The Right Stuff

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1983

The Ladd Company/Warner Bros.

Directed by and Screenplay by Philip Kaufman

Produced by Irwin Winkler/Robert Chartoff\

Based on “The Right Stuff” by Tom Wolfe

Music by Bill Conti

Cinematography by Caleb Deschanel

One of the reasons why THE RIGHT STUFF stands out in my memory is because I saw it during its original theatrical run in the theater. And when the end credits played, a good 75% of the sold out audience I saw it with gave it a standing ovation. And I was right with them. I’ve heard felgercarb from modern day “movie fans” who are so very worldly and sophisticated and think it’s oh so very silly to applaud a movie. What’s the point? they say. The filmmakers can’t hear your applause. But in the case of THE RIGHT STUFF that isn’t the point. That audience and I stood and applauded because we’d just seen a three-hour epic about heroism done with style, respect, humor and grandeur. And we had to show our appreciation for how the movie made us felt. And the bottom line is that it made us all feel damn good. Was a lot of the movie made up? Sure it was. THE RIGHT STUFF is a great example of that magnificent line from “The Legend of Liberty Valance”: “When the legend becomes fact, print the legend.”

I say that to let you know right up front that there’s a lot of legend in THE RIGHT STUFF. Yes, it’s based on historical events involving real people but the filmmakers didn’t let them get in the way of telling a good story. Chuck Yeager (Sam Shepard) didn’t fly the X-1 on a whim as the movie would lead you to to believe but damn if it doesn’t make for a great scene. Especially when he breaks a couple of ribs chasing his wife Glennis (Barbara Hershey) on horseback in the desert surrounding the future Edwards Air Force Base and falls off his horse and still gets in the X-1 the next day to break the sound barrier.

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And it’s fun to see the friendly rivalry between Yeager and Scott Crossfield as they break each others speed records repeatedly. This is while hungry young pilots such as Gordon “Gordo” Cooper (Dennis Quaid) Virgil “Gus” Grissom (Fred Ward) and Donald “Deke” Slayton (Scott Paulin) are pouring into the base, looking to make their mark and prove they have “The Right Stuff.” Okay, maybe some of this is made up but if you want the facts, go look them up for yourself. We got these things called libraries. You might have heard of them. Make use of them.

But exactly what IS “The Right Stuff”? nobody ever says. It’s one of those grand and glorious Man Things That Cannot Be Given A Name. Chuck Yeager doubtless has it. In fact, he may have it more than anybody else even though he is deemed not worthy to be invited to join the space program. In one of the movie’s best scenes Gus Grissom is being ridiculed by the media and fellow pilots for his insistence that the explosive bolts on the hatch of his capsule exploded on their own during splashdown. The common consensus is that he panicked. But Yeager comes to Grissom’s defense;” You think a monkey knows he’s sittin’ on top of a rocket that might explode? These astronaut boys they know that, see? Well, I’ll tell you something, it takes a special kind of man to volunteer for a suicide mission, especially one that’s on TV. Ol’ Gus, he did all right.” Now, maybe Chuck Yeager said that or maybe he didn’t. But it matters in the context of the movie and the story that the movie is telling and that’s enough.

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The bulk of the movie is taken up with the 1960s Space Race, accelerated by the Russians launching Sputnik in 1957. NASA is tasked with putting an American in space and that initiates a near hysterical search for astronauts. Ironically, pilots like Yeager are excluded because he doesn’t “fit the profile” but after extraordinary grueling physical and mental tests, The Mercury Seven astronauts are chosen; Cooper, Grissom and Slayton along with John Glenn (Ed Harris) Alan Shepard (Scott Glenn) Walter “Wally” Schirra (Lance Henriksen) and Charles Frank (Scott Carpenter). But even though they are trained to be pilots, the engineers of the project (and it’s very clear that the majority of these engineers used to work for the Third Reich in WWII) see them as nothing more than passengers. You add to this is extensive publicity machine surrounding these proceedings and you’ve a situation as ripe for comedy as it is for drama.

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And one of the thing that takes people by surprise about THE RIGHT STUFF when they see it for the first time is that is a very funny movie. In fact, at times, it almost plays like a comedy, especially where Dennis Quaid is concerned. Those of you who have seen the movie know what I mean. But just about everybody gets their chance to be funny, even when they’re not being funny. If you know what I mean. Harry Shearer and Jeff Goldblum get a lot of laughs out their bit as a pair of recruiters looking for candidates for the fledgling NASA program. But that doesn’t mean that the rest of the cast don’t get their funny moments as well.

This movie may have just have the greatest cast of talent on screen since “It’s A Mad Mad Mad Mad World.” Here we go: Fred Ward. Dennis Quaid. Scott Glenn. Ed Harris. Sam Shepard. Lance Henriksen. Scott Paulin. Barbara Hershey. Veronica Cartwright. Harry Shearer. Jeff Goldblum. Pamela Reed. Charles Frank. Donald Moffat. Scott Wilson. Kathy Baker. Royal Dano. John P. Ryan. William Russ. John Dehner. And Chuck Yeager himself. He shows up as the bartender at Pancho’s, the joint where all the pilots hang out. It’s an utterly extraordinary cast and what’s even more extraordinary is that the script and the director gives them all a chance to shine without detracting from the overall story the movie is telling.

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And the musical score by Bill Conti is absolutely magnificent. It won the Academy Award that year for Best Original Score and rightfully so. A large part of the reason why THE RIGHT STUFF is still so highly regarded is because of that heroically soaring score. The special effects are also worthy of note because they’re practical effects, done with models. I don’t have anything against CGI and fully understand that a lot of my favorite movies of recent years couldn’t be done without them. But practical effects have a weight and realism that can’t be duplicated. When Chuck Yeager is in that X-1 and says that it’s still going up like a bat outta hell, we believe him.

Chances are that most of you reading this have already seen THE RIGHT STUFF and agree with me. But for those you who haven’t seen this movie, do yourself a favor and check it out at your earliest opportunity. THE RIGHT STUFF is one of the finest American movies ever made, period. And it’s a whole lot of fun to watch as well. Enjoy.

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192 Minutes

Rated PG

 

 

 

 

 

 

Electra Glide In Blue

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United Artists/MGM

1973

Directed by James William Guercio

Produced by James William Guercio/Rupert Hitzig

Screenplay by Robert Boris

Story by Robert Boris/Rupert Hitzig

You ever see a movie that you watched more than once simply because you can’t figure out if you like it or not? That’s how I feel about ELECTRA GLIDE IN BLUE. I’ve seen it maybe four or five times over the years. Most recently on the MGM HD Movie Channel after about five years and I’m still as conflicted now as I was the previous times I’ve seen it. And I honestly don’t know why. I like the performances and the story. The cinematography by Conrad Hall is gorgeous. Most of the movie was filmed in Monument Valley where John Ford filmed most of his classic westerns. Director James William Guercio (who was also producer of the band Chicago) calls the movie a modern Western, which is fine by me ‘cause I like Westerns.

It’s one of those movies where a murder kick starts the plot but nobody actually seems very concerned about solving the murder. In the end, Robert Blake’s character figures out who the killer is not through any really brilliant or clever detective work on his part. There just simply aren’t any other suspects. And I suppose my dissatisfaction with the movie is with that ending. 1970s movies were big on nihilistic, downbeat endings that I suppose were meant to symbolize the chaotic futility of life and the meaninglessness of human existence. I dunno. I don’t get that deep. All I know is that I didn’t feel that the Robert Blake character deserved his fate. And maybe that is the point of the movie: that we don’t always get the fate we deserve or want.

Arizona motorcycle police officer John Wintergreen (Robert Blake) is anxious to get off his motorcycle and get transferred to Homicide. As he tells his more easy going partner Zipper (Billy “Green” Bush) being a detective means he gets to wear a suit and having a detective’s badge means that he works a job where he gets to think. Zipper is more than happy to goof off sitting in the shade, reading comic books and harassing the occasional hippie just minding his business driving his psychedelic VW minibus.

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Wintergreen’s big chance comes along when an old desert rat named Willie (the great Elisha Cook, Jr.) reports a suicide. Even though the coroner (Royal Dano) corroborates this, Wintergreen isn’t so sure. The dead man committed suicide by shooting himself in the chest with a shotgun and Wintergreen maintains that a true suicide would have blown his head off cleanly instead of lingering for hours in pain bleeding to death. Wintergreen is backed up by local legend Harve Poole (Mitchell Ryan). Poole is the kind of Homicide detective Wintergreen fantasizes about being. Poole is a larger then life presence. Cool and confident, he always wears suits that look brand new, a ten gallon cowboy hat and smokes expensive cigars while seeming to effortlessly solve murders.

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He is overjoyed when Poole, impressed with Wintergreen’s thinking, has Wintergreen transferred to Homicide making him his partner on the case. Now, the case itself really isn’t that hard to work. The complications come from outside the case. Wintergreen and Poole discover that they’re sleeping with the same woman (Jeannine Riley) and Wintergreen has an unshakeable moral center. Earlier in the movie we’ve seen him give a speeding ticket to a Los Angeles detective who is outraged that Wintergreen won’t show him “professional courtesy.” This moral center works against him when dealing with the hippies he and Poole encounter during their investigation as Wintergreen sees no reason why they shouldn’t be treated just like everybody else while Poole treats them like shit because he has a badge and a gun and they don’t.

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Add to that the $5,000 the murder victim had in his shack that disappears and the murder case very quickly gets tangled up in issues that have nothing to do with the case at all. And John Wintergreen quickly learns that getting what you think you want most sometimes doesn’t make you happy at all.

You watch Robert Blake in this and “In Cold Blood” and you realize that he actually is a very gifted actor. He also enjoyed one of the longest careers in Hollywood. He was one of the “Little Rascals” and pretty much worked steadily in film and TV until the late 1990’s, most notably in David Lynch’s “Lost Highway.” ELECTRA GLIDE IN BLUE is more of a character study than a straight-up murder mystery and Wintergreen is an interesting guy. Despite his height (“Did you know that me and Alan Ladd are the same height? Right down to the quarter inch.”) he’s quite the ladies man. There’s a terrific scene where Jeannine Riley as the deliciously slutty Jolene enrages Poole with her drunken bragging about Wintergreen’s sexual stamina.

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Mitchell Ryan turns in a terrifically solid performance as Poole who starts off being worshipped by Wintergreen and ends up being despised by him as the longer Wintergreen works with him the more he sees the man behind the curtain and he doesn’t like that man at all. Billy “Green” Bush is quirky and eccentric as the laid back Zipper who displays an unexpected mean streak when dealing with members of the counter culture.

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If you’ve never seen ELECTRA GLIDE IN BLUE, it’s well worth your time. It’s an episodic, meandering movie but well made with quirky, watchable performances. Like I said earlier, don’t into it looking for your standard murder mystery. It’s more concerned with examining a police officer whose moral code separates him not only from the counter culture but also from his fellow police officers. It’s a meditative movie that works its money maker off to be more than just a standard cop thriller and it’s an excellent showcase of Robert Blake’s talent as an actor. Enjoy.

114 Minutes

Rated PG