Io sono perversa

I'm giving this seven although the terrible music almost makes the picture unwatchable. What is interesting is Leigh Taylor-Young's portrayal of an under-age woman driven mad by being debauched, perverted and corrupted by a string of rich old men to whom she is pimped by her ageing moneybags employer. Dutch Leonard, author of the original novel, got his facts right here, and it gives the movie an underlying force that can't be denied. It's a surprise to find that the principal character is not Ryan O'Neal, who is wooden and sulky as the out-of-place "anglo" farm-worker in rural Monterey, but instead his then-wife and co-star Taylor-Young. Her character has gone over the edge as a result of being seduced by the local Senator at the instigation of her employer and bed-mate, the local landlord. Taylor-Young gets right into it, yipping and chortling as she turns over other cars and pumps bullets into mistaken interlopers. Her plan to rip off her employer for the fortune in his house-safe never comes off (at least not during the picture's action), and she escapes a murder charge, but as Van Heflin's character grimly points out: "Give it a month or ten years: she'll get hers". Worth watching just for Taylor-Young's performance, about one-third of which is in the nude. This film is a rare insight into female psychology, almost in spite of itself.

"Elmore Leonard called this adaptation of his book "an awful movie"...IMDB Trivia.

"The Big Bounce" is Ryan O'Neal's first theatrical film. I saw it mostly because one of the supporting actors is Van Heflin...a darn fine actor from Hollywood's golden age.

Jack (O'Neal) is a guy who's drifted since being discharged from the Army. He also is a guy with a criminal record for Burglary and Assault. Perhaps this is why Nancy (Leigh Taylor-Young) is so smitten with him. Regardless, she takes her clothes off OFTEN to get the drooling Jack to do what she wants. Now he protests a lot...but off come her clothes and he complies. This leads to complications, such as when she runs a dune buggy off the road (possibly killing the occupants) for kicks. She also proposes he help her with a robbery...one that will be 'fun'. And, once again, he agrees to go along with this flaky lady...and you assume it's because of her super-powers of persuasion...in other words, her hot bod. What's next? See the film yourself and find out.

In some ways this is a tough movie for some to watch. After all, there are not 'good guys' in the film. But it is a mildly interesting character study of a woman who appears to have a Borderline Personality with strong Antisocial features (I used to diagnose folks when I was a therapist and this one is right or at least close!).

You probably noticed the quote from IMDB where the writer calls this an awful film. Obviously he wasn't thrilled with it. I didn't think it was terrible, though a few of the characters and plots are WAY underdeveloped...especially the one involving Lee Grant and her onscreen daughter. It's almost criminally underdeveloped and it really doesn't work well...as if they edited out most of this plot but forgot to edit out it all. But as far as the plot involving Young, it is compelling. After all, you wonder....is she some nutty thrill-seeker or is she setting him up? Neither one is good...and possibly the nutty thrill-seeker angle is worse considering how extreme her behaviors are! I liked but didn't love the film...and think it's worth a look.

By the way, this film has a significant amount of nudity. You might not want to show it to your kids or your mom or Father O'Reilly.

Unsure of where to go after wounding a vengeful local in baseball match and told to flee town, a Vietnam War veteran takes up with the mysterious young mistress of a produce farm owner in this little seen drama starring Ryan O'Neal in his first screen role. It is not the greatest debut for the Oscar nominated actor, but in what was only her second screen performance, Leigh Taylor-Young is excellent as the tantalising mistress. A femme fatale of the post-Production Code era, she plays a seductress like few others before her, revealing lots of skin and boldly parading around in the buff. She is just as effective with her clothes on too as there is an ambiguity as to whether or not she genuinely likes O'Neal or is just using him for a scheme revealed in the film's final third. That said, the scheme comes too late to provide much vigour, and easy as Taylor-Young is on the eyes, there is little else propelling the first hour. Van Heflin has a nice, understated turn as a justice of the peace, and Cindy Eilbacher is adorable, playing a surrogate daughter to O'Neal, but it is not enough to carry the film. The opportunities for more are all too apparent. Why not explore O'Neal's criminal background in further depth or how serving in Vietnam has affected him? Why not establish his desire for a daughter further? By all accounts though, the film was promoted as a vehicle for its two stars (married in real life at the time) and therefore it is easy to see why the filmmakers took a less exciting route. The film is not worthless as some of its dissenters might say, but it sure could have been a lot more.

As I'm a product of the 60's, this is classic fare for the movies. Campy yes, but many were. Someone mentioned the soft nude scenes, etc. Well, that was the usual fare as well. We didn't get 'in your face' sex. I miss those days, to be honest.

Now, as far as the music is concerned, whether the music matches the movie is debatable. One should realize 'The Mike Curb Sound' was quite popular to the straight-laced of my era. I enjoyed it but I enjoyed Zappa and Reed too.. go figure.

As a record collector, The Big Bounce soundtrack is one that should be included in one's collection. In fact, the original pressing is collectible now. There are a few quite nice tracks on it. Curb almost got a little out there on couple tunes, but, he reeled himself back in.

I think I know music pretty well as I have collected since the 60's and I say, in and of itself, the album is pretty darn good.

If there's ever been a movie ruined by a soundtrack, it's THE BIG BOUNCE: a late-sixties balance of sunny sea-blue and rural-gray tones, adapted from Elmore Leonard's Neo Noir novel beginning with a convict bashing an inmate's face with a baseball bat, and then, on parole and stuck within the small town, he's both feared and revered...

Depending who's around, and where he's at, and, while still in the film's rushed rudimentary stages, he seeks work for a dishonest rancher who exploits cucumber farm workers...

But with the help of a particular friend, he lands a soft job as a maintenance man at a beach side motel, where so much potential, pitting Ryan O'Neal against one of the sexiest sirens of Neo Noir... played by his then-wife and former PEYTON PLACE co-star Leigh Taylor-Young, who's the buried lead here: A seemingly sophisticated femme-fatale, she's bad news and big trouble.

Author Elmore Leonard said all adaptations before GET SHORTY and JACKIE BROWN never got it... But maybe, in critiquing BIG BOUNCE piecemeal, he saw a dark ray of hope in Taylor-Young's Nancy Barker, both effectively sinister and sexy...

The aforementioned crappy music, arranged by the usually capable Tony Curb, sounds like The Beach Boys possessed by folk singers drowning-out an otherwise groovy Jack Nitzsche-like surf music score -- one particularly godawful track repeats Nancy's name over and over... killing whatever edge her character's supposed to have.

But it's not all that bad: the overall vibe is lean and edgy, and there are terrific moments when Jack and Nancy hang out, night and day, discussing an upcoming heist, and possible murder. But Jack spends too much time with his old-timer friend played by veteran actor Van Heflin... so overly (and quickly) helpful to Jack's plight... he hardly has any obstacles in his way, or rungs to climb, or corners to paint himself out of.

It's really all about our femme fatale Taylor-Young being really bad and getting progressively worse (as in, badder and badder): and then, possibly becoming lethal while keeping her ridiculously beautiful poker face intact...

But really, TV director Alex March needed the intentionally flawed heart-of-gold convict ani-hero to take more risky chances, early on, to live up to any manipulative competition. And it wouldn't be the first time Ryan O'Neal would get what was supposedly his first-billed vehicle stolen by a close relative. He probably never got over PAPER MOON belonging solely to daughter and Oscar winner Tatum O'Neal.