Barbara Hershey – The Magnificent 60s

The blended family was so rare in the 1960s you could easily play it for comedy. In retrospect, though, this comes across as a more realistic approach at how game couples find their romance under threat from children hostile to the match. Doris Day’s swansong, she might have done better with a partner zippier on the uptake than Brian Keith, who for the most appears lumpen, and she shoulders most of the physical comedy burden, but it’s a decent end to an extraordinary career. There are shades of Absolutely Fabulous, children remonstrating with parents going off the rails.

Widow Abby is very much the independent woman, running a substantial lumberyard operation, too busy to consider romance and aware her options are limited to deadbeats. She can afford help for the domestic chores. Widower Jake (Brian Keith) faces endless frozen meals and could have as much sex on the side as he wants with married neighbor Cleo (Elaine Devry) whom he constantly rejects. She has three sons, one a teenager who works part-time in the business, he has one daughter, Stacey (Barbara Hershey) also a teenager.

Courtship gets off to a rocky start. Jake, invited to a dinner, is so bored he makes an excuse and leaves, caught out in his lie later that night. Most of the romance takes place in a drive-in hot dog operation since the children make it plain they oppose any union.

But, hey, since the story is also dragging, the couple decide to get married quick. That’s when the trouble starts. Neither house is big enough to accommodate the squad, irritation spills over into full-blown argument, and little can be done to placate the kids, who resent being forced into a situation over which they have no control and having to share a doting parent with a stranger.

Family planning was another big issue in the 1960s and this was an unintended offshoot, the couple making no provision in advance, beyond their own selfish needs, for how their marriage would emotionally affect their children. And although the happy ending doesn’t feel too forced, it does point up the problems of turning two rival families into one supportive team.

Back in the day. audiences probably laughed their heads off at the antics of the disapproving teenagers, but I think most people would approach those scenes with sorrow rather than humor, acknowledging the despair of ignored children facing up to dealing with what they regard as an intruder upsetting a settled family unit. The assumption that kids will make do while parents embark on a joyous ride seems only too unrealistic.

You can see some scenes coming a mile off. When Jake gets too close to a younger woman you guess right away that’s bound to be his daughter and the minute you spot a lorry loaded with chickens you are counting the moments before unexpected collision sets them free. But once the movie settles into the meat of the story it’s on pretty safe ground.

It’s at its best when Doris Day (Midnight Lace, 1960) is permitted space to indulge in physical comedy. The scene where she ends up with a yellow stripe on her attire is priceless and her driving of a camper van leaves much to be desired. Brian Keith (The Deadly Companions, 1961) only has to deal with temperamental cupboard doors. While he’s not in the class of her previous romantic companions like Clark Gable (Teacher’s Pet, 1958), Rock Hudson (Pillow Talk, 1959), Cary Grant (That Touch of Mink, 1962) or James Garner (Move Over, Darling, 1963) by this point in her career she was more than capable of carrying any movie.

Both teenagers were making movie debts, Barbara Hershey (Last Summer, 1969) coming off best as the sullen female while John Findlater (Airport, 1970) is little more than her companion in creating chaos.

Director Howard Morris (Who’s Minding the Mint, 1967) puts on a decent show given the material. The script was written by Gwen Bagnit, whose last movie credit (western The Last Wagon, 1956) was a decade before, her husband television writer and sometime actor Paul Dubov, and Harvey Bullock (Who’s Minding the Mint).

It’s not quite the career finale Doris Day might have hoped for, but the box office was respectable especially as it faced severe competition from Yours, Mine and Ours (1968), which doubled down on family members, the year’s sleeper hit.

Harmless comedy, perhaps, but the passing of the years has given the movie unexpected emotional heft.

Given the severity of the crime involved, you leave Frank Perry’s coming-of-age-drama wondering what happened to the four principals. Did the aggressive three young demi-gods of a golden age go on to pursue similar acts of cruelty? While one of them might show remorse, or at least suffer from guilt, of the other two I have my doubts. They would find ways to blame the injured party. And what about the victim? Would she have the courage to report the crime, or suffer in shame for decades.

It’s odd how time changes entirely the shape of a movie. In its day this was seen as a bold exposition of frank adventure by teenagers seeking their first experiences of growing up and experimenting with sex and drugs (pilfered from a parental stash). Although there is little focus on dysfunctionality, both Sandy (Barbara Hershey) and Rhoda (Cathy Burns) are missing a parent, the former’s father running off with another woman, the latter’s mother drowned by stupid misadventure. Both have been abused, unable to prevent the wandering hands of males. All are vulnerable, if only by youth.

Of the boys, Dan (Bruce Davison) is the more confident, Peter (Richard Thomas), while easily swayed, the gentler of the two. Dan merely seeks his first taste of sex, Peter the more likely to need love as well. Sandy is sexually precocious, somewhat on the exhibitionist side, peeling off her bikini top with apparently at times no idea of the effect it will have on the boys, at other times clearly uncomfortable with the notion that the guys might have nothing else on their minds but staring at her breasts. But she is the one who wants to continue watching a gay couple cavorting on the beach while Dan is embarrassed. Sometimes the frank sexuality is rite-of-passage stuff, other times it is distinctly creepy. In the cinema both men grope her breasts. She claims to have been excited by the experience, but you can’t help thinking at least one of the men should have shown restraint, not treating her as if she was some kind of sex toy.

The movie begins on a clearer note. The guys come across Sandy nursing a wounded gull and perhaps entranced by her good looks help her remove a hook from the bird’s throat, provide convalescence and eventually help the bird recover the confidence to fly again. It’s a cosy trio, but edgy, too, Sandy allowing them considerable latitude. But, of course, the guys do the same to her. When she bludgeons the bird to death because it bit her (“the ungrateful bastard”), the pair, initially shocked, are not shocked enough to reject her, afflicted by unassailable male logic, the kind that drove film noir, that maintained a beautiful woman could not have a black heart.

Separated from the other two, Peter displays a gentler side, teaching the shy Rhoda to swim, kissing her in far more considerate fashion than the boys treat Sandy. But, effectively, she is a pet, and it’s only a matter of time before the unsavory aspect of Sandy’s character breaks out. After setting Rhoda up on a date, the trio do everything they can to spoil it, angry at the poor girl for not getting the “joke.”

Worse is to follow. Date-rape we’d call it today. Retreating to the cool forest, Sandy taunts Rhoda by removing her bikini top. When the horrified Rhoda refuses to do the same, Sandy attacks her, holding her down along with Peter while Dan rapes her. That’s where the film ends, no consequences, no repercussion. Back in the day it was a shock ending, an act of violence to mar an otherwise relatively innocent summer. After the deed is done, the camera pulls back into an aerial shot to observe the guilty trio walking back to the beach, but without drawing conclusion or offering moral judgement. It’s hard to know what to make of the ending. These days, of course, we’d be appalled. But back then it didn’t appear to appall, certainly not drawing the outrage that accompanied similar scenes in The Straw Dogs (1971) or A Clockwork Orange (1971) perhaps because the perpetrators were so attractive and it was, after all, a coming-of-age picture, as if such things could be expected.

Roger Ebert, writing in the Chicago Sun-Times, for example, judged that the conclusion “is not really important to the greatness of the movie.” Andrew Sarris of Village Voice noted that “Perry retreats from the carnal carnage” to end with a shot that “prefers symbolic evocation to psychological exploration.” In other words adolescence is fraught with risk and Rhoda is just collateral damage.

Certainly the acting is uniformly excellent for such inexperienced actors, coping with many changes in dramatic focus, from early exhilaration through growing pains to violence. Barbara Hershey (Heaven with a Gun, 1969) would go on to become a major star. Amazing to realise that Bruce Davison (Willard, 1971) and Cathy Burns, Oscar-nominated for her role, were making their movie debuts and for Hershey and Richard Thomas (Winning, 1969) their sophomore outings.

Director Frank Perry (The Swimmer, 1968) had a special affinity with the young as he had proved with David and Lisa (1962) and at times the whole affair had an improvised free-wheeling style. Eleanor Perry (David and Lisa) wrote the screenplay based on the novel by Evan Hunter (The Birds, 1963).

This is very hard to find, it turns out, so Ebay might be your best bet.

My thanks to one of my readers, Mike, for digging up this story of the disappearance of Catherine Burns from the movie business.

https://www.hollywoodreporter.com/movies/movie-features/catherine-burns-inside-50-year-disappearance-an-oscar-nominee-1275646/

Tag: Barbara Hershey

With Six You Get Eggroll (1968) ***

Last Summer (1969) ****