The People Next Door

unfortunately, the only treasured memory I have of this film is the fully nude hairy biker descending the stairs...I saw the SNEAK PREVIEW Of this movie in 1970, when I was ten, accompanied by my parents and my mother's 84 year old childhood governess. I can say that it was electrifying to me at that age to see a middle-class home thrown into chaos by naked tripping hippies. The governess did not have any comment, but what she must have been thinking...I always wondered if the male nude scene was later cut for general release, and if so was I privileged enough to see the DIRECTOR'S CUT with my parents and the governess...this would still be a fairly shocking film if seen today. needs a DVD release.

The People Next Door captures the spirit of it's age in a way few other films of it's era have. Eli Walach and Julie Harris are two of the greatest actors of our time and play remarkably well together. Just check out the last few scenes of this movie. Their performances help keep this film from becoming dated. The subject matter is touchy stuff. It deals with teenage alienation, rebellion and trust. Many films of this era are somewhat tongue in cheek, this movie however never lets up. It takes itself very seriously and as a result has often been misunderstood. The music is cool and so is the rest of the cast. This is a must see for anyone interested in forgotten classics of the early seventies.

Sadly Eli's overacting and completely preposterous reactions to every single thing that happened wore extremely thin pretty rapidly. It's too bad because there's many things that work in this film. The music is very good and there's some very powerful scenes of confrontation and honesty. Seems to lose it's direction from time to time but eventually finds it's way back on track. It's easy to say these are messed up people, and maybe they are. But it was common and new and there was no frame of reference for people to cope with these issues. The neighbor's weren't any better. Parents are rarely ever portrayed realistically in movie throughout the decades. In this film the fathers were more over the top in their knee jerk reactions. The mothers were sympathetic and I did feel for them. The young adults were all excellent and once again I should say that the music was appropriate and absorbing. I can see why it garnered the praise it did and it's not nearly as dated as others from this era. This could have been a solid 6 or even a 7 if it wasn't for Eli's dundering incompetence. He should stick to westerns where his stilted dialogue delivery is easier to overlook. Editing was okay and the mood was consistent for the most part.

Don't judge a book by its cover, or so the saying goes. Bloody good advice to tell you the truth! Is the same principle advised for movies? Well yes to some degree but much less so. After all, its only gonna take 90mins of your time to watch a movie. So what, right? Today's film is one I watched on account of its poster which I found in an exploitation movie art book, it depicted a somewhat haunting image of a white silhouette of a girl grabbing onto a tree in the dead of night; a distorted image that suggests something is not quite right. So, an eye-grabbing and odd poster, what about the film? Its about a dysfunctional family who experience serious problems when the teenage daughter develops a serious drug problem. Its an effective addiction drama, with a nice cast which includes Eli Wallach as the father. It does have melodramatic tendencies which anti-drug movies often have but that's okay in this case, as its never less than involving. So, a big yay to movie poster art - it makes you check out movies you never otherwise would.

David Greene's obscure THE PEOPLE NEXT DOOR is out to prove that a parent, in particular a father working eight-hours and then having a nightcap and sleeping pill to fall asleep, is just the same as a wayward teenager dropping acid...

The latter happens quickly as underrated starlet Deborah Winters, after watching brother Stephen McHattie's hippie band rehearsing, winds up in her own closet, seeing God and thus, freaking out...

She later attempts spitefully french-kissing dad Eli Wallach, married to chain-smoking Julie Christie, both desperately trying to figure out what makes their drug-fueled, discontented daughter tick...

Ironically, Winters would wind up in another LSD-centered cult film, BLUE SUNSHINE, and she always gives an intense performance, visually epitomizing the cute blonde California girl who's miserably unglued, in this case adding much-needed suspense, like anything can happen at any time...

And while both her bad acid trip and idealistic tantrums literally peak too soon for an effectively cohesive melodrama of a clashing suburban clan to follow, NEXT DOOR is a semi-worthwhile compromise between an anti-drug exploitation and counter-culture propaganda for the young people themselves...

That is, despite the youth-rebel cliches... that Winters successfully rises above despite a somewhat mundane television-style script... which fits since she had co-starred in a 1968 CBS Playhouse (with a different surrounding cast) that this feature was adapted from...

So when she eventually takes a backseat to the primary story (while mom and dad deal with their own mundane demons), there's hardly any tale to tell since, after all, a bad trip beats a bummer trip.