Movie Review: Moving Violation (1976)

A basic car chase action film, Moving Violation lives down to elemental expectations.

Laidback Detroit autoworker Eddie (Stephen McHattie) is hitchhiking through the south and wanders into the small town of Rockfield, where he quickly tangles with redneck Sheriff Rankin (Lonny Chapman). Eddie meets local ice cream parlour girl Cam (Kay Lenz), and together they witness the corrupt Rankin shooting dead his deputy on the estate grounds of oil tycoon Mr. Rockfield (Will Geer), whose family built the town.

Eddie and Cam realize they are in deep trouble and speed off in their van, with Rankin labelling them police-murdering terrorist fugitives. Wild chases ensue with multiple police cars joining the pursuit. The befuddled Eddie and Cam eventually seek the help of lawyer Alex Warren (Eddie Albert), but clearing their names will not be easy.

Produced by low-budget master Roger Corman and his wife Julie but backed by some studio money from 20th Century Fox, Moving Violation is 90 minutes of car chases and stunts interrupted by a few awkward scenes of attempted acting. The film looks reasonably slick and meets all expectations of B-movie drive-in level "beware the hick South" themed entertainment from the era, including horrid acting, childish dialogue and cartoonish villainous characters.

The chase scenes are often comically sped up except when director Charles S. Dubin introduces slow motion shots to better highlight the key stunts, and most of the fast motoring unfolds to hillbilly banjo music and plenty of repetitive tame cussing. The drive for humour occasionally collides with Sheriff Rankin's uncompromisingly evil stance and moments of abrupt shotgun violence.

Stephen McHattie and Kay Lenz often look embarrassed, confined to grim-faced close-up reaction shots while holding onto steering wheels with no actual lines to say. Moving Violation barrels down the highway seeking every possible crash opportunity, a mind numbing but efficient demonstration of scrap metal production.

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Movie Review: McQ (1974)

A crime action movie, McQ attempts to contribute to the genre's increasing grittiness but achieves only modest success.

In Seattle, two beat cops are shot dead by police detective Stan Boyle, who is then himself gunned down by a mysterious assailant. Stan's long term partner Detective Lon "McQ" McHugh (John Wayne) chases away a thief breaking into his green Pontiac Firebird, then returns fire and kills a hitman. McQ connects with Stan's wife Lois (Diana Muldaur) and starts to investigate the murders, convinced that local drug lord Santiago (Al Lettieri) must be behind the killings.

McQ resigns from the police force when he runs afoul of Captain Kosterman (Eddie Albert), although detective Toms (Clu Gulager) tries to mediate. McQ partners with private investigator "Pinky" Farrell (David Huddleston) and shakes down informants Rosey (Roger E. Mosley) and Myra (Colleen Dewhurst) for information. He learns Santiago has assembled a small army of henchmen to steal a shipment of seized drugs from under the noses of the police, but not everything is at it seems.

With Bullitt (1968), Dirty Harry and The French Connection (both 1971) redefining what a star-driven police action film looks and sounds like, director John Sturges and John Wayne trade in horses for cars and attempt to join the fun. With a brass-heavy Elmer Bernstein music score, impressive weaponry, and no shortage of roaring American muscle cars chasing each other across Seattle, McQ is not a bad effort, but it lacks verve and originality.

After a solid opening featuring multiple murders and an intriguing set-up, the film settles down to long stretches of mundane, television-level tedium, the flabby script by Lawrence Roman lacking a cutting edge and unable to capitalize on the early momentum. Sturges does not contribute any notable directorial touches, and at 67 years old, Wayne is well past convincing as a police detective.

The title character is also too faithful to Wayne's stand-up persona to be effective in the new reality of cops pushing boundaries and encountering walls of conspiracy. Sure McQ throws a few illegal punches and slams his badge on the table in disgust, but there is never any question which side of the line he is on, where he stands in the conflict between good and bad, and therefore which side will prevail.

But not all is lost. The story of police corruption and double-cross is actually decent, and in the final third the film finally latches on to its purpose as the action kicks out of second gear towards an acceptable if ultimately safe climax. In sharper hands and with more of the plot holes filled, McQ could have been elevated beyond merely average.

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Movie Review: Roman Holiday (1953)

Audrey Hepburn's grand introduction to global stardom, Roman Holiday is a perfect romance, with the story of a vibrant but weary princess on the loose in Rome tinged with comedy and poignancy.

Young and glamorous Royal Princess Ann (Hepburn) is on an extensive goodwill tour of Europe on behalf of her unnamed country, and nearing exhaustion. Not allowed to make any of her own decisions and over scheduled with ceremonial events, she finally suffers a breakdown in Rome, throws a royal fit that rocks her entourage, and is given a sedative. But in the middle of the night Ann decides that what she needs is a break from the madness of formality, and she escapes from the embassy compound, intent on playing tourist.

Joe Bradley (Gregory Peck) is a laid back American journalist based in Rome. He stumbles upon Ann sleeping on an outdoor bench, and allows her to crash at his apartment until the she sleeps off the sedation. Joe eventually realizes that Ann is the missing princess, and with the help of his photographer friend Irving (Eddie Albert), he plans to secure the surreptitious scoop of a lifetime. But as Joe and Ann spend more time together in Rome, they grow fond of each other and both have to reevaluate their motives.

Roman Holiday compiles the best elements of a successful romance into a flawless package. Two attractive leads from contrasting backgrounds, an exotic setting, a sprinkling of royalty, mischief, and a rebellious spirit, and the coming together of the young innocent princess with the worldly journalist. The film wears its pure romantic intentions on its lapel, and celebrates the magic that can happen in the unlikeliest of circumstances. Roman Holiday is a rich and leisurely stroll through the land of the possible, an exquisitely assembled piece of film making.

With Elizabeth Taylor and Jean Simmons both unavailable, director William Wyler plucked the 24 year old Hepburn from obscurity and gave her the chance of a lifetime, and she grasped it with both hands. Combining classic beauty with friendly accessibility and a pragmatic girl-next-door outlook on life, Hepburn establishes her coquettish persona in a few short scenes, and fearlessly matches the veteran Peck, step for step as she marches into stardom.

Peck proves to be the perfect partner for Hepburn's stepping out party, his gentlemanly air conveying distinguished experience and paving the way for Hepburn to stride into Hollywood's glamour circle, clutching the Best Actress Academy Award.

Wyler also insisted that Roman Holiday be filmed entirely on location in Rome, an astute decision that immeasurably adds to the authenticity of the experience. The familiar and famous locations, including the Fontana di Trevi, the Piazza Venezia, the Spanish Steps and Colosseum provide a backdrop that emphasizes Ann's desire to break free and see the sights unconfined by protocol, while the many Italian supporting actors in small roles add a distinctive and genuine flavour that sets Roman Holiday apart from backlot productions.

The classic scenes are many, sprinkled like gold dust throughout the film. Joe expertly rolling the blissfully sleeping Ann off his precious bed and onto the couch; Ann and Joe motoring through Rome and eventually into trouble on a scooter; Joe surprising Ann at the Mouth Of Truth; Joe none-too-subtly bruising Irving into understanding his plan for a scoop; Ann introducing herself to Irving as Anya Smith and earning the nickname "Smitty" for her troubles; and the wild rumble with government agents at the docks where Ann gets to demonstrate her guitar weaponry skills. Roman Holiday is filled with clever touches of humour and caring, the fertile ground for affection to blossom.

And just as often as Wyler and screenwriters Dalton Trumbo, Ian McLellan Hunter and John Dighton hit the right notes, they also avoid the traps that tend to diminish cinematic romances. Once Ann and Joe start to enjoy their time together, the risks to the relationship are not extraneous; rather the potential lovers themselves have to assess the complexities of where their emotions are heading and balance immediate personal fulfillment with longer-term realistic expectations. And the ending finds contentment in a mature resolution that respects the context.

Roman Holiday is a classy romance, and an impeccable launch for the most elegant of stars.

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