Tag Archives: Movies

Outrageous! (1977)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Female impersonator befriends schizophrenic.

Robin (Craig Russell) works as a gay hairstylist during the day, but longs to be up on stage as a female impersonator.  Liza (Hollis McLaren) is a schizophrenic who leaves the hospital she was confine in and moves in with Robin her longtime friend. Both find ways to help each other with their problems, which allows Robin the confidence to finally get on stage in drag as Tallulah Bankhead, which makes him an instant hit and gets him a paid gig in New York City. However, when he moves away Liza’s condition worsens forcing Robin to decide what’s more important: his budding career, or his friendship.

The film is based on the shorty story ‘Making It’ by Margaret Gibson, which in turn was based on her experiences dealing with mental illness and her real-life friendship with Craig Russell whom she roomed with in 1971. The story nicely tackles the challenges of dealing with mental illness and how Robin’s support helps Liza overcome her demons that the other professional Dr’s and counselors that she sees don’t because they only view her as just another patient instead of a person.

The grainy, low budget quality works to the film’s advantage as it brings out the fringe, economically disadvantaged lifestyle that the two lived in while McLaren’s performance shies away from the cliches of mentally illness causing the viewer to see her as a regular everyday person, not just some ‘crazy’, valiantly fighting a nasty illness that she can’t always control.

The segments dealing with Russell’s onstage act are quite entertaining as well though when I first saw this film decades ago I found these moments to be off-putting as they turned it more into a documentary, or a comedy special that took the focus away from the actual essence of the story, which was the friendship. However, upon second viewing I liked the way it captures the gay club scene that was unique to that time period. Russell’s impersonations where he does Barbra Striesand, Judy Garland, Mae West and Bette Midler just to name a few are outstanding. I’ve seen some female impersonator acts before, but Russell’s far outshines any of the others I’ve ever watched as he gets the body language, voice, and facial expressions of the people he’s playing just right to the point that he completely disappears into the women characters until you can’t tell the difference.

While the film does have many touching moments I felt it should’ve shown how Robin and Liza first met instead of having it start with them already knowing each other when she moves in with him. Since they are such an odd pair capturing how and where this unique relationship all started and what element brought them together seemed crucial, but we never see it nor does it even get addressed in conversation. Having this backstory could’ve helped the film stay a little more centered on the relationship as well and prevented the over reliance on Russell’s stage routine, which while quite good, still takes up a bit more of the runtime than it should’ve.

My Rating: 7 out of 10

Released: July 31, 1977

Runtime: 1 Hour 36 Minutes

Rated R

Director: Richard Benner

Studio: Canadian Film Development Corporation

Available: DVD, Amazon Video

I Never Sang for My Father (1970)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Father and son clash.

Based on the Broadway play of the same name written by Robert Anderson, who also wrote the screenplay, the story centers on college professor Gene (Gene Hackman) who tries to mend his relationship with his father Tom (Melvyn Douglas) a very bull-headed man who can’t seem to get along with anyone. When Gene’s mother (Dorothy Stickney) passes away suddenly it becomes a concern what to do with the father who is showing early signs of dementia and other health issues. Gene, who has recently been widowed himself, wants to remarry and move off to California, but his father prefers him to stay close by in New York. When Gene offers to move his father to California the old man refuses leading to a bitter feud between the two that also opens up old wounds.

To show just how good this movie is one only needs to compare it to Dad, which was an 80’s film starring Ted Danson and Jack Lemmon, which had a similar subject matter, but that film conveniently glossed over the many negative aspects of taking care of an elderly parent while this one tackles the downside head-on. Hearing the arguments that Gene has with his sister Alice (Estelle Parsons) and how neither one of them want to be straddled with the responsibility of being a round-the-clock caretaker I found to be refreshingly honest. Too many modern movies, in their attempt to make the lead character likable, never address these very real concerns. Also in the movie Dad the Ted Danson character flies across the country to help his father with no explanation for how this affected his job or finances while this one does touch on the economic realities. It also shows how elderly people aren’t always that lovable and can at times be genuinely nasty.

Douglas is outstanding as he manages to bring out different sides to his character. While the viewer finds him exasperating I still enjoyed the shots showing him kneeling at his bedside in prayer, which gave him, even as old and crotchety as he was, a child-like dimension. The conversations that he has about his own father and the poor relationship he had with him are quite revealing as it shows how the same issues can go across many generations with Douglas inadvertently treating his own son in the same shoddy way his old man treated him and not even realizing it.

With Douglas’ powerhouse performance Hackman gets overshadowed. He has fleeting moments where he displays his trademark anger and pent-up frustrations, but it doesn’t come-off as quite as genuine as it does in some of his other roles. It also would’ve been nice had there been some flashback scenes showing past altercations between the two, which would’ve helped the viewer emotionally connect to what he was feeling instead of having their differences just briefly touched on through dialogue. In many ways Parsons comes-off better and the reasons for her anger at her father is more clearly and eloquently explained.

The only complaint that I had with the film is when Hackman goes touring the assisted senior living homes. While the film had approached the material in a straight forward dramatic manner, which stays quiet true to the play, it suddenly shifts during this segment to becoming more artsy and cinematic by blocking out the dialogue and instead playing loud, moody score with a more subjective, hand-held camera. While this is all right I still felt it wasn’t needed and goes against the tone of the rest of the film, which had been very minimalist up until the then. The sudden pounding music doesn’t make the visuals showing the bleak living conditions of those places anymore shocking or disturbing and if anything becomes unnecessarily jarring and in-the-way.

These scenes also feature a very early appearance of James Karen as one of the directors of the senior facilities that Hackman tours. However, with the dark curly hair that he has here and the thick horn-rimmed glasses that he wears, you most likely won’t recognize him unless you look closely and even then you still might not think it’s him. With the decision by director Gilbert Cates to play music over these scenes we unfortunately never get to hear hear what he was saying or how he was trying to sell the dismal looking place to the potential customer, which could’ve been interesting.

My Rating: 8 out of 10

Released: October 18, 1970

Runtime: 1 Hour 32 Minutes

Rated GP

Director: Gilbert Cates

Studio: Columbia Pictures

Available: DVD, Amazon Video, YouTube

Die Laughing (1980)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Cabbie accused of murder.

Pinsky (Robby Benson) works as a San Francisco cab driver during the day, but aspires to being a professional singer and attends numerous auditions, but to no avail. One day he picks up a passenger who gets shot and killed while in his cab and Pinsky is mistakenly tabbed as being the killer. Feeling he has no other options he takes the briefcase that the victim was carrying and hides out at his girlfriend Amy’s (Linda Grovenor) apartment. Inside the box they find a live monkey who has apparently memorized the secret formula for turning atomic waste into the plutonium bomb and it’s now their job to keep him away from Mueller (Bud Cort) and his cohorts who want to kidnap the monkey and use what he knows for nefarious purposes.

The film starts out with some potential as it uses Benson’s wide-eyed, deer-in-headlights persona to good comical use, at least initially. Unfortunately by the second half it pivots too much the other way and the minor laughs at the beginning get completely lost when he suddenly becomes this seasoned spy who can quickly think on his feet and outsmart the bad guys at every turn.

Again, this is just an ordinary Joe whose main drive is to make it into the music business, so why get so emotionally invested in a spy case that does nothing but get him deeper and deeper into a dangerous situation? Why not just give the bad guys what they want, hope it appeases them enough that they’ll set you free and then go to the authorities, who are much better positioned to handle this situation, and let them do the rest?

I also thought it was ridiculous that when the couple are tied up and thrown into some dark backroom that they do not respond to the predicament, like any normal person would, with fear and panic, but instead use the moment to become romantic! The fact that they manage to untie each other by biting down on the thick ropes that bind them is absurd as the only thing that would accomplish is a lot of broken-off teeth.

Benson’s musical interludes are a bore and he ends up singing the same damn song three different times. He also performs at a concert when just a little while earlier he was being surrounded by spies ready to push him off of a ship, which would be such a traumatic experience for most people that it’s doubtful he’d be able to emotional calm down enough to focus on singing, or do anything for a long time afterwards.

The story also suffers from having too many villains, Cort is the main one, but he’s seen only intermittently while a bunch of others busily chase Benson around until it becomes dizzying trying to keep track of them all. The plot itself is overblown, relies heavily on worn-out spy genre cliches making it come off like a cheesy parody of James Bond that will cause many viewers to be rolling-their-eyes almost immediately at the campy, strained gags.

My Rating: 1 out of 10

Released: May 23, 1980

Runtime: 1 Hour 48 Minutes

Rated PG

Director: Jeff Werner

Studio: Orion Pictures

Available: DVD-R (Warner Archive), Amazon Video, YouTube

The Ninth Configuration (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Insane man runs asylum.

Col. Vincent Kane (Stacy Keach), a former marine who is suffering from demons of his own, is selected to head a psychiatric institution built inside a converted castle that specializes in military personal who fought in the Vietnam war and now feign insanity. The challenge is to find if these men are truly mentally ill, or just faking it and Kane’s technique, which allows the patients to openly act out their darkest fantasies, is considered unorthodox. He begins to have an unusual friendship with one of them, Billy Cutshaw (Scott Wilson) a former astronaut who bailed out of an important mission with a nervous breakdown just before lift-off. The two begin to debate the existence of God and the correlation between faith and sacrifice.

The film has a rocky tone in which part of it delves into campy humor while the other half is more serious. The reason for this is that when William Peter Blatty first wrote the novel of which this movie is based in 1966 it was called ‘Twinkle, Twinkle “Killer” Kane!’ and told in a darkly humorous vein. In 1978 he rewrote the story with a more serious tone and that version was published with the same title as this film.

For me I found the humor off-putting and not funny at all. The whole first hour becomes a complete waste with comical bits that rely too much on mental hospital stereotypes and overall campiness from the performers. There’s also long drawn-out segments dealing with the patients barging into Kane’s office and going on long circular rants that are quite boring.

The second half improves when the tone becomes dramatic, which is what I wished it had been all the way through. It also features a wild barroom fight, which is a bit over-the-top with the way the biker gang dress and behave, but also features some great choreographed violence and a creepy performance by muscleman Steve Sandor as the head of the gang that torments both Keach and Wilson. The second act also features a few surreal, dreamlike sequences, which are the best moments of the film.

The eclectic cast is interesting, but many of them, including Robert Loggia and Moses Gunn, gets wasted in small roles and little screen time. Wilson and Jason Miller are good as two of the patients, but Neville Brand is the best as a drill sergeant that at times seems to be channeling R. Lee Emery and at other moments a confused, overwhelmed man with a deer-in-headlights expression. Blatty, who casts himself as one of the patients is good too, not so much for anything that he says or does, but for his unique facial features, especially his eyes making him look like a guy possessed and the fact that he wrote The Exorcist is even more ironic.

Keach is also excellent, in  a role that was originally meant for Nicol Williamson, but who got fired from the production early-on. Keach manages to be both creepy and hypnotic at the same time. A guy you fear one minute and feel sympathetic for by the end and he does it here without his usual mustache allowing the cleft lip that he was born with to be on full display.

The setting, which was filmed at Castle Eltz in Germany and done there because Pepsi financed the film under the condition that it had to be shot in Europe, is an impressive site. Yet it’s hard to believe that such a Gothic styled fortress, which began being built before 1157, could ever exist inside the USA, which is were the setting is supposed to take place.

The discussions that Keach and Wilson have in regards to the existence of a supernatural being are fascinating and help push the film forward, but the ending, which features a mystical twist, was not needed. The tone, even with the humor, was quite dark, so having it suddenly finish with an ‘uplifting’ moment doesn’t click with everything else that came before it and comes off like it’s selling out on itself.

Alternate Title: Twinkle, Twinkle, “Killer” Kane

My Rating: 6 out of 10

Released: February 29, 1980

Runtime: 1 Hour 58 Minutes

Rated R

Director: William Peter Blatty

Studio: Warner Brothers

Available: DVD, Blu-ray, Amazon Video

Miss Firecracker (1989)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Entering a beauty contest.

Carnelle (Holly Hunter) lives in Yazoo City, Mississippi where she works in a factory and suffers from the reputation of being promiscuous. In order to improve her lot in life she decides to enter into The Miss Firecracker Contest, which is held annually in her town every 4th of July. She is hoping to emulate the success of her cousin Elain (Mary Steenburgen) who won the contest years earlier as well as proving to both herself and others that she isn’t a loser, but the competition proves harder than she thought forcing her to reevaluate what’s really important to her.

The film is based on the stageplay written by Beth Henley, who is better known for writing Crimes of the Heart, which won many accolades while this one didn’t. Part of the reason is that when this play was first produced in 1980 many critics thought it was going to be a pro-feminist satire poking fun of beauty contests, which it isn’t, while others disliked it because they perceived it as being an antifemist since Carnelle takes winning the contest very seriously.

For me I was expecting something along the lines of Smile, which was a very funny, on-target 1970’s look at beauty contests, the flawed people who run them, and the superficial women that enter them. I was thinking this would be an 80’s update to that one and was sorely disappointed to find that it wasn’t. The two people who run the contest, which are played by Ann Wedgeworth and Trey Wilson are hilarious in the few scenes that they are in and the film could’ve been a complete winner had they been the centerpiece of the story.

I was also hoping for more of buildup showing Carnelle rehearsing her routine for the pageant as well as her interactions with the other contestants, which doesn’t really get shown much at all. For the most part the pageant is treated like a side-story that only comes to the surface in intervals while more time is spent with Carnelle’s relationship with Elain and her other cousin Delmount (Tim Robbins) which I did not find captivating at all.

Hunter gives a very strong heartfelt performance, which is the one thing that saves it, and Alfre Woodard, who normally plays in dramatic parts, shows great comic skill as the bug-eyed character named Popeye and yet both of these actresses screen time is limited. Instead we treated to too much of Steenburgen, who comes off as cold and dull here, and Robbins, who plays a borderline psychotic that is creepy in a volatile way and not interesting at all.

First time director Thomas Schlamme, who had only directed documentaries and comedy specials  before this, employs a few things that I enjoyed like tinting the flashback scenes with a faded color, but overall he doesn’t show a good feel for the material. Too much of the time it see-saws from being a quirky comedy to maudlin soap opera, but nothing gels.

Even the film’s setting gets botched. In the play the town was  Brookhaven, Mississippi, but for whatever reason the film changed it to Yazoo City where the on-location shooting took place. While it does a nice job in capturing the town’s look it doesn’t reflect the right vibe, or any vibe at all for that manner as the townspeople seem more like something taken out of a surreal Norman Rockwell painting than real everyday folks.

The soundtrack is also an issue as it gets filled with a placid elevator music type score that got started in Steven Spielberg’s Amblin films and was played in a lot Hollywood comedies during the 80’s and 90’s. While it may have a pleasing quality to it also lacks distinction. The music should’ve had a more of a southern sound that would’ve reflected the region and composed specifically for this production instead of  stealing a generic tune that had been used in hundreds of other movies already.

My Rating: 5 out of 10

Released: April 28, 1989

Runtime: 1 Hour 42 Minutes

Rated PG

Director: Thomas Schlamme

Studio: Corsair Pictures

Available: DVD

Sometimes a Great Notion (1971)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Never give a inch.

The Stampers are a proud logging family who’ve run their business out of the small Oregon town of Wakonda for years, but now find that may be in jeopardy when the local union strikes against a large lumber conglomerate. The Stampers, headed by their stubborn, bull-headed father (Henry Fonda) refuse to go along with the other loggers and continue to run their business. The rest of the townspeople consider them to be traitors and get their revenge by burning their equipment and doing whatever they can to make their business fail, but despite all the obstacles and setbacks the Stampers prove to be a resilient bunch.

The story is based on the Ken Kesey novel and while the book spawned many accolades the movie pretty much fizzled and today is only remembered as being the first film ever shown on HBO when it began broadcasting on November 8, 1972. However, that doesn’t mean it doesn’t have its share of good points as I really did enjoy the vivid way it captures the logging business showing first-hand what it takes to cut down the large trees and move the timber. Everything is captured with an in-your-face style that makes you feel like you’re right there working alongside the others and all the stages of tree cutting are explored including the many potentially dangerous accidents that can occur within the blink-of-an-eye.

The film also features a few memorable scenes including a bird’s-eye view of a large barge of logs being tugged down the river, which is an impressive sight. There’s also the infamous drowning scene unique because I’m not quite sure how they were able to pull it off without the actor drowning.

The characters though are quite boring, don’t display any type of arc and instead convey a very one-dimensional cantankerous attitude all the way through, which isn’t fun. Lee Remick is the only one who shows a softer, more introspective side, but she’s not in it enough. The scene involving her in bed with Michael Sarrazin, who plays the younger brother to Paul Newman, could’ve given things a much needed spark and should not have been left on the cutting room floor.

Fonda though is an exception. I’m always amazed at how in his later years he had to take small roles in films that weren’t always A-list material, but would still steal the film away from the leading actors anyways and his answer as to why the family continues to work while clearly causing tension with the rest of the town is a gem.

The plot though gets presented in a sporadic way. So much attention gets put into the aesthetics that the story becomes largely forgotten and only trickles through at certain intervals. The perspective is a bit odd for a Hollywood film too especially for that time period where the idea was always a David vs. Goliath formula that would take it to the establishment and yet here instead of punching up it punches down. As a viewer I felt sympathy for the townspeople and their need to create a strong union to make life better for themselves, so watching this family arrogantly ignore their needs and forge on with their business seemed to be me selfish and not something that was noble or interesting.

Spoiler Alert!

The film’s final shot, which features Newman tying his dead father’s severed arm on top of his tugboat, with the hand of the arm giving the finger to the town’s people on shore, is quite ghoulish. There’s no explanation for how he obtained the arm, but I’d imagine it would’ve required him digging up his father’s grave and cutting the limb off, which is pretty sick and twisted and thus loses the humorous quality that was intended and becomes just plain repulsive instead.

Alternate Title: Never Give A Inch

My Rating: 6 out of 10

Released: December 17, 1971

Runtime: 1 Hour 54 Minutes

Rated PG

Director: Paul Newman (Replaced Richard A. Colla)

Studio: Universal

Available: DVD (Universal Vault Series)

Snowball Express (1972)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Family rehabilitates rundown hotel.

Johnny (Dean Jones) works as an accountant in New York, but is bored with his job and looking for a way out. He finds his escape with an inheritance that he receives naming him the beneficiary of the Grand Imperial Hotel in Colorado that he’s promised can bring in $14,000 a month. He immediately quits his job and moves his reluctant family to the snowy Rockies where they find the hotel to be in bad shape, but Johnny is determined to still make a go of it and turns the place into a ski resort. At first they have some success with it, but calamity strikes, which destroys the place and forces Johnny to enter into a snow mobile race where he hopes to be the winner and use the earnings from the prize to rebuild the place.

There were aspects to the film that I liked. For one I felt Jones was quite engaging here. Usually his performances in some of his other Disney films were flat and one-dimensional, but here his resiliency had an emotional appeal. I also liked how even though the film is aimed for kids it still dealt with real-world adult issues like going to a bank to get a loan and then how to allocate that money to build equity. Even though children may be too young to grasp all of it, it’s still good to condition them into working world scenarios and what it takes to create a business from the ground up.

The story though lacks the physical comedy that is so prevalent in other Disney comedies. It does have a scene where Jones skis down a hill backwards while knocking over everyone else that is in his way, which is funny, but then the film repeats this same scenario two more times until it’s no longer funny and instead just boring. The scene where Harry Morgan’s character accidentally crashes his logging engine through the hotel is more depressing than funny since the family had spent so much time rebuilding it it was frustrating seeing it get destroyed for such a silly reason.

The climactic snowmobile race is okay and I liked seeing some of the wipeouts, which I wished there had been more of. However, having this really old guy played by Keenan Wynn beating out everyone else year after year as the snowmobile champion seemed weird. Granted he was actually only in his 50’s at the time it was filmed, but with his gray beard and hair he looked to be more in his 70’s, so it seemed a bit goofy why such an elderly guy, who was nothing more than a bank manager during the day, would have such an ability to always beat out everybody else.  Why the race required two men on each snowmobile didn’t make much sense either. I was born and raised in Minnesota and say a few snowmobile races in my time and they had only one person on each vehicle, so I couldn’t understand why it was necessary to have a second person behind the driver since they did nothing but  act like a spectator while holding for dear life as the driver cruised through the snow.

The film needed a more aggressive bad guy. Disney films from the 70’s were fun because the villains were usually so colorful, but here Keenan Wynn just sits behind his desk for most of the film and does nothing more than deny Jones a loan. It would’ve been better had Wynn instead sneaked around behind the scenes doing things that hurt Jones’ business, which would’ve created more of an antagonistic feeling from the viewer and thus made the final confrontation between the two, which gets underplayed anyways, more interesting.

My Rating: 4 out of 10

Released: December 22, 1972

Runtime: 1 Hour 33 Minutes

Rated G

Director: Norman Tokar

Studio: Buena Vista

Available: DVD, Amazon Video, YouTube

The Gig (1985)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Band’s first paid engagement.

Marty (Warren Rogers) works as a used car salesman during the day, but in the evening he gets together with 5 other middle-aged male friends and takes part in a Dixie style jazz band. For 15 years they’ve been doing this until they get an offer with pay to play at the Catskills for two weeks. Marty is initially quite excited, but the others have family and job obligations and aren’t sure if they can do it. He’s finally able to get 4 of them to agree, but with one bowing out due to surgery is forced to add in a professional bass player named Marshall (Cleavon Little) who is talented, but also arrogant and opinionated. Once they finally arrive at the location they find their living quarters to be small and cramped and the resort owner (Joe Silver) to be overbearing making them wish they hadn’t come and  leads to the group’s unraveling.

The film, which was written and directed by Frank D. Gilroy, takes a realistic view of middle-aged life. Most films have the perspective that middle-aged people in the affluent suburbs are in control of their lives and do things on a whim if they so please while here it’s the exact opposite. In fact the whole first act, which I found to be the most entertaining, is spent showing how each member frets about whether they’ll be able to get time off from their jobs and permission from their wives to go, which perfectly illustrates how even doing something on a lark can have potentially far reaching consequences.

Unfortunately the second half stagnates as certain potentially interesting conflicts get introduced, but then all end up getting resolved in pat and uninteresting ways a few minutes later making it feel like the story isn’t really going anywhere, or leading to anything. A few of the characters become a bit too strained even for henpecked suburbanites especially Arthur, played by Daniel Nalbach, who is in his 50’s, but still a mama’s boy who becomes guilt ridden when he’s away from his mother for even a couple of days, which gets a bit pathetic. There’s also the issue of Rogers speaking in a sort of slick-salesman type dialect, which I found annoying.

The third act offers some spark with arrival of an obnoxious singer, wonderfully played by Jay Thomas, whose over-sized ego outweighs his talents and who openly clashes with the band, which promises to lead to potential fireworks. Yet the film doesn’t play this part up enough having the band leave before the brewing anger can come to a full peak.

Those that have played gigs in amateur bands may take to this better as I’m sure they’ll relate a lot to what goes on here and I really did love the final shot showing the band playing a moving tribute along the roadside of a busy highway, but everything that come in-between is trite. The drama is too contained making it feel, especially when coupled with its dull, low budget cinematic look, more like a one-hour TV dramedy than a theatrical feature.

It also would’ve been nice had more of a backstory been done of the group and their many years of playing together instead of starting right away with them getting the gig offer. Showing them during the good times where they got along would’ve then made the scenes where they eventually unravel more compelling.

My Rating: 5 out of 10

Released: November 26, 1985

Runtime: 1 Hour 32 Minutes

Rated PG

Director: Frank D. Gilroy

Studio: Manson International

Available: VHS

I Walk the Line (1970)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Sheriff covers for moonshiners.

Aging Sheriff Henry Tawes (Gregory Peck) has always been a strong pillar of his community, but recently has found himself bored with his domestic life and looking for diversion. He becomes smitten with Alma (Tuesday Weld) a young woman half his age, who lives on the poor side of town with her father (Ralph Meeker) who runs an illegal distillery. Despite the risks Henry begins an open affair with her with her family’s blessing as long as Henry agrees not to report their distillery, but then a federal agent (Lonny Chapman) arrives in town threatening to shut down every moonshiner he finds. Henry’s deputy Hunnicutt (Charles Durning) also becomes suspicious of Henry’s shady actions, which forces Henry to take some calculated risks, which all backfire on him in shocking ways.

This film is a perfect testament to something that I’ve mentioned before on this blog, which is how shooting a film on-location in an actual small town versus one being built on a studio backlot can make all the difference on whether it succeeds at the box office, or not. This one was done in the tiny hamlet of Gainesboro, Tennessee, which has just over a 1,000 people and in fact its downtown, which includes the prominent courthouse, barely looks any different now then it did when principle photography took place in October of 1969. Director John Frankenheimer makes good use of the townsfolk focusing in on their old, weathered faces at the beginning and glum expressions, which helps accentuate Henry’s bored and static life as well as the abandoned, decrepit house the lovers meet-in, which illustrates their empty, vanquished souls.

The script by Alvin Sargent, which is based on the novel ‘An Exile’ by Madison Jones, allows the visuals and action to do most of the talking while keeping the dialogue subtle and concise. I even enjoyed the music interludes by Johnny Cash. Some critics at the time complained that there was no need for this as Johnny’s words that he sings seem to be simply explaining what the viewer is already seeing onscreen, but the music still conveys a raw southern flavor and Cash’s singing style makes it seem more like he’s talking to the viewer and like he’s another character in the film.

Peck’s performance is good here despite the fact that Frankenheimer wanted Gene Hackman for the role, but was forced to settle with Peck because he was already under contract with the studio. Normally Hackman would’ve been the better choice, but here Peck’s usual stiffness and detached delivery brings out convey his character’s inner turmoil. Durning is outstanding as his nefarious deputy and with his energetic and impulsive presence because an interesting contrast to Peck’s more reserved one.

Spoiler Alert!

Weld is great too even though the part she plays seems very similar to the one that she did in Pretty Poison although here at least the character isn’t portrayed as being completely evil, but instead somewhat naive and sheltered, which helps make her more multi-dimensional. Her motivations though are confusing and the film’s one major drawback. I could not understand, and the film never bothers to make clear, why she’d want to stay stuck with her family and their dismal, impoverished situation. Granted she didn’t really love Henry, which is obvious, but she had already manipulated him quite a bit,  and even had sex with him,so why not run off with him like he wanted and use his money to live a better life while also siphoning some of it back to her family to help them too?

Even if one would argue that she had a close-knit bond to her family it still doesn’t make sense. Many young woman have close ties to their family, but at some point they still leave the nest especially when vanquished to abject poverty otherwise. With her good looks a lot of doors could be opened, so why not see what else is out there? It comes out later that she’s married to another man who’s in jail, but the film glosses over this like she’s not any more in love with him than Henry and still doesn’t help to explain much. It also would’ve worked better had the viewer been left in the dark until the end as to whether she was really in-love with Henry or not instead of making it obvious that she was playing him, which lessens the shock effect for what occurs at the end.

My Rating: 8 out of 10

Released: October 12, 1970

Runtime: 1 Hour 37 Minutes

Rated GP

Director: John Frankenheimer

Studio: Columbia Pictures

Available: DVD, Amazon Video, YouTube

Harry & Son (1984)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Looking for a job.

Harry (Paul Newman) is a construction worker who starts to have seizures involving headaches and blackouts that causes him to lose his job. He asks his son Howard (Robby Benson), who lives with him, to help out by finding a full-time job of his own, but Howard, who has graduated from college, seems content with his part-time car washing gig and no aspirations for anything other than one day becoming a famous writer. Harry feels Howard is not being practical and prods him to take working life more seriously or risk getting thrown out of the house.

Although this wasn’t a critical darling when it was released it still has a nice slice-of-life feel to it dealing with believable people going through some very real everyday problems, which keeps it compelling. Newman does well as a director and co-scripwriter, but his performance is one-dimensional. Normally he’s a terrific actor, and one of my favorites, but Harry remains too grouchy and bitter, almost like he’s channeling his character from Hud, and only near the end shows a different side to him, which is too late.

Benson’s scenes prove to be more interesting although as an actor he’s just as one-dimensional in the other way as he continually shows a deer-in-headlights expression all the way through like that’s the only type of emotion he can convey and it’s no wonder that his career in movies eventually faded. There is one moment though where he shows intense anger and gets in his father’s face to the point that I thought a fist-fight would break out, which would’ve been cool, but ultimately it doesn’t happen.

What I did like about his scenes was when he goes to work at a ‘real job’, which features a wonderful performance by Morgan Freeman as his supervisor, and he’s unable to keep up with the demands of  it, which perfectly illustrates how kids getting out of college can be highly educated but woefully underskilled to everyday work demands. His scenes with Ossie Davis, where he tries to steal his car as a re-possessor, are quite memorable as well.

What I didn’t like about his character was that he gets back into a relationship with a girl, played by Ellen Barkin, who had cheated on him previously by sleeping around with a lot of different guys. If a person is prone to cheat on you once they’re apt to do it again, so why put yourself through heartache a second time? She’s also carrying a baby, which is not is, in fact she isn’t sure whose it is, so why agree to take on all the bills, responsibility, and stress of a kid if you don’t actually have to?

The female roles here are not needed and tend to just make the movie longer than it needs to be. The title of the film promises to examine the relationship between a father and son, but it does not delve into it as much as it should. Having Harry’s daughter, played by Katharine Borowitz, enter into the story does nothing but add needless drama that goes nowhere. Judith Ivey’s character is not necessary either as she plays a nympho who sleeps with both father and son at different times and the two men then talk and joke about it afterwards even though in real-life I’d think most fathers and sons would feel very awkward talking about their mutual sexual conquests making this scene insincere.

Spoiler Alert!

The film’s ending goes against the entire grain of the flick by having Howard receive $1,500 check after he sends out a story submission to a publisher, but most publishers like to work through an agent and I don’t think they’d blindly send out money to an unproven writer without first coming up with some sort of contract. Since the film starts with a blue collar theme that’s where it should’ve ended by having Howard adjust to jobs requiring manual labor instead of inserting the Hollywood pipe dream.

Howard’s reaction to Harry’s death is odd too. He runs into his dad’s bedroom only to find his father lying on the floor motionless and then proceeds to just sit there and cry  even though the more normal thing would be to call 9-1-1 or attempt to resuscitate him. It’s also annoying that we never find out exactly what Harry’s ailment was making it like one of those cliched, generic mystery illness that befalls movie characters for no other reason than to keep the drama going.

My Rating: 7 out of 10

Released: March 2, 1984

Runtime: 1 Hour 57 Minutes

Rated PG

Director: Paul Newman

Studio: Orion Pictures

Available: DVD, Blu-ray, Amazon Video