There's Always Vanilla

Oh the days when independent films were made and sometimes barely ever seen. That still happens to this day, but at least now there's DVD (matter of fact that was the only way I could get to see There's Always Vanilla- it's next to impossible to find on bootleg). In 1970/1971, George A. Romero and the Latent Image, his production company that previously established itself big-time with Night of the Living Dead, decided to go a more romantic/dramatic route, as there seemed to be a possible small market for it.

Unfortunately, the scriptwriter, Rudy Ricci, was haphazard and scatter-shot with his contributions, and the script was never finished until the end of filming (it came to the filmmakers scene by scene), so even though there are characters to get interested in as a 'character study', Chris Bradley and Lynn Harris (Ray Lane and Judith Streiner respectively), sometimes the dialog and situations become contrived. The main thrust of the story comes from Lynn's relationship to Chris, as Chris is a sort of man-child, who comes into her life suddenly one day after abandoning an older women he may or may not have fathered a kid with, and somehow through his constant sarcasm and lackadaisical charm that gets her into bed. But Chris, as we soon finds out, uses the wit and charms and occasional obnoxious means of talk to mask insecurities. He doesn't work, and when the opportunity comes he backs out. It all leads up to his father relaying a 'meaning': there's always vanilla.

It's not totally incomprehensible to see why Romero, on an interview featured on the DVD, is completely assured with his feelings that it was a low-point in his career where he tried to gain more experience as a filmmaker and fell flat on his face. There is that side to the picture that is unequivocally dated, and the lack of a better budget or a means to a better structure (particularly an ending that feels complete or make sense) is frustrating. But a filmmaker sometimes has to feel that way about certain films, as the experience making it becomes a personal struggle whereas other times it could become a personal triumph (he still considers Day of the Dead a favorite, mostly for the experience making it).

Ironically though it's his own skills as a director and editor and director of photography that rises the material to a level of watchability. It's no Cassavetes- as another reviewer noted- but he treats the material with a control that wavers between late 60s early 70s exploitation film-making (of the period, of course, with some scenes with psychedelia bits and music and pot), and a more grounded tone for the actors to follow. And sometimes Romero's given by Ricci a compelling scene to shoot, like when Lynn has to deal with a certain 'problem' she may need to take care of, but decides at the last moment to run away from it.

Or, of course, when Romero cuts the scenes together, sometimes around Chris's confessions to the audience about his mistakes and own feelings at certain times, which pop in at a good rhythm. Or the way he doesn't putz around with montage- often a high-quality trademark in Romero films- even when dealing with schmaltzy scenes like the quasi courtship of Chris and Lynn in a park or on a boat (I also really liked the one liners each character traded off on one another in the park- marking the shallowness of the period). And the actors do bring qualities of believability to scenes that somehow work almost in spite of the flaws in the material; Laine is actually charming and affable, carrying over similar qualities from the next collaboration with Romero in Season of the Witch, and Streiner is even better here than she was in 'Living Dead', as a woman who has to contend with being the mature one in a relationship where a falsity to it rings true almost every day.

By the time one sees those balloons fly out of the cardboard box to the cheesy singing (and usually there is cheesy music here), it's clear that this isn't Romero's finest dip into a change of pace. But even in a miscalculation there are intriguing, humorous notes touched on, and that no matter what Romero can somehow be pragmatic with his material, and chooses experimental angles in an otherwise typical low-budget effort.

As said here previously, THERE'S ALWAYS VANILLA is a far better film than its reputation suggests (or director Romero himself apparently believes). As with all his best work, the writing is snappy and original, and quite unlike his best work, it proves that he could have (had?) a career with non-horror pictures if he wished so.

The film is told in flashback, with the main character (played excellently by Raymond Laine) ruminating in seemingly improvised sequences about his failed relationship, as the film illustrates its path. Fascinatingly, it resembles nothing less than Woody Allen's ANNIE HALL from some six years later - and is the far better movie. Where Allen's "see? I'm a lovable schnook" persona made me want to murder him when I revisited the film recently, Laine's portrayal of a sort of anti-hero in emotional turmoil here actually rings true.

Among the many pleasures in the film is seeing various cast members of NIGHT OF THE LIVING DEAD (to say nothing of lead actress Judith Steiner) back again in completely different roles. But there are also a host of terrific set pieces, a great, HUSBANDS-like night of stoned debauchery with father and son among them.

It doesn't all work - there are two pretty awful sentimental montages which fail - but there's plenty of spirited jump-cutting, frame flashes and other unique touches which show a thoughtful stylistic hand at play. I wish Romero hadn't stopped with this "failure" - he certainly would have made a more interesting ANNIE HALL.

There's Always Vanilla (AKA: The Affair) (1971) was the first of George A. Romero's films after Night of the Living Dead (1968) and probably the least seen. I guess after making Night... Romero feared being pegged as a horror film director and launched himself after the release of Night with this Graduate-type romantic drama, written by his associate Rudi Ricci. But sadly it's not one of his best, and it's quite obvious that the director's heart just wasn't in making it. It does not exist on video or DVD, only on crude bootlegged VHS copies here and there.

As for the plot, it could have been better if done on a higher budget. It opens with a guy named Chris Bradley (Ray Laine who appeared in Jack's Wife (AKA: Season of the Witch)) who returns to his home city in Pittsburgh, Pennsylvania a year or more after his discharge from the U.S. Army and serving a tour in Vietnam. Chris has drifted from town to town, and city to city making money from playing his guitar in bars, to pimping for prostitutes. Chris' stern but benevolent father (Roger McGovern) wants him to abandon his new lifestyle and return to the family business of making baby food in a local factory which Mr. Bradley owns. But Chris refuses, wanting to make a new life for himself. On the street, Chris meets a beautiful young woman named Lynn (Judith Steiner) whom is about 10 years older than him and makes a living by modeling in local TV commercials. Chris charms Lynn into letting him move in with her.

For a time, Chris and Lynn's relationship is good with both of them sharing their love of of lovemaking, pot smoking, and rock and roll music. But she is supporting both of them as he plans to write a book based on his life, whereas he just lays around doing nothing. She motivates him to get a steady job and he lands one in a small advertising agency, which he grows not to like it with each passing day. Then Lynn finds out that she's pregnant and keeps the news from Chris knowing that despite his wits and charm, he is not responsible to be a father or a husband to her and her unborn baby. For the rest of the film, it does downhill from there and for Chris heading towards ruin and misery.

If it was restored by Anchor Bay or Blue Underground, it would be an interesting look at late 1960's early 1970's life with lusuous visuals (the grainy color of the aging VHS tapes is the disadvantage). Sad to say that even Romero himself disavowed this film for its not all bad despite the bleak storyline. I hope one day, someone will restore this movie for the public to once again view for themselves.

And I don't just mean the movie here. Though I guess I'm quite biased towards George Romero, so make of that what you will. But back to this, the second feature film effort and often times regarded as one of the lost films between Night of the living Dead and Dawn of the Dead. There only seemed to be two (this and another one called Jacks Wife by Romero, but many other titles by others, more on that on its own page), but recently another lost movie has surfaced and everything seems to point that it will be a gem and then some.

But back to this, a movie Romero himself may not have been too happy with the end result overall, but while this has flaws it also shows that he could do more than just horror. This attempt at a romantic movie is testament to that. Really good performances overall and an intriguing story (even if some themes became almost obselete a couple of years later). For all fans Romero and those who like their dramas to be weird. Not an instant classic, but more than decent

Sometimes a director is not the best judge of his own work. He's too close. He second-guesses. I think this movie, Romero's follow-up to Night of the Living Dead, compares favorably to The Graduate. Don't laugh. Angst. Freedom. Commitment. These are all central themes and emotional building blocks in both films' major characters' world view. I view Dustin Hoffman's Ben as a failure of sorts, a man who becomes a stalker, harasser, home-wrecker (twice), and road menace. Sad. And a bit dated. However, Ray Laine's drifter has better qualities and only two vices: smoking grass and pecking out his unfinished novel on a manual typewriter. Norman Fell's landlord character calls Ben a pervert. A young Richard Dreyfuss smells trouble, too. Well... I digress, so back to the cinema of George Romero. I liked many things about this dizzy movie. The lead actress, the one in NOLD who had a seat belt problem, is gorgeous and talented. Who knew? Laine is charismatic and commands the screen. The 'Ultimate Machine' sculpture is funny and opens minds. Placed in Pittsburg's Downtown, the symbolism cannot be missed. There's some excellent rock music in the score. Romero's editing is impeccable--a picnic and boat excursion are highlights. Watch for a clown who looks directly into the camera. But there are dark sections. Laine's mother is nuts. He also may have had a child from an old girl fiend. She sleeps with a giant stuffed camel or turtle. I can't make up my mind which it is. And finally the trip Laine's new girlfriend takes to an abortion doctor's pad. Sick. Creepy. And a little disturbing. I feel the movie deserves a second look.