There's Always Vanilla

This film reminded me of nothing so much as a John Cassavettes movie. Yes, I mean that as the sincerest of compliments, but whether or not you like it will probably depend upon your feelings about ol' John C. He's a controversial figure even twenty years after his death.

Anyway, despite the video notes from Something Weird, Ray Laine looks and acts just like Russell Crowe. It's almost frightening. While Judith Ridley (here billed as Streiner) is just as lovely as ever and, surprisingly enough in light of her unimpressive turn in "Night of the Living Dead," can actually act.

Okay, so the flick is full of standard issue seventies lingo and some of the most godawful fashion statements since Mrs. Roper, but the writing and direction make up for it. Romero's editing and shot compositions are, perhaps, the best I've seen from him to date. It is odd that George should have excised this piece of work so completely from his opus. Despite its timeliness, it is actually a very accomplished film. The dialogue is crisp and witty. The performances are well delivered across the board. I truly didn't have a problem in the world with this little diamond in the rough. I admit that a few scenes within the first third of the picture were just a bit gag inducing. (Why is it that all these "Love Stories" have to feature a musical montage of the two doe-eyed young lovers going to a play ground, going on a picnic, eating ice cream, etc.?) The final third of the film, as the relationship hits the rocks, however, more than makes up for it with moments truly disturbing. The abortionist sequence in particular was everything I expected it to be and then some. Without resorting to hard core gore or exploitation techniques, Romero manages to provide a real wince inducing air of suspense and danger that will probably be remembered long after the cutesy-poo stuff is forgotten.

All in all, I must say that Romero needs to take stock of his film output over the last few years. Is "There's Always Vanilla" perfect? No, of course not. Is it worlds better than the drek Georgie-Boy's been churning out ever since "Creepshow"? Absolutely! If I were him, I'd bring back "TAV" on a deluxe package DVD replete with audio commentary and plenty of extras and start issuing some damning (or, at least, distancing) statements about "Monkey Shines", "Two Evil Eyes" and "The Dark Half."

Movie Fun: Try and spot all the actors from "Night of the Living Dead" that also made their way into this film. Something Weird Video helpfully points out Ridley (of course) as well as the first ghoul in the cemetery and Judith's husband (Mr. "They're coming to get you, Barbara!") I also found the sheriff lurking here as the abortionist's front man. His turn makes his "Good shot!" comment from "NotLD" seem positively Alan-Alda sensitive. I'm sure there are more familiar faces to be found, but they'll have to wait for repeat viewings.

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.

There's Always Vanilla (1971) was a film that I saw a few years ago at a local video store. I was intrigued by the title and the clerk told me it was George A. Romero that was rarely seen. I felt at first that I've give it a try and scan it. I was surprised how good the movie was. Ray Laine is great as the lead in this movie. Judith Streiner (Ridley) plays the model/actress that he falls for with cameos by Russ Streiner, Bill Hinzmen and Richard France. I liked how Ray Laine's character addresses the camera giving the audience a insight into his life and times. Romero's camera work, direction and editing are real good in this flick. I enjoyed the social commentary and the ending. I thought it would be a snooze fest but once again Romero proved me wrong.

The title refers to a line in the movie that Laine's father tells him when he sees him for advice. The actor who plays his father is also great. Try and get a hold of it!!

Highly recommended.

Low budget and extremely dated. The only reason to watch this is so that you can say you've seen all of George Romero's movies. It's a totally uninteresting time capsule. It's feels like an hour and a half long student film and about as much fun.

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