Verna Bloom Movies

"I love to shoot film" is the sanguine motto of TV lensman John Cassellis (Robert Forster) in Haskell Wexler's 1969 Medium Cool, a semi-documentary investigation of image-making and politics. With his soundman, Gus (Peter Bonerz), John films such events as gruesome car wrecks with frosty detachment, considering himself a mere recorder of circumstances, his only responsibility to get his film in on time. Even his girlfriend, Ruth (Marianna Hill), cannot understand or penetrate John's complacency. Encounters with signs of the late '60s times, however, raise John's consciousness about the implications of his job, as he films a verbal attack by black militants on the media's racism, gets fired after he objects to having that footage turned over to the FBI, and meets Vietnam War widow Eileen (Verna Bloom). John witnesses the violence of the state firsthand as he and Eileen search for her son amidst the real-life demonstrations and riots at the 1968 Chicago Democratic Convention. Even though he realizes the political power of pointing a camera at anything, John finally cannot extricate himself or his loved ones from a culture obsessed with recording any sensational, gory incident. Scripted (from a novel by Jack Couffer), directed, and shot by Oscar-winning cinematographer and political activist Wexler, Medium Cool systematically questions the ideological power of images by combining documentary techniques such as "talking heads" and cinéma vérité with staged scenes between the actors. By the time Wexler and his crew start filming Forster and Bloom among the actual events at the convention, all barriers between fiction and fact are broken down, as Wexler's assistant can be heard warning, "Watch out, Haskell, it's real," when tear gas is thrown. The footage of cops clubbing people in the crowd is real, but Wexler's presence also turns it into part of a fictional story, revealing filmed "reality" to be as artificially constructed as any other fiction, subject to the interpretation of whoever holds the camera and, perhaps, to larger institutions of power.

Funding Medium Cool partly out of his own resources, Wexler had free reign during production, but when the execs at Paramount saw the result, they were not pleased. Despite the timely subject matter, Paramount delayed and then curtailed the film's release, tempering its impact on critics and audiences. Regardless of that record, Medium Cool stands as a vital late-'60s film for its incisive narrative and formal dissection of the visual politics of "truth," and its awareness of how coolly seductive televised violence might be as entertainment, especially in a historical moment marked by incendiary images of political assassinations, the Vietnam War, the civil rights movement, and counterculture protests. ~ Lucia Bozzola, All Movie Guide

Meeting largely mixed reviews during its first run in 1971, counterculture icon Peter Fonda's directorial debut was restored and remastered for its 30-year anniversary. The film opens with three drifters greeting the morning by cavorting in a sun-dabbled mountain river. Harry Collings (Fonda) catches a fish and gives it to Arch Harris (Warren Oates) who grills it over a low fire, while Dan (Robert Pratt) -- the youngest of the three -- bathes in the swift moving current. Later, as they head into Del Norte, a small town in the middle of nowhere, Dan talks breathlessly about going to California while Collings suddenly decides to return home after a seven-year absence. After Dan runs afoul of a group of unsavory characters lead by McVey (Severn Darden), Collings vows vengeance for the lad's death and blows off McVey's feet. Collings and Harris bury Dan and flee from the town riding hundreds of miles to Collings' homestead. His wife Hannah (Verna Bloom) -- now called "Widow Collings" by the local townsfolk -- is none too pleased to see her wayward husband at her doorstep. Taking his wife's anger in stride, he asks only to be allowed to work as a hired hand. Just as Hannah and Collings start to move beyond the years of anger and estrangement, disaster strikes. This film was screened at the 2001 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

"Who are you?" the dwarf Mordecai (Billy Curtis) asks Clint Eastwood's Stranger at the end of Eastwood's 1973 western High Plains Drifter. "You know," he replies, before vanishing into the desert heat waves near California's Mono Lake. Adapting the amorally enigmatic and violent Man With No Name persona from his films with Sergio Leone, Eastwood's second film as director begins as his drifter emerges from that heat haze and rides into the odd lakefront settlement of Lago. Lago's residents are not particularly friendly, but once the Stranger shows his skills as a gunfighter, they beg him to defend them against a group of outlaws (led by Eastwood regular Geoffrey Lewis) who have a score to settle with the town. He agrees to train them in self-defense, but Mordecai and innkeeper's wife Sarah Belding (Verna Bloom) soon suspect that the Stranger has another, more personal agenda. By the time the Stranger makes the corrupt community paint their town red and re-name it "Hell," it is clear that he is not just another gunslinger. With its fragmented flashbacks and bizarre, austere locations, High Plains Drifter's stylistic eccentricity lends an air of unsettling eeriness to its revenge story, adding an uncanny slant to Eastwood's antiheroic westerner. Seminal western hero John Wayne was so offended by Eastwood's harshly revisionist view of a frontier town that he wrote to Eastwood, objecting that this was not what the spirit of the West was all about. Eastwood's audience, however, was not so put off, and an exhibitors' poll named Eastwood a top box-office draw for 1973. ~ Lucia Bozzola, All Movie Guide

Fresh from her success in The Exorcist (and several years away from her tenure as queen of the women in prison flicks), Linda Blair stars in this searing TV movie. Sarah (Blair), a normal teenaged girl, begins drinking socially at high school parties. She soon finds that she can't stop--and even worse, she can't keep her boozing a secret. After a near-tragic baby-sitting episode, Sarah decides to attend Alcoholics Anonymous, but soon she's back on the hard stuff. Only when Sarah causes the death of a horse does she strengthen her resolve to remain "clean and sober." Sarah T: Portrait of a Teenage Alcoholic tempers the more sensational aspects of the subject matter with some unforgettably poignant vignettes--including the A.A. testimony of a boy who's even younger than Sarah. ~ Hal Erickson, All Movie Guide

Forrest Tucker guest stars as Paul Zachary, a jaded, world-weary NYPD detective. Zachary's obsessive devotion to his work has already alienated his family and stirred up ill will among his police colleagues. Now, the veteran detective's dogged determination to bring an elusive jewelry fence named Ballentine (Malachi Throne) to justice threatens to ruin the case that Lt. Kojak (Telly Savalas) has mounted against the selfsame Ballentine. ~ Hal Erickson, All Movie Guide

Heroes is an old-fashioned social problem movie concerning a troubled Vietnam veteran and the loving woman who helps him to work out his problems. Henry Winkler plays Jack Dunne, a veteran who has a history of mental problems. Jack fools the hospital doctor Elias (Hector Elias) and escapes from the hospital with the intention of starting a worm farm with money collected from his fellow inmates. Jack hops aboard a bus, where he meets up with Carol Bell (Sally Field), who, invites Jack to join up with her on a trip to California. ~ Paul Brenner, All Movie Guide

The made-for-television Playing for Time debuted on September 30, 1980. Vanessa Redgrave stars as Fania Fenelon, a Jewish cabaret singer working in Paris at the time of the Nazi invasion. Shipped to the Auschwitz death camp in 1944, Fenelon is certain that she is as doomed as all the other prisoners. But SS camp matron Shirley Knight has other plans: she orders Fenelon and several other female inmates with musical ability to form themselves into a prisoner's orchestra. They are to perform for the benefit of those who are herded into the gas chambers--a "humane" means of easing the condemned into the next world. As much as she despises her work, Fenelon and her fellow musicians continue to play, lest they too be exterminated. The film raises several questions about courage, guilt and survival at any price, but the most controversial aspect was the casting of anti-Zionist Vanessa Redgrave as Fania Fenelon. Like many others, the real-life Fenelon (who died in 1988) was vehemently opposed to Redgrave's appearance in the film. Playing for Time won Emmy Awards for Redgrave, scriptwriter Arthur Miller, supporting actress Jane Alexander, and as Outstanding Dramatic Special. Redgrave's husband Tony Richardson was the original director, but he bowed out and was replaced by Joseph Sargent., who himself was replaced by Daniel Mann (the only one credited) ~ Hal Erickson, All Movie Guide

Clint Eastwood put his tough-guy image on hold for this personal project, which follows a musician taking one final chance at the big time. Red Stovall (Eastwood) is a would-be country singer who has been bouncing around the margins of the music business for years. With nowhere in particular to go, Red arrives at the failing Oklahoma farm of his sister for an extended visit, where her son Whit (Kyle Eastwood) quickly bonds with his uncle. However, it's obvious that Red is in very poor health, drinking heavily and breathing with difficulty, and when Red is invited to audition for the Grand Old Opry in Nashville, Whit tags along for the road trip to keep an eye on his ailing uncle. En route, Red and Whit are joined by Whit's grandfather (John McIntire) and another hopeful vocalist, Marlene (Alexa Kenin), who like Red is chasing her own dreams of stardom on the Opry. Clint Eastwood performed his own vocals and guitar work for Honkytonk Man, and a number of Nashville legends appear in cameo roles, including Marty Robbins, Porter Wagoner, Ray Price, Merle Travis, and Johnny Gimble. ~ Mark Deming, All Movie Guide

Martin Scorsese's After Hours is a dark, tragi-comic tale of a fish out of water, centering on an uptight, white-bread computer consultant from uptown Manhattan who finds himself in the nightmarish and incomprehensible (to him) world of Soho after dark. The ordeal begins when Paul Hackett (Griffin Dunne) gets lonely and decides to leave the posh East Side and search the Soho streets for some loving from Marcy (Rosanna Arquette), the pretty young woman he met in a downtown cafe. He has her phone number and works up the nerve to call. She wants to see him, and so Paul grabs $20, hails a taxi and sets out. The weirdness begins when he loses his money during the high-speed cab ride. His visit to Marcy's loft, where he meets her crazed artist roommate Kiki (Linda Fiorentino), is a disaster, as is his encounter with the beehive-wearing retro waitress Julie (Teri Garr). ~ Sandra Brennan, All Movie Guide

In this family drama, the life of a woman and her son are severely disrupted when her estranged husband, who abandoned them thirty years before, returns. ~ Sandra Brennan, All Movie Guide

In the summer of 1968, cinematographer Haskell Wexler went to Chicago to shoot his first directorial effort, a drama about a television news cameraman who finds it difficult to remain objective about the events surrounding him. Wexler intended to use the National Democratic Convention being held in the Windy City as a backdrop, but as clashes between anti-war protesters and the Chicago police force became violent, Wexler and his cast and crew found themselves caught in the middle, and the violent skirmishes and their aftermath at once informed the film's content and became a vital part of its subtext. Look Out Haskell, It's Real! The Making of "Medium Cool" is a documentary that tells the story behind one of the most acclaimed and original American films of the 1960s; director Paul Cronin includes interviews with Wexler and many of the members of his cast and crew, while also featuring outtakes from the film recently discovered in storage at the U.C.L.A. film archive. A "work in progress" version of Look Out Haskell, It's Real!: The Making of "Medium Cool" was screened at the 2001 Edinburgh Film Festival on a double bill with a restored print of Medium Cool itself. ~ Mark Deming, All Movie Guide