I am very happy today to welcome actress Manuela Thiess Garcia back to CINEMATIC REVELATIONS. Manuela has been on the blog previously speaking about her role in CHANGES, and many other topics; the interview can be found here. In this post, we will be taking things in an entirely academic, but nevertheless, absorbing direction. Manuela will be discussing a number of fascinating topics close to her heart such as politics, existential philosophy, science, psychology, and biology.
Welcome back to CINEMATIC REVELATIONS Manuela!
Athan: Politics is a subject of interest the world over, and a matter of contention in many an instance. What is it that you find most interesting about politics?
Manuela: To not be concerned about what is going on in the world politically is to not be engaged in what controls your life. I think it essential to inform ourselves about the politics around us, so that if need be, we can find a way to make our little voices count. And, if we are fortunate enough to have a public platform of one kind or another, I think it is almost criminal not to use it to influence the larger good as we see it. For example, we live on an endangered planet. We know this, and yet, all too often, we ignore the implications of global warming to our own peril.
Even if we have no political voice for change, we can inform ourselves about what we can do at home to lessen our impact on the planet, and we can make our voices heard on social media, to people we talk to, in the grocery store where they try to hand out plastic bags, or wherever we encounter violations against the earth. I believe we must never be silent where we can see we might affect even a tiny change.
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Athan: Existential Philosophy is always very fascinating. I remember reading the works of Friedrich Nietzsche years ago, and how transfixing these were. His work was graceful and easy to read, but filled with meaning, and pertinent at the time he wrote, and now. What is it about existential philosophy that is so compelling for you?
Manuela: What I find most compelling with regard to how I live my own life influenced by existentialism, is the notion that we are our own makers and thus, we bear responsibility for our own choices. This also acknowledges that life is absurd. It has no meaning other than what we give it, so we must choose what is important without letting anyone dictate to us what that importance should be.
I am not a determinist. I believe in freedom of choice and that what you choose determines who you are. Hence, while I find religion serves people well who have no idea of how to live their own lives and want some sort of guidance, I also feel that it is sad that those people willingly give their freedom over to some dogma or other because they do not understand that they can make their own choices.
People who let others make their choices for them are fair game for politicians who exploit this weakness by praying upon their beliefs and subverting them to their own ends. Look at the MAGA evangelicals in the U.S. for an example.
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Athan: Countless books have been written on science, with many television shows and movies also rooted in this topic. Is there a specific field of science that most intrigues you, and why?
Manuela: All of science intrigues and fascinates me, but if I had it to do over, I would become a physicist. I enjoy learning about particle physics and quantum mechanics in particular. Unfortunately, I do not have a mathematical background and scientific formulas are indecipherable to me, so of course, my understanding is only miniscule. But the very idea - the wonder of it - that we are still just beginning to understand what lies at the subatomic level or that we are able to manipulate it, is fascinating. And the very idea that we even know the subatomic level exists at all, is an astounding validation of what the human mind is capable of. You-tube abounds with videos on science, and to me, they are like attending free university lectures, and I am grateful for them. I have to admit, I also find them more digestible than some of the books which tend to be harder to decipher.
Perhaps it is better that we had never figured out how to split the atom and invented the atomic bomb, and very probably, we will destroy ourselves with our nuclear capabilities, and yet, if our ethics, our good sense, and our morals manage to catch up to our scientific discoveries before we do destroy ourselves, the possibilities are boundless. As I understand it, the new generation of computers, for example, will utilize the discovery of particle entanglement to operate quantum computers.
I also love cosmology but I can barely wrap my head around the notion of the Big Bang. I eagerly await more news from the Webb telescope discoveries and perhaps it will lead to a unifying field theory which will finally merge relativity with quantum mechanics.
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Athan: Psychology is another riveting subject, something that is indispensable in everyday life, relating to fellow human beings but also, for example, what set films in motion, specifically the characters, and their motivations. For you, what is the allure of psychology?
Manuela: As a young person, I had many emotional problems which manifested themselves, among other things, in alcohol and drug addiction. That is not to say that I am emotionally sound at this stage, but I have learned to cope with my defects by getting various types of therapies over the years and by studying psychology. My undergraduate studies are in that field.
As in any scientific area, there is always more to be discovered and psychology is an area that has many different approaches. However, scientific discovery depends on empirical observations, and it is not so easy to peer inside of the brain, but we get closer all the time thanks to high resonance imaging and the like. Still, much of psychology is speculative, and that also makes it interesting as there is still so much to be learned.
We live in an age where many people, especially the young ones, are getting more comfortable with virtual reality than real flesh and blood relations. What that does to the human brain is just being observed. Psychology will be essential in helping people transition into real life social situations. We live in a brave new world, indeed.
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Athan: Biology is yet another engrossing field of study. Do you find the study of human biology the most interesting, or the study of living organisms such as plants and animals, or both?
Manuela: All of the sciences tie together and augment one another, do they not? Biology and chemistry are responsible for many of the life-saving medications we have come to rely on. Without the study of biology, be it plant or animal, we would not begin to understand the inter-connections of the millions of lifeforms on the planet, nor would we be able to comprehend the toll that our ignorance of these interconnections has taken. But we are beginning to understand, and now it is up to us to convince the big corporations via the politicians to save our little pale blue dot and all the people on it, from the doom that many scientists predict.
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It has been a pleasure having you again on the blog Manuela, and I thank you for elaborating on the topics of politics, existential philosophy, science, psychology, and biology. It has been a fruitful, enlightening discussion with you in every way. You are always welcome to return whenever you wish.
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Thank you so much, Athan, for allowing me to expound on my views a little in your forum, here. We all like to have our ideas heard and you give me a chance to do that. I appreciate it greatly.
Synopsis: A disc jockey falls for a mysterious young woman, and is accused of her murder, but fights to clear his name.
Within a film history context: The early to mid-1970s saw a great number of films, coined as Blaxploitation movies, with African American protagonists in central roles, often supported by Caucasian actors in smaller parts. These films continue to be made to the present day. Up until the release of MELINDA in 1972, there were many notable films which explored the Blaxploitation theme in vastly different ways. One of the first with an African American actor in the lead role was Robert Downey Sr.'s PUTNEY SWOPE (1969). Arnold Johnson was the main character, the eponymous Putney Swope, being an advertising executive, in a sharply satirical film that was shot in stark black and white. COTTON COMES TO HARLEM (1970), directed by Ossie Davis, was another influential film. With its colorful characters and presentation, a sequel was produced in 1972, COME BACK CHARLESTON BLUE that was not as warmly received as the original. COTTON COMES TO HARLEM's humor, and spurts of violence, became a feature of other films in the Blaxploitation genre.
Paul Bogart's HALLS OF ANGER (1970) was utterly different in style and tone from other movies in the genre. Centering around the arrival of white students in a predominately black school, igniting racial tensions, with the return of a black teacher there. It was a thoughtful film that offered no easy answers to race relations, but opened the door to further discourse about these. More exploitative was SOUL SOLDIER (1970), directed by John Cardos. Set during the Civil War, it was the story of a black man in a regiment managed by a white man, and whose cast included actors such as Barbara Hale and Cesar Romero. Topical in nature was Ralph Nelson's TICK, TICK, TICK (1970). With Jim Brown as the black sheriff of a small town simmering with racial tensions, it was a film that traded less in violence than others in the genre, and with more of a solid storyline than most. A comical take on race relations was on view in WATERMELON MAN (1970), directed by Melvin Van Peebles. With a mainly black cast, it was a fish out of water story with a white insurance man finding himself to be black after waking up one morning. It is remembered mainly for its comic atmosphere, witty asides, and the strength of the performances. 1971 brought more films that explored the Blaxploitation angle in various ways.
One of the rarest of these was Wendell Franklin's THE BUS IS COMING (1971). A young black Vietnam veteran returns home and discovers his brother was murdered by racist police officers, with revenge on the soldier's mind. A subdued, serious examination of racism in a small town, it was a well-made, convincing story that eschewed violence and sex, and made up for this in sheer story. Unlike other movies, HONKY (1971), directed by William A. Graham, had romance on its mind. The story of an interracial love story that involved narcotics, it was a change of pace for the Blaxploitation genre. The arrival on screen in 1971 of one of the most influential films in the genre stood out - Gordon Parks' SHAFT. The story of a black detective and the special case for which he was hired, it made a star of its lead actor Richard Roundtree, and its fashionable blend of violence, sex and salty language spawned several sequels and a television series. Another breakout film in the genre also appeared in cinemas in 1971 - SWEET SWEETBACK'S BAADASSSSS SONG, directed by Melvin Van Peebles. Notorious for its sex, nudity, language and violence, it was a film that pushed many buttons in the day, and was 'X' rated in its initial release. A groundbreaking film in 1971, it is still powerful today, time not diminishing its potency. MELINDA had features which were present in many of the blaxploitation movies, but possessed its own distinguishing marks.
The movie had a strong African American male protagonist at its core, something which also infused HALLS OF ANGER, TICK, TICK, TICK, THE BUS IS COMING, SHAFT, and SWEET SWEETBACK'S BAADASSSSS SONG. Frankie in MELINDA has that same streetwise demeanor of all the previous examples, but more in common with notions of black male sexuality from SHAFT and SWEET SWEETBACK'S BAADASSSSS SONG. Where Frankie in MELINDA diverts is that he does not have that unstoppable libido which Shaft and, especially, Sweetback possess. Frankie's sexual appetite is shown to a small degree in MELINDA, but in a more monogamous context than Shaft and Sweetback's raging sex drives. In comparison to Shaft and Sweetback, he could be described as being almost chaste in this department.
Frankie has an affair with the mysterious Melinda, but the impact of her presence on his life is what drives him to find her killer. It is more of a mission for Frankie in MELINDA in identifying her murderer, something also present for THE BUS IS COMING's Billy, seeking who killed his brother. Frankie's one-woman man predilection is also apparent in his subsequent teaming with old girlfriend Terry to investigate the circumstances of Melinda's death. In this manner, Frankie and Terry's relationship is somewhat similar to Quincy and Lorraine's in HALLS OF ANGER, with Frankie and Terry's union tested on a grander, if sometimes more melodramatic scale, in MELINDA. A man and a woman teaming to find out the truth about something is also in THE BUS IS COMING, with Billy and Tanya's odyssey to locate his brother's killer an event which pulls them together. An interesting movie with some compelling moments, MELINDA is a sound example of a Blaxploitation film of the early 1970s.
Overview: Hugh A. Robertson was the director of three motion pictures in his career, being more active in various capacities such as sound, editing, and writing. He was notable for editing pictures such as MIDNIGHT COWBOY and SHAFT, and as sound editor on THE MIRACLE WORKER, MICKEY ONE, and A THOUSAND CLOWNS. His second film, BIM (1974), was the topical story of a Trinidadian young man involved in the independence movement in Trinidad and Tobago, coming up against many obstacles. Mr Robertson's third and final movie, OBEAH (1987), was a tale of two young people, and their entanglement in voodoo practices in the Caribbean. MELINDA was Hugh A. Robertson's film debut, and his most well-known movie.
With MELINDA, Hugh A. Robertson has made a satisfactory movie that ably maintains interest from beginning to end. There is a good execution of the story, with the many and varied events handled well by the director. The movie can be quite intricate in its storytelling, making it a film which is three-dimensional and not threadbare. One could imagine the scenario taking place in real life, giving MELINDA a realistic edge. It is a solid combination of crime, suspense, and romance elements that would appeal to various audiences, being broad in this respect which is pleasing to see. The overall presentation lends itself to a vividness which only assists the film in feeling authentic. While MELINDA has some good aspects, there are flaws which undermine the impact of the movie.
There is an interesting contrast in MELINDA between the pairing of Melinda and Frankie on the one hand, and Terry and Frankie on the other. It is implied by the narrative that the more physical union of the elusive Melinda and Frankie, which ends in her death, could not have been sustained in the long run. Terry and Frankie's pairing was evident on many levels, from loyalty, love, and sacrifice. This is something which is borne out by the story, but its delivery in one area does take matters down a notch. The air of intrigue around Melinda does permeate the film in a positive vein, but the love scene between her and Frankie is one of the movie's lowest points. Generally, love scenes in pictures are some of the most unnecessary, embarrassing segments which do not delve into character and story in a telling way, and here it is no exception. This scene does nothing to forward the story, and is risible for its attention to physical detail. It actually detracts more than it provides to the viewer, which is a drawback. This, though, points to a tendency that MELINDA has in retrospect.
There is a marked misogynistic emphasis in MELINDA which crops up from time to time in the movie. Melinda and Frankie's love scene is the first instance, with her physical attributes highlighted here. In addition, MELINDA also seems to relish showing the dead corpses of two female characters in a demeaning way. The presentation of these is tasteless, and could have been better shown by either obscuring, or not showing these sights for the viewer. This also leads to some other things which are visually imperfect in MELINDA. Some of the stunt work, specifically in its final stretches, appears artificial. Possibly slow motion may have worked better here, adding a taste of realism. Despite these faults, it can be said that MELINDA, on a basic level, is a watchable piece of Blaxpolitation cinema with some engaging moments.
Acting: MELINDA has a great cast who make the movie highly watchable. In the lead role of disc jockey Frankie, Calvin Lockhart is as lively as always as the passionate, volatile man on a mission. An actor who brought a sense of streetwise and earthiness to his parts, he is excellent, his anger palpable. As the enigmatic and lovely Melinda, Vonetta McGee is well-matched with Mr Lockhart, bringing good humor, and depth to her brief appearance. Rosalind Cash, on the other hand, is on fire as the explosive Terry, Frankie's ex-flame with whom he spends the majority of the movie. A thoroughly entrancing performer with unlimited range, able to express emotions with complete genuineness, she is one of the shining lights of MELINDA. As Tank, Frankie's erstwhile friend, Rockne Tarkington makes a duplicitous character sympathetic, with a sense of vulnerability present. The final actor of note in the movie is Paul Stevens as arch-villain Mitch, who sets the events in motion in MELINDA. A low-key, engaging thespian with a consoling speaking voice, mainly remembered for his part as lawyer Brian Bancroft in daytime serial Another World, his Mitch has many layers, making him anything but a cardboard gangster, and an intriguing figure indeed.
Soundtrack: The movie has an easy-going soundtrack, courtesy of Jerry Butler and Jerry Peters, which is in keeping with the film's casual aura.
Mise-en-scene: MELINDA has a very good handle on its visual experience for spectators. Cinematography by Bill Butler nicely captures the various Los Angeles locations in a naturalistic manner, without seeking to make these overly pretty. Sets by Sal Blydenburgh are also striking, special mention to the radio station where Frankie works, his apartment, and Mitch's house. Costume design by Norman Burza has stood the test of time, with both male, and female attire not dating as much as apparel featured in other 1970s movies, in particular, Frankie, and Mitch's wardrobes the standouts.
Award-worthy performances in my opinion: Calvin Lockhart, Vonetta McGee, Rosalind Cash, Rockne Tarkington, Paul Stevens.
Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, medium-level violence.
Synopsis: A newspaper reporter finds a love letter in a bottle on the beach, and seeks to find its author.
Within a film history context: Movies with a female journalist lead character have been plentiful in cinema history. One of the first was Harry Beaumont's DANCE, FOOLS, DANCE (1931). A young woman becomes a reporter after the family fortune is wiped out by the stock market crash, and is led to investigate the death of a fellow journalist, her brother having a part in this crime. With Howard Higgin's THE FINAL EDITION (1932), a resourceful reporter seeks to solve the murder of the police commissioner by becoming involved with a crime syndicate mobster. Different was A SHRIEK IN THE NIGHT (1933), directed by Albert Ray. A male, and a female reporter from different newspapers compete strongly for stories, but team up to solve murders being committed in an apartment complex. Michael Curtiz's FRONT PAGE WOMAN (1935) had Bette Davis as a feisty reporter who competes with a man at a rival paper for stories, but is slanted toward romance and comedy. A more period feel was present in A WOMAN REBELS (1936), directed by Mark Sandrich. In late 1800s London, a young woman with a messy personal life becomes the editor of a straitlaced magazine, and adapts it to her more progressive feminist ideals. Frank Capra's MR. DEEDS GOES TO TOWN (1936) was about a man who inherits a fortune, and those who try to fleece him. It features a resourceful female reporter who at first uses Mr Deeds for her stories, but gradually falls for him.
With Michael Curtiz's FOUR'S A CROWD (1938), a female journalist, played by Rosalind Russell, seeks to save a newspaper in danger of being closed, and subsequently becomes enmeshed in romance. Miss Russell again played a journalist in HIS GIRL FRIDAY (1940), directed by Howard Hawks. In this movie, a female journalist wants to remarry, but the main obstacle is her ex-husband, who is the editor of the newspaper where they both work. Frank Capra's MEET JOHN DOE (1941), on the other hand, had Barbara Stanwyck as a columnist who creates a fictional man dissatisfied with society and its ills, and is forced to find someone to fill this role when this becomes a hot commodity with the reading public. Totally different in tone was THE CORPSE VANISHES (1942), directed by Wallace Fox. A journalist investigates the disappearance of young brides who are being used by a scientist for an insidious purpose, her life coming under threat in the process. George Stevens' WOMAN OF THE YEAR (1942) starred Katharine Hepburn, and Spencer Tracy as journalists who wed, but their married life is made difficult by their differences of opinion on many matters. It was the first of many movies made by the famous screen duo between 1942, and 1967.
William C. Thomas' BIG TOWN AFTER DARK (1947) was a film noir with a devious female reporter trying to cheat her uncle of money, but stopped in her quest by another female journalist, and the publishing company's editor. A female journalist was also investigating something in FOLLOW ME QUIETLY (1949), directed by Richard Fleischer. A series of murders of women take place, with a police lieutenant failing to make any inroads, but the reporter does her best to get to the bottom of the truth. Into the late 1950s, Lewis Allen's ANOTHER TIME, ANOTHER PLACE (1958) focused upon a female reporter during World War II, and her many romantic entanglements both in the United States, and Britain. Fast forward into the mid-1960s, with J. Lee Thompson's JOHN GOLDFARB, PLEASE COME HOME! (1965), a journalist is thrown into intrigue, and the thick of things in this Cold War comedy.
The 1970s, as with previous decades, also had varied depictions of female reporters on screen. SISTERS (1973), directed by Brian de Palma, was about a reporter who witnesses a murder in an apartment block, and her difficulties in convincing others of what happened. SUPERMAN (1978), directed by Richard Donner, had one of the most famous female journalist characters ever on film - Lois Lane. Between her busy schedule as reporter for the Daily Planet newspaper, and romancing Clark Kent/Superman on the side, she was one of the most prominent female journalists captured on celluloid. Similarly strong was Kimberly Wells from James Bridges' THE CHINA SYNDROME (1979). A journalist assigned to investigate the goings-on at a nuclear power plant, she was part of the engrossing happenings in this potent movie.
Sydney Pollack's THE ELECTRIC HORSEMAN (1979) had a rodeo star play out his adventures, with a television reporter only too willing to follow him in his exploits, with love also on the agenda. In THE CONCORDE...AIRPORT '79 (1979), directed by David Lowell Rich, a female journalist played a major role in this tale of aeronautical intrigue and suspense. Sydney Pollack's ABSENCE OF MALICE (1981) had a journalist who dug into a story, and caused issues in the process for the son of a man accused of murder, with many consequences for both herself, and the man she has put under tremendous strain. REDS (1981), directed by Warren Beatty, had a principal character who was a journalist in this story of American, and Russian politics. More sadistic in tone was Jean-Claude Lord's VISITING HOURS (1982). A journalist is pursued by a psychotic murderer who wants to see her dead, and a parade of violent events ensue whereby he tries to finish her off, but life makes matters strenuous for him.
FROM A WHISPER TO A SCREAM (1987), directed by Jeff Burr, featured a historian recounting four stories of murder, and mayhem, to a female journalist in this horror anthology movie. James Brooks' BROADCAST NEWS (1987) highlighted a tough female journalist who motivated most of the action in this movie. With SWITCHING CHANNELS (1988), directed by Ted Kotcheff, a romantic situation occurs as with BROADCAST NEWS, but in this instance, the manager of a television network tries to intervene in the upcoming wedding of his ex-wife, and another reporter at the same station. In Tim Burton's BATMAN (1989) a female journalist is on the tail of the mysterious Batman in this box-office blockbuster.
The equally action-packed NAVY SEALS (1990), directed by Lewis Teague, had a journalist embroiled in a secret mission involving missiles. Douglas Jackson's WHISPERS (1990) was about a female journalist pursued by a man who is trying to kill her at any cost, with many twists and turns along the way. UP CLOSE & PERSONAL (1996), directed by Jon Avnet, centered around a young television reporter, and her relationship with her former boss, the contrast in their professional lives the crux of this movie. MESSAGE IN A BOTTLE was a movie where the female journalist was a central character, thus allowing for an extensive portrait of the protagonist to be constructed for the viewer.
Theresa in MESSAGE IN A BOTTLE was front and center of the movie, in comparison to those where a female journalist was in support. It was similar to many of the films where a woman is on a mission, either to find out about something which has meaning to them, or investigate a mystery. This intrigue/mystery angle was also evident in THE FINAL EDITION, THE CORPSE VANISHES, FOLLOW ME QUIETLY, and DANCE, FOOLS, DANCE. MESSAGE IN A BOTTLE does not, though, follow the murder mystery story elements of examples such as THE FINAL EDITION, A SHRIEK IN THE NIGHT, and THE CORPSE VANISHES; instead, the mystery is delivered at a lusher pace, and in a less obvious manner. MESSAGE IN A BOTTLE has a leaning toward love and romance that the above examples did not explore. The presentation of the lead character is also of interest, in that she is natural in her manner, of a dreamier disposition. This sets Theresa apart from the hard-boiled female reporters in HIS GIRL FRIDAY, and WOMAN OF THE YEAR.
MESSAGE IN A BOTTLE explores how a woman becomes emotionally entangled in a romantic situation by finding a message in a bottle on a beach one day. This leads her to locating the author of a love letter, and the journey for the protagonist begins. The movie subsequently contains facets of films where a woman journalist, at first, utilizes a man for a newspaper story, then falls for him, in the tradition of MR. DEEDS GOES TO TOWN, MEET JOHN DOE, THE ELECTRIC HORSEMAN, and ABSENCE OF MALICE. As with MESSAGE IN A BOTTLE, all these movies have the female journalist suffer for using the main male character in the way they do, with the exception of THE ELECTRIC HORSEMAN but, in general, all is well by the conclusion. One of the most ethereal of the movies about a female journalist, MESSAGE IN A BOTTLE is an uplifting, entertaining picture.
Overview: Luis Mandoki is a Mexican director who has made movies both in his native Mexico, and in Hollywood. Mr Mandoki made several movies in Mexico, his first American film being GABY: A TRUE STORY (1986), starring Liv Ullmann. It was the real-life story a woman with cerebral palsy, and the struggles of her family in Mexico. Next came WHITE PALACE (1990), a May-December romance about a widower, and his relationship with an older waitress. 1993 brought the remake of the 1950 Judy Holliday vehicle, BORN YESTERDAY. A wealthy, brittle businessman hires a reporter to culture his girlfriend, who is a showgirl, but things take an unexpected turn when his other half becomes more sophisticated, and falls for the reporter in the process. More dramatic was WHEN A MAN LOVES A WOMAN (1994). It observed the relationship of an airline pilot and his wife, a school guidance counsellor, and the difficulties they face due to her alcoholism. Into the 2000s came ANGEL EYES (2001), Luis Mandoki's tenth movie. This was another film with a male-female relationship at its core, in this instance, exploring the union of a man with a female police officer. TRAPPED (2002) was a change of pace for the director, with a family ravaged by the kidnapping of their daughter, made even more tenuous as she is an asthmatic. MESSAGE IN A BOTTLE was Luis Mandoki's eight movie, and one of his best.
With MESSAGE IN A BOTTLE, Luis Mandoki has fashioned a movie that is enchanting to watch, permeated by a lightness of touch, and feeling of warmth. Even though the film is a romance, it is not syrupy, or mawkish in any way. Mr Mandoki has successfully crafted a picture which nicely adds to his oeuvre, which consists of other romantic stories about unconventional couplings that are not always threatened by outside forces, but, by the participants themselves. Their actions, desires, and feelings are what drive the narrative, obviating the need for unnecessary villains, or third parties. While there may be some characters who oppose the union, nevertheless, the focus is on the male-female central relationship. This is something present in WHITE PALACE, BORN YESTERDAY, WHEN A MAN LOVES A WOMAN, and ANGEL EYES. Other aspects of MESSAGE IN A BOTTLE are also pleasing to witness.
The presence of a suspense-mystery angle, in which both Theresa, and the audience, find out about Garret's past, works well, and in a leisurely manner. The mystery angle exists to deepen knowledge about the characters, without being just for the sake of having a mystery. It is also woven throughout the film, well-paced, and without bombarding the viewer with red herrings. Aside from this, having a tight concentration on the two lead protagonists works to frame the movie, which is an admirable feature of MESSAGE IN A BOTTLE. Seeing matters from another viewpoint, though, this move also slightly robs the film of taking advantage of its rich tapestry of supporting characters.
What is striking about MESSAGE IN A BOTTLE is the strength of its peripheral characters. It is to be said, in reality, that there is only so much time that can be devoted to other characters in movies than the leads. These supporting characters are all well-drawn and memorable, but one wishes that they had been used more than they were. Many examples abound in the film. Garret's former brother-in-law Johnny Land is employed effectively, but his anger is just so palpable, it would have been good to see more of him. Lina, Theresa's best friend, and colleague at the newspaper, would also have benefitted from further spotlighting. Likewise for Alva and Charlie, also from the newspaper, who are in a few scenes. Showing these characters more on screen would have given the opportunity to further deepen knowledge of the main characters. In spite of this, though, the positives definitely outweigh the negatives here. MESSAGE IN A BOTTLE is a well-made romance movie that ably grabs the emotions, and heartstrings in its soft-centered, irresistible way.
Acting: The performances in MESSAGE IN A BOTTLE assist to make it the engrossing entertainment it is. In the lead role of Garret, Kevin Costner adds another distinctive role to his credits. Generally depicted as an easy-going man with a casual manner unexpectedly finding love, here likewise occurs, but with a more quietly hardened edge that works. As Theresa, the young woman led in her quest to Garret, Robin Wright does wonders as the inquisitive reporter in search of a story, but also finding love. A sparkling actress who handles varied and difficult emotions with aplomb, her graceful personality fits the movie like hand in glove. As Garret's father Dodge, Paul Newman displays another string in his bow. One of the biggest Hollywood stars of the 1950s, 1960s and 1970s, and afterward, here he takes a supporting role, but adds a touch of experience, and knowing, that only enchants.
Garret's former brother-in-law, Johnny Land, is given intensive treatment by John Savage. A man of searing emotions ready to erupt at any time, Mr Savage lends a sense of danger, unpredictability but also, surprising humility, in his wonderful part. As Lina, Theresa's best friend, and confidante at the newspaper, Illeana Douglas contributes magic with her inimitable sincerity, and expressive visage. Alva, Theresa's other friend at the paper, is made memorable by Viveka Davis. Although her role is small in size, Miss Davis makes it count as the dazzling Alva who shows more than a passing interest in Garret. Crusty newspaperman Charlie is given fitting handling by Robbie Coltrane. An actor with a humorous expression of disdain on his face, he makes Charlie a charming presence in his limited appearances.
Soundtrack: Gabriel Yared's score for MESSAGE IN A BOTTLE fully suits what is taking place on screen, expressing a myriad of emotions in its subtle, stylish manner. Alternately tender, urgent, inspirational, and suspenseful, to name but a few adjectives, Mr Yared's compositions are always spot on, enhancing the movie's impact to a great degree. The film also features a number of songs from various artists which also further the movie's message of love and hope.
Mise-en-scene: MESSAGE IN A BOTTLE has a wonderful grasp of mise-en-scene that perfectly complements what is taking place on screen. Cinematography by Caleb Deschanel beautifully captures both interior, and exterior locales with elegance, a careful use of colour that is in keeping with the film's dreamy tone. Production design is another winner in MESSAGE IN A BOTTLE. Jeffrey Beecroft's vision creates a milieu the characters inhabit which is realistic, artistic, and beautiful to witness. Garret's home, Theresa's apartment, Garret's workshop, for example, are all evocative, and speak volumes of the characters, and their way of life.
Award-worthy performances in my opinion: Kevin Costner, Robin Wright, Paul Newman, Illeana Douglas, John Savage, Viveka Davis, Robbie Coltrane.
Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.
I have the immense pleasure today of welcoming a very special guest, actor Sam Groom, to CINEMATIC REVELATIONS for an interview. Sam has acted in many motion pictures over the years including ACT ONE, RUN FOR THE ROSES, FOR PETE’S SAKE!, THE BABY MAKER [my review of the film can be found here] and DEADLY GAMES, to name a few examples. In this interview Sam will be discussing his role in THE BABY MAKER, acting, television, and his position on the acting faculty at HB Studio in New York.
Welcome to CINEMATIC REVELATIONS Sam!
Athan: When did you first realize that you wanted to be an actor?
Sam: When my brother and I were young we went to 'the movies' almost every Saturday. We loved Cowboy, Tarzan, Pirate and War and Spy movies, almost anything with action and adventure. Afterwards we would go home and be those characters not act them but in our minds actually be them. As we grew up our focus turned to athletics. We were both pretty good and our dreams turned to being college and eventually professional athletes. In my senior year of high school I happened to see James Dean in East Of Eden and Marlon Brando in On The Waterfront. Unless you were young in the middle Fifties you won't completely understand what an enormous impact their work as actors achieved. Instead of the slick product of the past theirs was visceral and raw-almost embarrassing in its honesty. I thought THIS is what I want to do and be. My parents thought I was crazy but they supported me. When I had my first television success my Dad just walked around saying 'I can't believe it, I can't believe it!"
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Athan: Where did you study acting?
Sam: After secretly deciding to pursue an acting career while in college I began auditioning for every major school production. I was immediately cast as Dr. Stockman in Ibsen's ENEMY OF the PEOPLE and as Hamlet in Shakespeare's HAMLET. Although I read as much as I could I didn't formally study acting. I was simply lucky enough to be cast in shows and I learned by doing. (I don't necessarily recommend this method as I discovered later).During my last two summers of college I was hired as a resident actor in two professional summer theaters and after being married my senior year arrived in New York with a wife and very soon a son I had to provide for.
While working at night at a seaman's hotel, I was cast in a famous "live" hour long tv show, "THE ARMSTRONG CIRCLE THEATER" in a leading role. Actors such as Paul Newman and James Dean had done this show in the past. It was like a miracle after only five months in New York!
I continued to work regularly for a number of years relying on some natural ability and not formally studying. All that changed for me when I made a movie for television directed by the great Daniel Mann who was one of the founders of the Actor's Studio and director of Anna Magnani and Elizabeth Taylor in their Academy Award performances. After one particular scene he said that I was a "lazy actor". I was horrified. I was working as hard as I could. This lead me eventually to return to New York and to study with the great Uta Hagen. I discovered that what Daniel perceived as "lazy" was simply that since I never had formal classes there was a part of the acting process that I was not aware of. Knowing this I spent most of the rest of my career working in the theater and trying to perfect the techniques I FINALLY learned in class.
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Athan: Your performance in THE BABY MAKER as the charming, strong Jay was perfect. What is it that drew you to the role of Jay in this production?
Sam: What is most important for an actor is finding aspects of a character that he (or she) can personally identify with. For me this was not too difficult. Like Jay I came from a fairly conservative family background. Both my parents were college graduates. My dad was in the business world and many of our relatives were also in business or the law. People from that world generally have strong family expectations of a good life and further family success for their children. I know my parents did. The cultural conflicts that arose from the radical idea of having another woman carrying Jay's child and his building emotional connection to her despite his love for his wife were interesting ideas. The fact that Jay was a good and decent person was very appealing to me.
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Athan: What did you find most exciting about the experience of making THE BABY MAKER?
Sam: One of the most exciting aspects of making THE BABY MAKER was a call from my agent in early Dec.1969 telling me that the producer of a major film wanted to fly me to Los Angeles immediately. I was to meet with the director, Jim Bridges (who I knew) and Barbara Hershey (whose work I had admired) and read for a major role in a new film. Another [actor] was being offered the film. I happily accepted and flew my family to sunny California to spend two wonderful months living on the beach in beautiful Malibu while we filmed (five years later I bought the home and lived there for eight years).
As an actress, Barbara was very easy to work with. Unfortunately she was living with David Carradine and personally they were a bad combination. So working with her was fine but personally not so wonderful. Years later Barbara and I ran into each other on the street in Sherman Oaks and she apologized.
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Athan: For you, what was the most demanding, but emotionally satisfying segment of THE BABY MAKER?
Sam: Unlike plays which progress straight through from act one to act three in a dramatic line, films are shot out of sequence creating some difficulty for the actors in creating a truthful emotional journey for their characters. The BABY MAKER was a prime example of this difficulty.
The first scene and the last scene were filmed on the first day of shooting in a wonderful house (owned by Adam West of Batman fame) situated high above the ocean in Malibu. The actors had to make all the experiences from the beginning to the end of the script real to themselves although he (or she) had not lived them yet. The practical reason for this problem is financial. It costs a lot of money for film crews to move from one location to another so if more than one scene is to be shot at the same location they will always film them all at the same time.
The director, Jim Bridges, did something very rare in film-making. He had the entire cast rehearse for a week before shooting began, sitting around a long table at the studio working on our character's emotional truth. This was a great benefit to me!
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Athan: THE BABY MAKER dealt with the topics of infertility and surrogacy in a candid, but empathetic manner for all parties in the film. After acting in THE BABY MAKER, did you find that your perceptions of these subjects altered from what they were before appearing in the movie?
Sam: An interesting example of the perception of surrogate birth motherhood in 1970 when THE BABY MAKER was released was the huge difference in newspaper reviews in Columbus, Ohio (my parents’ home city). One reviewer loved the film and the acting. The second completely dismissed the film. His main point was that since the whole premise of a woman carrying a child for another woman was so unbelievable the film failed.
While we were filming, Jim Bridges told me that his idea for the film was inspired by speaking with a young (hippie) woman in Venice Beach, CA. who had twice carried children for barren women. She said she just loved creating babies.
As an actor I must have a vivid imagination to use as an aid in living truthfully under any given circumstances. When you combine that with the very truthful and appealing performance of Barbara [Hershey] and my own wife's often stated love of the creativity of being pregnant (we had three sons by this time) my perceptions didn't need much changing.
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Athan: Have you kept in contact with any cast members and crew from THE BABY MAKER?
Sam: Until the early 1960's the major studios (MGM, COLUMBIA, 20th CENTURY FOX, UNIVERSAL etc.) all had a long list of people (actors, directors, writers) under exclusive contract to the studio. They also had huge back-lots with sets of every description. As a result of this, these people would see each other frequently-either on set or eating in the studio dining room and lasting friendships would be created.
As a larger and larger percentage of the public watched TV, fewer and fewer went to the movies. In order to stay in business the studios sold off their back-lots for real estate projects (Century City) and no longer had actors under contract. Films were made on location around the world and the actors were hired only for one project. They would work together intensely for a time then be off to other projects and other cities.
That is a long answer to your question - not really. Scott Glenn and I had worked together in an off-Broadway production of 11 short plays by the top young writers in the theater called "Collusion Course". It got great reviews and ran for a year. One of the plays I did was written by Jack Larsen (a partner of Jim Bridges) so Scott and I knew each other before THE BABY MAKER and were friends.
Immediately after the film we all went in different directions. I was under contract to Another World in New York so I had to return. A year later I was in Toronto beginning a series called Police Surgeon and had dinner with Jim Bridges who was filming scenes of his film Paper Chase there. A few years later I had dinner with Jim and Jack Larsen in L,A. and visited with Scott and his lovely family at his home in Topanga Canyon. Again we all went off in our different directions. As I said I only saw Barbara once on the street.
My wife became ill and I spent much of my time in those years trying to hold my family together and continue with a career at the same time.
It took all of my attention.
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Athan: THE BABY MAKER was directed by James Bridges, who later helmed equally diverse motion pictures such as THE PAPER CHASE, THE CHINA SYNDROME, and URBAN COWBOY. What was the experience of being directed by Mr Bridges in THE BABY MAKER?
Sam: Before filming THE BABY MAKER Jim Bridges had been a screen writer (or as most screenwriters in Hollywood – a re-writer hired to improve another writer's efforts). This can be very lucrative. But Jim had never directed a film. Wisely, Jim cast his film with good people, had a week of rehearsal before shooting began, and then pretty much left his actors alone. He was very supportive and easy to work with. As is apparent from the quality of his next films he learned very, very quickly.
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Athan: You have starred on many television series, both daytime and nighttime, over the years such as Another World, The Edge of Night, Gunsmoke, Hill Street Blues, The Love Boat, and Law and Order, to name a few. What for you were the main differences when comparing television, and film?
Sam: The main difference between films and TV is speed. Not only speed of filming but speed of casting and of script writing as well. With the last series I did (Otherworld) the casting was completed, literally, the evening before filming began. The writing of the following episodes was just as delayed. This was not unusual. For some reason studio executives in television seem unable to make decisions until the last possible moment.
Theatrical films are entirely different. Scripts go through many rewrites before financing is in place then a careful search for a director and actors takes place. (Interestingly my casting in THE BABY MAKER was against all norms. Jim had wanted me since seeing me in Collision Course but he had to finesse the casting. He auditioned many known film actors, turned them down one by one until time was running out and the part had to be cast. I was not well known in the film community so Jim had to create a situation where a quick decision had to be made. When Barbara and I met and read our scenes together the producer was pleased and agreed to the casting).
Most hour long series episodes are filmed in seven days. Television movies take about three weeks to film. Contrast this to theatrical films that take at minimum six weeks and with complicated special effects a great deal longer.
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Athan: You have been an acting coach in HB Studios New York for many years. What is it the you find most rewarding in this position?
Sam: My primary method is teaching from my mistakes-this is what I did wrong or what I failed to do. It seems when students have concrete examples-very personal in my case-they more easily accept and remember the guidance and incorporate it into their work. Finally I relate something the wonderful actor and director Alan Arkin told me -before every performance he says a simple prayer - "Dear God if there is anyone in the audience whose pain I can relieve through laughter or I can help through a clearer understanding of the human condition, please allow me to do so today!" I only wish I had known this from the beginning!
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Athan: Do you have any upcoming projects of which you would like to tell readers?
Sam: As to future projects I am always looking for something that would be interesting to direct since at my age (I hate to say it) there are very few good roles being created for my work as an actor.
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Thank you so much today for your time Sam, and for the insight you have provided into the art of acting, THE BABY MAKER, cinema, television, and acting coaching. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.
Today I have the immense pleasure of welcoming a very special guest, actor Mark Jenkins, to CINEMATIC REVELATIONS for an interview. Mark has acted in several motion pictures over the years such as DOCTORS’ WIVES, THE FILTHY FIVE, RIVERRUN [my review of the film can be found here] THE ANDROMEDA STRAIN, and DESERT BLOOM, to name a few examples. In this interview Mark will be discussing his role in RIVERRUN, acting, theatre, and position, now retired, as Professor Emeritus, Acting, in the University of Washington’s School of Drama.
Welcome to CINEMATIC REVELATIONS Mark!
Athan: When did you first realize that you wanted to be an actor?
Mark: It was my private, secret ambition from about the age of fourteen. While in college I discovered I could do this.
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Athan: Where did you study acting?
Mark: First at the University of Wyoming near where I grew up. Then in New York, with Herbert Berghof, and eventually at The Actors Studio.
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Athan: Your performance as Dan in RIVERRUN was a distinctive portrayal of a thoughtful young man trying to find his way in life away from the hustle and bustle of modern life, seeking a more meaningful existence. What it is that drew you to the part of Dan?
Mark: Auditioning and being offered the role - my first film role. I would have been happy to work in any movie. I had done only theatre work before riverrun, mostly Shakespeare. But, I happened to identify with Dan for two reasons. I had left city life in Denver, Colorado to work on a ranch during my high school years which transformed me. Second, I was resisting being drafted for the war in Viet Nam and anticipated I would go to prison. Luckily I didn’t. I responded to Dan’s idealism and determination to do what he felt was right.
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Athan: RIVERRUN had a strong cast with yourself, John McLiam, and Louise Ober as the central trio of protagonists. What was it like working with these performers?
Mark Jenkins, Louise Ober, and John McLiam in RIVERRUN
Mark: It was easy to work with those good people. We had an easy rapport. John was very experienced and gave me a lot to push back against. Louise Ober was not even an actress but was easy going, natural and had a quietly expressive depth.
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Athan: What did you find most exciting about the experience of making RIVERRUN?
Mark: Probably the fact that we were living and working far away from Hollywood and the show-business world, on an out of the way part of the Pacific coast. John Korty had leased a real farm where we shot most of the film. There were no distractions from us making a world for the film.
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Athan: RIVERRUN had a large amount of location filming, which gave the movie an authenticity. The waterways, the farm, the streets of the town, for example, all oozed realism, adding to the verisimilitude for which the film aimed in its presentation. For you, what was the most demanding, but emotionally satisfying segment of filming RIVERRUN?
Mark: Trying to tell my story with simplicity and authenticity. And adjusting to working for the camera which is massively different than working for in a play before an audience.
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Athan: Have you kept in contact with any cast members and crew from RIVERRUN?
Mark: John McLiam, became a good friend and introduced me to his agent who ‘”signed” me and to a whole community of good, experienced actors and directors. We even did a play together about ten years later - Eugene O’Neil’s Desire Under the Elms, in Los Angeles. Louise Ober never acted again, that I know of. She was an extremely curious soul, audacious and adventurous. Unfortunately, she died, far too young, of cancer.
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Athan: RIVERRUN was directed by John Korty, who directed other diverse motion pictures as FUNNYMAN, THE CRAZY-QUILT, OLIVER’S STORY, and ALEX & THE GYPSY. What was it like being directed by Mr Korty in RIVERRUN?
Mark: He created a situation where; on one hand he considered us all as collaborators and welcomed our input and points of view. Only later did I realize that he kept his primary vision of the film to himself. (I would say, his attempt to merge nature with the human spirit by means of visual details.) To him, in this film “nature” was more than background.
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Athan: You were Professor Emeritus, Acting, in the University of Washington’s School of Drama for many years, and have taught many drama courses to students over the years. What did you find the most satisfying aspects of working with students in the School of Acting?
Mark: That is too big a question for this interview. Let me just say that being able to help actors peel away preconceptions, vanity, and ego-needs so that actual creativity can take place in real time, is profoundly satisfying. Also, I have able to introduce many actors to the subtle but thrilling genius of and craft of Anton Chekov’s plays which can be transforming to one’s sense of what art and theatre can be. I’ve also been able to teach, act and investigate acting as it’s practiced in Russia, Japan, Asia as well as locally.
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Athan: You are also a life member of The Actors’ Studio, which is renowned for the caliber not only of its alumni but also, its acting coaching. What it is that you most admire about the Actors Studio?
Mark: The Studio’s utter devotion to the actor’s individual process in order to unlock and reveal the inner life of a character “profoundly and intensively.”
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Athan: Do you have any upcoming projects of which you would like to tell readers?
Mark: I spent much of the last thirty years trying to write plays. One, All Powers Necessary and Convenient was produced twice in Seattle and published by the University of Washington Press. It deals in some detail with how the anti-communist “red scare” played out in Washington state in the late 1940’s. Since I retired, I’ve been trying to create a coherent and interesting look-back at my life’s journey.
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Thank you so much for your time today Mark, and for the insight you have provided into the art of acting, RIVERRUN, cinema, and academia. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.
Synopsis: A young couple who live on a farm in San Marino County, California, receive a visit from her seafaring father, which causes issues in their relationship.
Within a film history context: Several movies over the years have explored the relationship between a son-in-law, and his father-in-law in close detail. One of the earliest was Alfred Hitchcock's silent THE MANXMAN (1929). In this film, a pub owner objects to the man who wants to marry his daughter on account of being a poor fisherman, which sets in chain a series of events. With THE IDLE RICH (1929), directed by William C. de Mille, a son-in-law tries to help not only his father-in-law but also, other members of the family in a monetary sense, but his good intentions run them up the wrong way, until something changes everything. In Lewis Milestone's MY LIFE WITH CAROLINE (1941), a father-in-law maintains a good relationship with his son-in-law, but nevertheless, supports his daughter in her amorous pursuits, who as a habit of falling in, and out of love. MARRY THE BOSS'S DAUGHTER (1941), directed by Thornton Freeland, has a son-in-law in love with the boss's daughter, who supports him no matter how her father treats him, which includes retrenching him at one point.
Into the 1950s, Lloyd Bacon's KILL THE UMPIRE (1951) was different in tone. A man who dislikes umpires, being a former baseball player, is coerced by his father in law in taking a course in umpiring to support his wife and family. GOING STEADY (1958), directed by Fred Sears, had a father-in-law initially refusing to accept his son-in-law, but the fact of his daughter's pregnancy, among other things, eventually alters his feelings on the subject. Blake Edwards' pungent DAYS OF WINE AND ROSES (1962), had a tenuous father-in-law/son-in-law connection. A father views the man who wants to marry his daughter with disdain, and is proven correct when he leads her into a life of alcoholism, but they later find common ground. RIVERRUN is a movie where the father-in-law/son-in-law relationship was clearly delineated throughout the movie.
Unlike the other films where the father-in-law/son-in-law connection was a small part of the narrative, in RIVERRUN it is one of the major arcs within the picture. It works in conjunction with the daughter/father, young man/young woman dynamics, and draws comparisons between these unions. These relationships in RIVERRUN are of a more complex nature than previous entries, which were in many instances geared toward comedy, and more traditional views of these three relationships. In films such as THE MANXMAN, there is a concern on the part of the father for his daughter marrying a fisherman, with paternal economic considerations obvious. The father here is in a position of power over the son-in-law, likewise with THE IDLE RICH, MARRY THE BOSS'S DAUGHTER, and KILL THE UMPIRE. This, though, is where RIVERRUN diverts from these movies.
RIVERRUN has more in common with films such as GOING STEADY, and DAYS OF WINE AND ROSES, where the father is trying to protect his daughter from a man he considers inappropriate for his offspring. It is not about money in these cases, but a concern with the psychological traits of the respective son-in-law, and the prospective harm he might cause the daughter. RIVERRUN highlights Dan's pacifist ideals, and reluctance to enlist for Vietnam, which cause friction between him, and his father-in-law. Aside from this, RIVERRUN has a plot point which places it in complete contrast with all the other films. While all the movies had a married couple, in RIVERRUN, Dan and Sarah are not married, but, by all appearances, are akin to a legally recognized union. Once Jeffries discovers this, matters take another turn for him in the movie, railing against this knowledge, and Dan.
The movie does not paint Jeffries as an all-out villain, but someone who cares for his daughter, and believes in the institution of marriage. RIVERRUN, though, also depicts Jeffries as a man who wants his daughter to be married, but did not carry through on his own marriage to Sarah's mother. This provides the film a note of reality, and complexity in its characters' thoughts and actions. What this presents is Jeffries as an example of a person in the mould of 'do as I say not as I do', which does occur in real life. These examples point to something about RIVERRUN. A picture with a more intricate view of interpersonal relationships, particularly the father-in-law/son-in-law connection, RIVERRUN offers an impressive account in this arena.
Overview: John Korty was an American director with seven motion pictures to his credit, being more active on television, with twenty-eight telemovies bearing his name. His works followed the intimate lives of characters, displaying sympathy for them, and their milieu. Mr Korty's first movie, THE CRAZY-QUILT (1966), was about a couple, charting their marriage, foibles, and charming idiosyncrasies. Next came FUNNYMAN (1967), with the life of a comedian coming under the microscope in this comedy-drama. SILENCE (1974) was a change of pace, a family drama about a deaf-mute young boy adopted by a couple. The boy becomes lost in the woods, and befriends a man from whom he learns about survival in the elements.
ALEX & THE GYPSY (1976) focused on a bond bailsman, and his burgeoning relationship with a young woman in trouble with the law, accused of murder. In 1979 John Korty directed OLIVER'S STORY, the sequel to 1970's blockbuster romance LOVE STORY. Unlike the original movie, OLIVER'S STORY was unsuccessful at the box office, even though it continued the life of its protagonist, with Ryan O'Neal reprising his role in the sequel. John Korty's last picture, TWICE UPON A TIME (1983), was an animated feature about an arch-villain trying to make everyone's life miserable, making them see nightmares instead of pleasant dreams, but some good souls soothe everything in the end. RIVERRUN was John Korty's third feature film, and one of his best.
With RIVERRUN, John Korty has crafted an entrancing, compelling motion picture. As with many of his films, it documents the lives of characters who are not far removed from reality, and could exist in all actuality. Mr Korty's output was geared toward down-to-earth characters, and stories, and this is something that makes RIVERRUN so irresistible. It is a movie for people who are seeking emotionally enriching fare without exaggeration, or overtly larger than life material. In RIVERRUN, John Korty does not play around with the film, and the events that shape its characters. He has a tight concentration upon the three main characters in the film, and this is to its advantage. There are no extraneous scenes, or characters, to weigh it down, which would have taken away from the central trio. The finely-drawn characters are representative of the director's attention to detail in RIVERRUN.
The movie is about a young couple, Dan and Sarah, who are living and working on a farm in San Marino County, California. They previously lived and studied in Berkeley, California, and unhappy with what was going on there in the late 1960s. They seek a simpler, quieter existence on their farm. Their lives are changed when her seafaring father makes a visit to the farm. While this scenario may sound conventional to the casual eye, Mr Korty takes a leisurely approach to his story, and characters, which works in a naturalistic manner. One witnesses events build slowly but surely, and sides to characters are revealed without heavy melodrama. RIVERRUN also ensures that viewers are aware of the back story affecting characters, this informing events taking place in the present. This is undertaken by the director peppering the story with flashbacks, these functioning in an informative way. The movie, in effect, is a refreshing slice of life which rewards spectators for their patience. A beautiful movie that has unfortunately been little-seen over the years, RIVERRUN deserves re-release, and critical reappraisal as one of John Korty's best movies.
Acting: RIVERRUN has a trio of performances which assist it to be the great film it is. There is a tangible chemistry between the performers which makes the movie a convincing viewing experience. In the role of Dan, Sarah's partner, Mark Jenkins delivers a carefully-executed performance as the quiet, thoughtful young man with a firm set of ideals. His facial expressions and body language say so much without the need for dialogue in many instances. As Sarah, Dan's partner, Louise Ober radiates charm as a young woman, like Dan, who is seeking something else in life. An actress for whom this was her sole film role, Miss Ober passed away far too young, robbing cinema of further subtle acting interpretations. The thorn in the side of both Dan and Sarah is Sarah's father Jeffries, played with vigor by John McLiam. With his mixture of jauntiness, anger, disillusionment, and jolliness, Mr McLiam brings a quality of tragedy to his part which gives the movie punch.
Soundtrack: RIVERRUN takes a spare approach to its selection of music which does wonders for the movie. Brahms' 'Clarinet Quintet in B Minor' by David Oppenheim and the Budapest String Quartet, is utilized in an excellent manner during the birth scene, heightening the drama of this major event in the film, but without overshadowing what is taking place onscreen. Other music by Richard Greene and Peter Berg, such as the short harmonica piece at the beginning, and the fiddle tunes played throughout the picture, exude a rustic charm and atmosphere which only adds veracity to the visuals.
Mise-en-scene: RIVERRUN has a sheer authenticity with everything that appears in front of the camera. It could be said that location shooting is another star of the movie, with riverways, the farm exteriors, and other locations evoking immediacy and realism. There is the feeling that the viewer is there with the actors, in on the action. This extends to other locales in the movie. The interior of Dan and Sarah's home is warm and inviting, reflecting the people living there, with an assortment of furniture pieces, and accessories, nicely appointed. The impression is that Dan and Sarah are looking to create their slice of paradise here in their unpretentious manner, and it is a set that works very well in the movie to express this.
Notable Acting Performances: Mark Jenkins, Louise Ober, John McLiam.
Suitability for young viewers: No. Brief female nudity, adult themes.
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