Appuntamento con una ragazza che si sente sola

I saw T. R. BASKIN at the cinema in Colorado when I was a college student several times. I recommended it to everyone. I thought it was on a par with FIVE EASY PIECES or THE LAST PICTURE SHOW. I don't think Candace Bergen was ever better and (the now late) Peter Boyle was great as was James Caan. Many years later in New York I had the opportunity to tell Candace Bergen how much I liked that film and she said, "Oh, they hated it. They all hated it." I thought it was very well written, with many very funny and clever lines. There is a heartbreaking misunderstanding in it that makes for fine drama. I recall it had a subtle touching depth to it and I would love to see it again all these years later to see how it holds up.

Having watched director Herbert Ross's "T. R. Baskin" twice now, I still have no idea why the filmmaker was drawn to the material or why Paramount gave it the green light. Written by the otherwise-astute Peter Hyams, our titular heroine is rather the antithesis of TV's Mary Richards: she's not about to turn the world on with her smile. An escapee from a small town in Ohio, T. R. arrives in Chicago and is immediately taken advantage of by her cab driver from the airport (but nothing is built upon this--it's just shrugged off). She finds a boring job and a boring apartment, she goes out on a boring blind date--the only thing missing is a boring cat. Played by Candice Bergen, T. R. Baskin isn't pithy or wise: she's deadpan nearly throughout. I assume Hyams meant her cynicism to be blunt and amusing, but Ross doesn't ask Bergen to deliver anything more than a sketch of the character (we get nothing about her background save for a phone call home to mom). The film's framing device is deadly: an ex-Army man (a young James Caan), who insulted T. R. after a roll in the hay, sets up her with a married man in Chicago on business. This plot device makes absolutely no sense, and Ross skitters over it, perhaps shamefacedly. Fortunately, the married man is played Peter Boyle, and he emerges as the star of the picture. With his pearly-pink skin, shy smile and alert eyes, it's obvious the movie should have centered on Boyle's would-be philanderer rather than on Bergen's squinting/suspicious working girl. T. R. Is disappointed by life; she finds the Windy City an alienating place, she's in danger of being swallowed up by the anonymity of city living, but will she fight her predicament or simply surrender to it? We don't know because Ross and Hyams want to keep T. R. a floating question-mark. Had T. R. been a tough little nut, we might have had something to respond to; instead, she only comes to life with a case of the giggles in bed, and even then we don't really know why she's laughing. ** from ****

I finally got a chance to see a (poor) print of this film today after wanting to see it for years. I could appreciate its originality and sophistication for the time that it was made, but I was left wondering just what the film was really trying to say. It worked more as a character study than a film. The theme of the cruel and impersonal big city seemed to be a recurrent one in the 1970's (much like "Midnight Cowboy"), and seemed to be a symbol for the lost individual trying to find meaning in life.

I've never been able to believe Candice Bergen in any role I've ever seen her play, and this film is a good example. She's stiff and virtually emotionless in most of this, except for two scenes where her acting became so exaggerated that it was almost embarrassing; once where she laughs uncontrollably (more like shouts) when she is conversing with Peter Boyle and another at the end where she cries after a telephone conversation with her parents. They both sounded exactly the same, and were frankly kind of startling, leaving me wondering why the director allowed her to go so far and didn't ask for another take where she toned it down a little.

The "plot" never really goes anywhere. T.R. seems vacant, zombie-like and sarcastic, and the flashbacks gave me the impression they were being intentionally inserted to make a point when the film would come to an end. They didn't. The scenes in the film could have been played in real time as they happened and it wouldn't have made any difference at all.

There's some dialogue between Bergen and Caan in which she tells him that he "talks like a typewriter." I felt like this described a lot of the film; people don't talk or act this way, and I'm sure it looked great on paper. I can appreciate that this film portrayed a character and her experiences in a very different way for its time, but it didn't really seem to make a conclusion about anything.

T.R. Baskin was a favorite of mine. I have been trying to find it for years. With a cast as strong as this, I wonder why it has never been released in DVD or video. I would love having some help finding this!! What resonated with me was a line Bergen had - How do you know when you are accepting too little for yourself or expecting too much? I have been trying to answer this my whole life.

I didn't remember that it was shot in Chicago, and I would love to see the 1971 shots of that as well.

And I remember the music too was excellent. Please re-release it!

Candace Bergen stood out as a performer in this. I knew of her acting before this - but she really stood out in this role.

This film is in some ways a guilty pleasure--it's occasionally hokey--but I like it because it reminds me of the wonder I felt on my first few visits to Chicago (I'm a small-town girl too). I eventually moved there, staying more than a decade

before moving on to L.A.; my experience was, on the whole, much more positive than T.R.'s, but I can relate to her and to what she's going through. That's a good deal of this movie's appeal--the characters and the situations all have the ring of truth. Kudos to writer Peter Hyams and director Herbert Ross. T.R. may be lonely and lacking in direction, but she's also intelligent, feisty, and nobody's fool, and it's easy to understand how she feels as she tries to build an independent life and find personal and professional satisfaction. Candice Bergen's delivery of her lines is sometimes a bit stilted, but her performance is largely praiseworthy; so are those of the supporting cast, especially Marcia Rodd, James Caan, Peter Boyle, and Howard Platt (very convincing as a real jerk). The filmmakers also make good use of the Chicago setting, with shots of Carson's State Street store, the el, and other landmarks, and the movie's full of early-'70s atmosphere--the clothes, the music, the singles bars, and the fact that the modern women's

movement had a lot of work to do.