, NEXT YEAR (1978). Taking CLOSE ENCOUNTER to a different level, it was about a married man and a married woman who embark on an affair, and meet at the same time every year when they first began their liaison. An affecting observation of feelings and middle-aged angst, it provided great roles for Alan Alda, and Ellen Burstyn as the couple in question. Into the 1980s and beyond, Robert Mulligan made CLARA'S HEART (1988). The story of the touching relationship between a Jamaican woman, and a young boy from a family for which she is a housekeeper was Mr Mulligan's second last film, and a return to form for him. His final feature, THE MAN IN THE MOON (1991), was the story of a young woman in 1950s Louisiana, especially detailing her antics and family life. Well-received critically, the movie, unfortunately, was not a money-maker. BLOODBROTHERS was Robert Mulligan's sixteenth motion picture, and one of his most fluent works.

It had that same sympathy for its characters and their lives which many of his movies shared, ranging from TO KILL A MOCKINGBIRD, BABY THE RAIN MUST FALL, UP THE DOWN STAIRCASE, and SUMMER OF '42, to name but a few examples. Robert Mulligan allowed audiences privileged views of people in situations that could indeed have existed in real-life, and BLOODBROTHERS is no exception. His films are rooted in a realism and thoughtfulness that is not only poignant, but endearing to observe. While it could be said that BLOODBROTHERS is one of Mr Mulligan's flashier works, spotlighting an Italian-American family, laying bare their foibles for all to see, it is in keeping with his oeuvre. Despite being one of his movies which was one of the noisiest in terms of the characters and their way of expressing themselves, BLOODBROTHERS does have an adjacent softness about it, making one in turn feel for the characters. The characters at times do go over the top in how they act and feel, but this unrestricted range of emotions shows them both at their best but also, their worst. This makes them relatable, and, in turn, sympathetic. One of Robert Mulligan's most entertaining films, BLOODBROTHERS is a pleasure to watch.

Acting: BLOODBROTHERS has an illustrious cast who are all utilized to maximum effect in the movie. In the lead role of Stony De Coco, Richard Gere is excellent as a young man seeking to find his way in life, but coming up against many roadblocks. An actor of charm and nervy energy, here he is refreshing to witness as a normal young man without being portrayed as a male hyper-sex symbol, something upon which his later films capitalized. In this film, it relies more upon the actor's natural charisma, and subtle mannerisms which the director has spotlighted exceptionally well. As Stony's father, Tommy De Coco, powerhouse Tony Lo Bianco brings notes of anger, humor, and pathos to a difficult part, making Tommy an entertaining, but multi-dimensional figure. Tommy's brother Chubby De Coco is vividly brought to life by Paul Sorvino. His unflappable character and common sense prevail in the movie, especially acting as the mediator in the many conflicts always unravelling in the Do Coco family, making Chubby a lively, stalwart figure. 

Michael Hershewe, as Albert, Stony's brother, and Tommy's son, is nicely played by the young actor. Without saying much, using his body language to express his discomfort at his family situation, Mr Hershewe does a fine job. The chemistry between Richard Gere and Michael Hershewe is most keenly felt in the film, their age difference giving things another level of depth, with Stony not only a brother but also, a father figure to Albert. As Maria, Tommy's wife, and Stony and Albert's mother, Lelia Goldoni is utterly authentic as the put-upon De Coco family matriarch whose rollercoaster of emotions is one of the movie's most compelling aspects. Rounding out the fine cast is Marilu Henner as Annette, Stony's on-again, off-again girlfriend. In her first major movie role, Miss Henner does very well as the no-nonsense, composed Annette whose pragmatic nature draws the sometimes hot-headed Stony closer, giving him balance.

Soundtrack: Elmer Bernstein's bold instrumental score deftly encompasses the heated emotions of the characters in BLOODBROTHERS, and their take no prisoners attitude toward life.

Mise-en-scene: There are a number of interesting contributions to what is presented on screen in BLOODBROTHERS. Cinematography by Robert Surtees is beautifully composed, ensuring that the color is naturalistic, but with subtly lively tones, reflecting the characters and the film's overall realistic feel. Female costuming by Joanne Haas, likewise male costuming by Robert Harris Jr. complement each other well, appropriate to the characters and their socio-economic position and mindset. Set design by Lee Poll is another of the film's distinctive traits. Locations such as the De Coco family home, Annette's apartment, and the bar which Tommy and Chubby frequent, are all notable for appearing authentic, as if people actually live and use these settings.

Notable Acting Performances: Richard Gere, Tony Lo Bianco, Paul Sorvino, Michael Hershewe, Lelia Goldoni, Marilu Henner.

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

Overall Grade: B

Link: IMDB Page

INTERVIEW WITH ACTRESS TRACY MANN

Today I have the immense pleasure of welcoming a very special guest, actress Tracy Mann, to CINEMATIC REVELATIONS for an interview. Tracy has acted in many motion pictures over the years such as HARD KNOCKS, GOING DOWN, FAST TALKING, THE BOX [my review of the film can be found here] RECKLESS KELLY, FELONY, SLEEPING BEAUTY, ANGEL OF MINE and TOP END WEDDING. Tracy has also been very active in theatre over the years, starring in many notable plays and musicals. In this interview Tracy will be discussing her part in THE BOX movie, acting, cinema, theatre, and television.

Welcome to CINEMATIC REVELATIONS Tracy!

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

Tracy: When I was 4 I believe I said to my parents ‘I want to be an actress’! My mother thought I’d grow out of it. I never did!

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Athan: Where did you study acting?

Tracy: I come from the school of hard knocks. Drama classes as a child, then as a teenager with the Saturday Company, a branch of the SATC in Adelaide. I went straight from my final exam in high school to rehearsals at the Adelaide Festival Theatre for Winnie the Pooh. I joined Actors Equity then.  It was 1973.  I finally began studying in London with Phillipe Gaulier in the 90s. I have worked with many wonderful teachers over the years. Lindy Davies being one.

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Athan: Your performance as Tina Harris in THE BOX could be described as being the film’s conscience, providing it with a sympathetic moral centre among the movie’s derring-do. What is it that you most enjoyed about playing Tina in THE BOX movie?

Tracy: You must remember, I was 17 years old when I did THE BOX movie. So everything was exciting and new and fun. We were on location at Eildon Weir staying in a local motel and Graham Kennedy was in the room next to me. He arrived in his Rolls Royce. But Tina, was a great role for me because we grew together. Her journey was mine. A fortunate beginning to my career.

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Athan: THE BOX had an excellent ensemble cast including Ken James, Paul Karo, Barrie Barkla, Lois Ramsey, and Fred Betts. What was it like working with these performers in the film?

Tracy: In my day, (I feel I can say that at my age!) actors working in soap were older and very experienced and many were theatre actors.  So I learnt professionalism from these wonderful actors and actresses. That was my ‘acting school’. Also working for 18 months on the series gave me muscle to act swiftly and decisively.  And learn lines quickly.  And forget them just as fast!

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Athan: What did you find most exciting about the experience of making THE BOX movie?

Tracy: Everything was exciting in those days!!

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

Tracy: I reiterate, I was a mere 17. Demanding and emotionally satisfying weren’t yet terms in my lexicon! But I will say when Ken James dropped his towel, it was A SHOCK!!! 

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

Tracy: I remained friends with Lois Ramsey until she passed away. She was a very dear and valued presence in my life.

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Athan: THE BOX was directed by Paul Eddey, who mainly directed and produced episodic television, and for whom THE BOX was his sole movie credit. How was the experience of being directed by Mr Eddey in THE BOX?

Tracy: As it was my first movie too, I had nothing to compare the experience to. But I remember he was a very nice man.

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Athan: You have been in many stage plays over the years, with ‘The Graduate’, ‘Minefields & Miniskirts’, ‘Two Weeks With The Queen’, ‘Noises Off’, ‘Blithe Spirit’, just some of the productions in which you have starred. What is it about the theatre that you most enjoy?

Tracy: Collegiality. Community. Immediacy. Working with great texts, and time to rehearse and explore. Audience response. Not the nerves, or the late nights though!

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Athan: In addition to film and the theatre, you have also acted in a multitude of television series over the years, with classic programs such as The Box, Matlock Police, The Young Doctors, The Sullivans, Prisoner, Sweet & Sour, Skirts, Janus, G.P., and more recently on Wonderland, and Rake and Five Bedrooms. In terms of comparing and contrasting acting on film, and acting on television, what differences are most evident from your experience?

Tracy: Film and television acting requires subtly, small gestures, minimal expressions. You can be quiet. And redo take after take. Theatre requires muscle, vocal and physical presence. Working with the audience, their breath, their laughter. It involves stage craft, finding your light, sharing intimate moments with 500 people demands different skills to film and television. But all mediums need ‘truth’.  Putting your attention on the ‘other’. And being present. Listening. LISTENING is key.

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Athan: In 1980 you won the AFI (Australian Film Institute) Award for Best Actress in feature film HARD KNOCKS. How did it feel to be acknowledged in this manner for your performance in the movie?

Tracy: It was a very special moment to hear my name called out. I remember bursting out of my seat in the (now sadly demolished) Regent Theatre in Sydney and running up the aisle in my Linda Jackson green silk chiffon sheath! Glorious. I hadn’t prepared a speech but blurted out ‘thank you, thank you THANK YOU’, with beautiful Michele Fawdon and a spritely oldish Kirk Douglas presenting my award.  You even got a monetary award in those days. Mr Douglas presented me with a $2,000 cheque and whispered, ‘you’re on your way kid’.

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

Tracy: Yes I do, but in this climate, I think it’s prudent to keep things a bit quiet.  So much can change.  Nothing set in stone.  But I’ll work for as long as I’m asked. I’m grateful to be able to participate in interesting projects and meet new creative people and still learn. It’s an adventure.

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

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INTERVIEW WITH ACTOR MALCOLM DANARE

Today I have the immense pleasure of welcoming a very special guest, actor Malcolm Danare, to CINEMATIC REVELATIONS for an interview. Malcolm has acted in many motion pictures over the years such as FLASHDANCE, CHRISTINE, THE LORDS OF DISCIPLINE [my review of the film can be found here] NATIONAL LAMPOON’S EUROPEAN VACATION, INDEPENDENCE DAY, GODZILLA, and AMERICAN JUSTICE, to name a few examples. He has also been involved in filmmaking in the capacity of producer, with a film in post-production at the moment. In this interview Malcolm will be discussing his role in THE LORDS OF DISCIPLINE, acting, his producing work, and voice acting.

Welcome to CINEMATIC REVELATIONS Malcolm!

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

Malcolm: I had always been somewhat of a ‘ham-bone’ in high school. I liked to make people laugh. The first time I acted in front of an audience was in a talent show at school. The fellow I acted with was named Richard. We did a scene from Monty Python. It was the ‘dead parrot skit’. We came in first place! That was the first time I realized what a thrill it was to memorize lines and actually act them out. I knew at that point, I ‘might’ have what it takes to pursue this thing they call “ACTING!

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Athan: Where did you study acting?

Malcolm: There was a brief moment that I studied at, The Lee Strasberg Institute. Then realized that most of the students that were there, were a whole lot more driven and dedicated than me, so I quit. When I graduated high school, I wanted to get a job, so I started working at a small clothing store called Miller’s Outpost. About four months of working there, I received a phone call from my father. He said that he had met a gentleman who had broken down in his rent-a-car. My father at the time owned a taxi cab company. So, as he was driving one of his cabs back to the garage, he noticed a man on the side of the road (SUNSET BOULEVARD) flagging him down. My father drove over and helped the man. The man said, “Can you please take me to Paramount Studios, I’m already 30 minutes late”. As the two started chatting in the cab, my father asked the man, “what did he do for a living?” The man said, I’m a director and I’m here in Los Angeles for a few days, casting a movie. My father instantaneously said, “My son’s an actor”! My father was referring the talent show I had done in high school and the two months of studying I did at the Strasberg Institute. The gentleman asked to see a picture of me, my father showed him and the gentleman said, “I would like to meet your son”. The gentleman who broke down in in car was, FRANC RODDAM, director of The Lords of Discipline.

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Athan: Your performance as Poteete in THE LORDS OF DISCIPLINE was one of its finest assets, a stunning portrayal of a young military student under tremendous strain in extraordinary circumstances. What it is that drew you to the part of Poteete?

Malcolm: What drew me to the role of Poteete, is the belief that Franc Roddam had in me playing that amazing role. I had never acted in front of a camera before, I thought that it would be terrifying, little did I know, it would be the single most exciting thing I would ever do. Even to this day, I love hearing the word “ACTION”!

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Athan: THE LORDS OF DISCIPLINE had a strong cast including David Keith, Ric Rossovich, Mitchell Lichtenstein, Michael Biehn, and Robert Prosky. What was it like working with these performers?

Malcolm: I remember during the audition period of LOD, all the different actors coming in to audition for particular roles. As far as I know, I might have been the first actor cast. Because I had no agent or manager, I constantly had to keep in touch with the casting director. Who is the great Ellen Chenowith. As the weeks went by, I had to audition with several different actors auditioning for the role of Will McLean. Michael Biehn was first choice of Franc’s from the second I was brought on. So, after the fame and popularity of ‘Officer and a Gentleman’, David Keith was set on to play the lead role. I loved working with David Keith and Michael Biehn. Both wonderful actors.

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Athan: What did you find most exciting about the experience of making THE LORDS OF DISCIPLINE?

Malcolm: I loved working in the United Kingdom. It was a three-month shoot. One of the things I loved the most about working in London England was that 80 percent of my family lived there. So, after a hard day of shooting, I would go to a relative’s house, instead of the hotel. I also met my first girlfriend at the time, Shelley.

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Athan: You had many intense scenes in THE LORDS OF DISCIPLINE which were riveting to witness. For you, what was the most demanding, but emotionally satisfying segment of filming THE LORDS OF DISCIPLINE?

Malcolm: The two scenes I remember like they were shot yesterday are… When, PIG, Rick Rossovich beats the living hell out of me and WILL, David Keith tells me that, “I have to be a man, if I want to stay in the institute”. FYI? That was the first time I had ever acted in front of a camera, doing that particular scene. The second scene I remember well is, being on the ledge of a three-story building. There was a lot of dialogue that needed to be said and a whole lot of concentrating not to fall off. Ps… there was scaffolding below, we were always safe.

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Athan: Have you kept in contact with any cast members and crew from THE LORDS OF DISCIPLINE?

Malcolm: I have always stayed in touch with the wonderful, FRANC RODDAM. He will always be my mentor and hero. He gave me my break and I’ll never forget that! Whenever I am in the UK we get together, he took me out for my 55th birthday a few years back. I speak with Michael Biehn every so often and even Judge Reinhold.

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Athan: THE LORDS OF DISCIPLINE was directed by Franc Roddam in his second directorial effort, also helming QUADROPHENIA, ARIA, THE BRIDE, WAR PARTY, and K2. What was it like being directed by Mr Roddam in THE LORDS OF DISCIPLINE?

Malcolm: Franc is a sensational director. He knows how to work with an actor, to get out of them exactly what he needs for the scene and the film itself. There are many directors I have worked with the love camera angles, weird lighting. Franc Roddam knows what he wants and Franc knows how to get it!!

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Athan: You have acted in the capacity of producer on several movies over the years such as THE TAKER, AMELIA 2.0, and currently on CHASTISE. Which film so far has given you the most satisfaction in terms of being producer?

Malcolm: I really do love all of them. There is a certain satisfaction of producing a film and then seeing it on the screen. There is an overwhelming sense of accomplishment.

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Athan: One of the reasons Poteete is so vivid to watch in THE LORDS OF DISCIPLINE is in part due to the use of his voice, which alternately expresses a gamut of emotions such as fear, sadness, and apprehension. You have been a voice actor on many television productions such as Ever After High. What is it that you most love about being a voice actor?

Malcolm: I absolutely love voice over work. It’s interesting, I’m always playing young people. I guess that’s because I have a high voice. Even at the age of 59, when I’m on the phone with someone I don’t know, like a phone company rep, or a representative from my bank, they will still say, “one moment Mrs”.

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

Malcolm: I have two television projects that I have written and will be producing. I also have two features that we are shopping.

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Thank you so much today for your time Malcolm, and for the insight you have provided into the art of acting, THE LORDS OF DISCIPLINE, cinema, production, and being a voice actor. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Malcolm Danare links

*Malcolm Danare IMDb Actor Page

*THE LORDS OF DISCIPLINE movie IMDb page

*Malcolm Danare Instagram page

*Malcolm Danare twitter page

FIVE QUESTIONS FOR SCREENWRITER DAVID SALE ABOUT HIS NOVEL'S ADAPTATION INTO A TELEMOVIE

I am very happy today to welcome back screenwriter David Sale to CINEMATIC REVELATIONS. David has been on the blog previously elaborating about his screenwriting for the NUMBER 96 movie, and many other topics; the interview can be found here. In this post David will be discussing his experiences with Hollywood, documented in his book Number 96, Mavis Bramston and Me, specifically writing his first novel, Come to Mother, which was picked up by Universal Studios for the movie rights after its publication. 

Welcome back to CINEMATIC REVELATIONS David!

Athan: Before the immense success of NUMBER 96 on television, you wrote your first novel, Come to Mother, the book being quickly optioned by Universal Studios after its publication. What circumstances led you to write your first book?

David: We were just into the ’70’s. My stage revue “Lie Back and Enjoy It” was in a successful run at the Richbroke Theatre in Sydney. I had been a journalist, an actor, a satirical writer, and now a producer/director for both Television and the stage. I needed to try something different. “What should I do now?” I asked my literary agent, Peter Grose of Curtis Brown. “Write a book,” he replied. “Write a book that has nothing to do with Australia and make it a sure-fire movie property.”

I had recently read “Rosemary’s Baby” by Ira Levin and was knocked out by its thrilling originality. I knew that I wanted to equal its originality, not write some hackneyed plot about a serial killer on the loose, beautiful women being stalked and menaced, or a cliche ‘who-dunnit’. Even in those days these themes had been exploited endlessly.

Instead, I looked towards recent scientific developments - not science fiction, but the world of science fact and actual developments that prompted the question “I wonder what would happen if…..”

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Athan: Your novel had the topic of cryogenics, something which was not talked about much in the early 1970s, as its basis. How much research into the subject did you undertake in order to write about this very sensitive subject?

David: I have to confess research isn’t one of my strong points, but in the case of cryogenics it took just a couple of articles to background me in the theory. The idea of freezing someone who’d died from a fatal disease, keeping the body from deteriorating with zero temperatures and then ‘thawing it’ when a cure for the fatal disease is found and restoring the patient to healthy life, totally intrigued me. I thought: “I wonder what would happen if…the body was kept frozen for years, then restored to life looking exactly the same as when it died to find the world it knew had moved on. In other words, like “Rip Van Winkle.” In my plot, a beautiful young wife and mother with two toddler daughters is afflicted with a fatal disease. Her already-wealthy young husband has her cryogenically frozen. Sixty years later, yes, sixty! , she is returned to life, still young and beautiful, to be confronted by two elderly daughters and a senile millionaire husband. In screen casting of the era, I imagined, say, a young and beautiful Mia Farrow as the mother of Bette Davis and Joan Crawford (in their “Baby Jane” images.). A bizarre situation to say the least!

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Athan: The book cover of Come to Mother featured a model barely concealing her chest, which is indeed a provocative image. How much creative input did you have into the type of cover that would be produced for your novel?

David: I had absolutely no say in what went on the cover of this or any of the other novels I wrote. In my experience, that was entirely the domain of the publisher. Athan, you obviously saw the paperback cover of “Come to Mother” which featured a naked girl (her breasts discreetly covered) encased in a block of ice, which at least was a nod to the theme of cryogenics. The hard-back cover, which of course came out first, featured - for no reason - an actual picture of a naked adult girl (again with private parts cleverly hidden) sitting cross-legged like a naughty child and ripping a doll to pieces! Don’t ask me why.

Strangely, neither of these covers raised a murmur, although they may have influenced the excellent sales.

The only controversy associated with “Come to Mother” came from one of its sub-plots which had a black guy, George, having an affair with a white woman. The publishers insisted that I turn George white, to “ensure the book’s successful distribution in South Africa.” Not being a racist, I said “To hell with that” and refused to make the change.

The dispute made the newspapers, with one memorable headline: “George turned White, David saw Red!”

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Athan: Your novel was made into an American TV movie, LIVE AGAIN, DIE AGAIN (1974) with many changes that altered the course of the story considerably. How did it feel to see your novel in such a different form from your original vision?

David: Universal’s Story Executive, Michael Ludmer, who’d been responsible for the studio buying the screen rights to “Come to Mother” invited me to visit them in Hollywood. On my next trip to London (for the publication of my second novel “The Love Bite” - I was on a roll!!), I did exactly that and did a stopover in Los Angeles. To my astonishment, I was given the full celebrity treatment - limousines to the hotel, a private escorted tour of working sets at the Universal Studios, etc. etc. I suspected this special treatment was NOT just because they’d bought my book, but by then “Number 96” had been launched and become immensely popular in Australia, its fame had spread far and wide, and there’s nothing that impresses Americans more than success. And at Universal, they’d all heard about it.

There was a negative side. Michael Ludmer confided that the great Alfred Hitchcock. then in his declining years, had shown a brief interest in my book, but that came to nothing. The property had been passed from producer to producer but all had ‘script problems.’ So, I was prepared for the worst when it eventually emerged as a “Movie of the Week” titled “Live Again, Die Again” (which to me sounded more like a James Bond movie!). It bore little resemblance to my book. Not only had they changed the title, they’d changed the plot, the characters, the location, the lot. The bizarre plot was gone. They’d shot it mainly on location at the ‘luxurious’ Harold Lloyd Estate with a cast that included Donna Mills, Vera Miles, Geraldine Paige and Walter Pigeon.

The ‘Variety’ crit summed it up: “A good, original idea turns sour in the hands of director Joseph Stefano…..” and ended: “a shocking waste of talent and a good original idea.” This, at least, gave me some justification for the disappointment I felt.

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Athan: What did you take away from this experience in hindsight?

David: It prepared me for future encounters with the fickle world of screen adaptations. When my second novel “The Love Bite” was optioned by British producer/director Douglas Hickox (“Theatre of Blood”) he also hired me to do the first draft screenplay. At least I could keep this movie faithful to my book, I thought. The option contract included a flight to London to collaborate with Douglas Hickox on this first draft screenplay, which was a wonderful experience. Unfortunately, he then went broke, sold off his option, and now the screen rights to “The Love Bite” reside with an untouchable shelf company in Switzerland! The basis for yet another interview?

At least these projects brought me sizeable amounts of money to make up for the dissatisfaction at the results. As veteran Hollywood screenwriter Casey Robinson once told me: “It’s the amount on the cheque that matters. Take that and then walk away!"

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It has been a pleasure having you again on the blog David, and I thank you for giving readers a great insight into your first novel, and the process by which it was made into a television movie. It has been a revealing, and very interesting discussion. You are always welcome to return whenever you wish.

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David Sale links

*David Sale IMDB page

*Number 96, Mavis Bramston and Me on Amazon US

*Number 96, Mavis Bramston and Me on Amazon AUSTRALIA

INTERVIEW WITH ACTOR KEN JAMES

Today I have the immense pleasure of welcoming a very special guest, actor Ken James, to CINEMATIC REVELATIONS for an interview. Ken has acted in several motion pictures over the years such as THE INTRUDERS, THE BOX [my review of the film can be found here] THE LAST I HEARD, and THEY’RE A WEIRD MOB. He has also been prolific in theatre over the years, starring in many notable plays and musicals. In this interview Ken will be discussing his role in THE BOX movie, acting, cinema, theatre, television, and, the beauty of food and cooking.

Welcome to CINEMATIC REVELATIONS Ken!

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

Ken: At the age of 12 - I was very fortunate to be born in an era when television was just in its infancy. A lot of demand but not much supply. My neighbour took her daughter to a casting agent and I went along.

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Athan: Where did you study acting?

Ken: I won a scholarship to NIDA in 1968. I was offered the role of Mark Hammond in Skippy, so opted to accept that instead. I learnt on the job by working with some wonderful people.

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Athan: Your performance as Tony Wild in THE BOX was one of its best features, giving the film both humor, and pathos. What did you most enjoy about playing Tony in the movie?

Ken: It was a difficult role to play because it was an actor playing an actor playing an actor.

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Athan: THE BOX had an excellent ensemble cast including George Mallaby, Belinda Giblin, Paul Karo, Judy Nunn, Barrie Barkla, Fred Betts, and Cornelia Frances. What was it like working with these performers in the film?

Ken: We were like a family. We spent so many hours working in such an emotional and creative environment. The production team, Crawford productions put together were the best of the best. Hector Crawford once gave me the secret to success – he said ‘always surround yourself with good people’

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Athan: What did you find most exciting about the experience of making THE BOX movie?

Ken: Four and a half years of constant work made me a better actor.

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

Ken: We had a special effects guy who was supposed to sink Hector Crawford’s houseboat - except he did it a day early!

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

Ken: Sadly, Lois Ramsey, Fred Betts, George Mallaby have passed away, but still in touch with other cast members and have very fond memories.

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Athan: THE BOX was directed by Paul Eddey, who mainly directed and produced episodic television, and for whom THE BOX was his sole movie credit. What was the experience of being directed by Mr Eddey in THE BOX?

Ken: Paul was extremely helpful but as he explained to me you’ve been playing this role for three years - you know the character.

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Athan: You have acted in many plays over the years, with Anything Goes, The Naked Vicar, The Rocky Horror Picture Show, Jack & The Beanstalk, and Run For Your Wife just a small sample of your credits. What is it that you find most compelling about performing in the theatre?

Ken: The live experience – immediate rapport with the audience which you don’t get with television.

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Athan: Aside from film, you have also acted in many classic television series such as Skippy, The Box, Matlock Police, Division 4, Cop Shop, Sons and Daughters, Skyways, and Prisoner. In terms of comparing and contrasting acting on film, and acting on television, what differences are most striking from your experience?

Ken: The time spent. Television is so immediate. Working on a film set there is a saying – hurry up and wait!

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Athan: You have a deep interest and appreciation for food and cooking, having a cooking segment on Good Morning Australia for many years. Being a foodie, this is very understandable. What is it about cooking and cuisine that makes your heart race?

Ken: The creative process from sourcing the food to preparing, enjoying is a creative experience for me.

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

Ken: Just my grandson’s 10th birthday. 

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Thank you so much today for your time Ken, and for the keen insight you have provided into the art of acting, THE BOX, cinema, theatre, television and, of course, glorious food. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Ken James links

+Ken James IMDb Actor Page

+THE BOX movie IMDb page

+Ken James official website