Greetings, once again!
After the much appreciated and positive response to my previous post on Stacy Keach. I’ve decided to return to one of my “Go To” guys in acting. Who can trace his roots back to the UCLA stage. Then Budd Boetticher’s superb low budgeted Randolph Scott westerns of the 1950s. Working his way up. Under the wing John Sturges (The Magnificent Seven, The Great Escape). Blake Edwards (The Americanization of Emily) and Sam Peckinpah (Major Dundee) and later, (Pat Garrett & Billy the Kid).
The two films featured here are from when he was high up on the lower plateaus. Adding to his expanding body of work. While adding his name and talents to be molded and let soar by veteran and up and coming directors.
The first feature is a satiric comedy of the first order. With a deftly added touch of Science Fiction. Directed and scripted by television writer and director, Theodore J. Flicker. Pulled together and made delightful, portending fun of during the halcyon days of LBJ, the heightening of the Vietnam War, and its inherent paranoid craziness here.
The President’s Analyst (1967)
Where an unseen, unnamed though less than confident and encouraging President needs the confidential ear of a shrink in the worst way. Under and above ground banks of light flashing computers go to work and spit out a name.
Dr. Sidney Schaefer. Tall, erudite, well-educated and debonaire James Coburn. Still riding the curl of his previous Derek Flint character. And still possessing a large chunk of tailored hipster cool when approached by his mentor and colleague, Dr. Lee-Evans (Will Geer) with the proposition.
The good doctor is flattered, at first. more than willing and being mightily impressed with all the attendant bells and whistles. Though, less so with the constant bickering and infighting between the Central Enquiries Agency (CEA) and the Federal Bureau of Regulations (FBR) as to who protects and has access to what top-level and beyond secrets that will be in this newcomer’s head.
Taking it all in with a cautious stride and a grain of salt, Dr. Schaefer soon discovers that he will have problems pursuing his one true love, Nan Butler (Joan Delaney) while being at the President’s round the clock beck and call. Announced with red rotating lights and a siren inside the doctor’s Georgetown home.
Stress and paranoia set in quickly. And the good doctor starts to see threats everywhere. Even when picking up an order of Chinese food. And remaining blissfully ignorant as representatives of Chinese intelligence are silently accosted and dispatched by agents of the FBR.
Doctor Schaefer carries on. Until a second attempt by the Chinese is thwarted at an invitation to dinner. And the interlopers are more noisily dispatched by Agent Wynn Quantrill, his wife and son. With a combination of “House” (38. Special) and “Car” guns (.357 Magnum).
Taking it on the lam, Doc heads north and falls in with a groups of Hippies. Trading sanctuary for a vial of pharmaceutically pure LSD. Led by “The Old Wrangler” (Barry McGuire) and the hide in plain sight coven of deep cover spies and espionage agents from all over the world. And all out for the suddenly announced bounty Dr. Schaefer.
Doc escapes again and heads west. Only to be kidnapped by the Canadian Secret Service masquerading as a rock group. And quickly dispatched by FBR agents led Russian agent, V.I. Kydor Kropotkin (Severn Darden). While Dr. Schaefer is re-kidnapped by The Telephone Company (TPC) and taken to their secret, underground lair. Run by a smiling, though emotionless face of the company, Arlington Hewes (Pat Harrington). A robot in human form. Complete with Coaxial cable running into the heel of his right dress low quarter shoe.
Presently, Kropotkin is aided by previous patient and vetter for higher-ups, Agent Don Masters (Godfrey Cambridge). Who go far out of their ways to breach the underground lair and rescue Dr. Schaefer.
Now. What Makes This Film Good?
Experiencing James Coburn’s masterful touch at the comedic, satiric and humorously prophetic take on paranoid the laughed about “Corporate America” of the late 1960s. Without pausing to see the creepy parallels regarding National Security, E-Mails, phone calls and The War on Terror, today.
A good-looking film with just the right amount of on location cinematography by William A. Fraker. And imaginative and futuristic looking sets for the much maligned and hated, underground Phone Company’s secret lair by Robert Benton and Arthur Krams. Music by Lalo Schifrin is more than up to the task of enhancing myriad moods with a veteran’s ease.
With a plot that is easy to follow. Even as Mr. Coburn’s portrayed paranoia increases. While the attendant bureaucracies see it all as “Business as usual”. Along with several moments of clever visual humor and paranoid ramblings, that if you have been paying attention. Make perfect sense.
What Makes This Film Great?
Mr. Coburn being front and center. Backed up by a more than competent cast and surprising cameos. Most notably, the very under rated Godfrey Cambridge (Watermelon Man, Cotton Comes to Harlem) and Severn Darden’s laid back, younger Theodore Bikel. Reacting to events surrounding all that Dr. Schaefer knows and not all that he’s been told about.
In a well thought out and executed that may occasionally seem bizarre, but surprisingly, does not insult the viewer’s intelligence!
Which opens the door for the second feature. Much more streamlined and sedate in tone and meticulous detail. Set in the Depression era deep south. And focusing on the back alley and empty warehouse world of bare knuckle fighting. Allow me to introduce.
Hard Times (1975)
The third and I think, most personal teaming of Mr. Coburn with Charles Bronson. Who opens the story by jumping off the open door of an empty cattle car as its train slows to round a bend. Right in the ends of the tumble-down dregs of Nowhere-ville, Louisiana or Mississippi.
The sun is setting and Mr. Bronson’s Chaney goes poking around for something to and a buck to be made. Finding odd sounds from an open warehouse. Where, upon closer inspections men are gathered and bets are being waged and tallied on two well muscled specimens. Each with their own “promoter”. One is shabbily dress and hungry for a buck. While the other, “Speed” is Mr. Coburn in his natty, seersucker suited best.
Speed is in his element. Conning, cajoling and b.s.ing the last dollar to put on his fighter before the fight begins. Chaney watches and is not surprised when Speed’s fighter loses. Intrigues, Chaney follows Speed to a raw bar and business is discussed before a later venue. Where Chaney strips to the waist. His opponent throws one punch that misses. And Chaney throws one that connects.
Speed and Chaney walk out richer and decide to seek larger arena and gambling pay outs around New Orleans. Finding nicer digs for Speed. While Chaney sets his quiet sights on Lucy Simpson (Jill Ireland, Mrs. Charles Bronson). A hard luck woman waiting for her husband to return from prison.
Chaney fights and Speed rakes in the money. Perhaps, too much money. As representatives from larger backers make themselves known. And a doctor and cut man, Poe (Strother Martin at his most eloquent and sloppy best) is retained to patch up cuts and tend bruises. when not feeding his addiction to Opium. After a rather lucrative win at a family/county picnic. Speed is approached by one of the big money backers. Smooth, suave and kind of oily Chick Gandil (Michael McGuire). Who wants three thousand dollars up front money for the next bout.
Speed agrees, but being Speed, blows his cut of the winnings at a crooked dice table later that night. Takes out a loan from a local shark to cover the losses. Then Chick offers to cover Speed’s loss by selling Chaney to him. Speed is all for it, but Chaney refuses.
Chick gets impatient and kidnaps Speed. With the ultimatum that Chaney fight a monstrous, no necks slab of tautly muscled meat from Chicago, Street (Nick Dimitri). All arrogance and a sneering smile, who wants another major win.
Poe, seeing a “No Win Situation”, seeks out Chaney and tells all. And Chaney, in true Gary Cooper style. Pulls on his jacket and heads to the waiting and packed warehouse for a final showdown.
Now. What Makes This Film Good?
Two rising masters of the trade finding a niche and making it very comfortable and believable for the time required. Sharing the story’s weight while Mr. Coburn’s sly and dapper Speed blazes trails and rubs elbows with the entirely wrong people in search of another score and decent money.
Coming close to Burt Lancaster’s well trod territory of beguiling charm in Elmer Gantry to get hard scrabble farmers and workers to part with their last dollar. As odds shift, rise and fall at the drop of a hat. Tapping into the cool outsider mode from his earlier, Dead Heat on a Merry Go-Round, Duffy and Harry in Your Pocket to strike just the right inviting tone while graciously robbing others blind.
Also, great on location and well detailed period piece cinematography all around New Orleans and surrounding moss dripping parishes by Philip Lathrop and editing Roger Spottiswoode. While Art Direction from Trevor Williams. Set Design by Dennis Peeples and Costume Design by Jack Baer are all first-rate.
What Makes This Film Great?
The first solid look at the talents and capabilities of director Walter Hill and his ability to assemble a memorable “Guy Flick” that has aged well and stood the test of time. Surprisingly, without music by Ry Cooder. Though Barry De Vorzon’s backwater banjo, fiddle, guitar and harmonica heighten the sense of time and surroundings.
Taking two established actors and allowing them the time and space to expand possibilities, romp and play. Naturally, Mr. Bronson is the brawn, but Mr. Coburn excels in not making his Speed a knight in shining armor. Allowing for flaws and weaknesses for women and gambling. And fast talking that fits his lanky frame like a tailored suit.