The Love-Ins

If Jack Webb were to write/direct an "expose" of Timothy Leary and the LSD/Hippie movement, what would it look like? The 1967 film 'The Love Ins' doesn't share any of the same credited writers or directors with the 1950s and 60s TV series Dragnet.

Still, the one dimensional, stereotypical characters: hypocritical, "square" parents clashing with reckless, self-absorbed young adults, intolerant jocks, a greedy promoter and a cult leader with a messiah complex combined with the "it's all fun and games until someone gets hurt" plot line (and subplots), will have you flashing back to the classic TV series.

That said, this film does have some historic, and even artistic, value as it retells the age old tale of an idealistic movement falling prey to pride and corruption.

Hip professor Richard Todd (as Jonathan Barnett) resigns from his university, protesting the expulsion of implausible hippies James MacArthur (as Larry Osborne) and Susan Oliver (as Patricia Cross). Mr. MacArthur and Ms. Oliver publish an "underground" newspaper. Mr. Todd believes defending the publication of their "Tomorrow's Times" is a freedom of speech issue; but, his college administration terms it a "pornographic rag". After advocating LSD use on Joe Pyne's TV show, Todd is evicted from his apartment. Jobless and homeless, Todd moves into MacArthur and Oliver's San Francisco pad. There, he becomes a Timothy Leary-type hero. Mark Goddard (as Elliott) plays a dealer who can take you really far out.

Counterculture garbage from producer Sam Katzman and director Arthur Dreifuss.

Bad trip, man.

Bummer.

* The Love-Ins (1967) Arthur Dreifuss ~ Richard Todd, James MacArthur, Susan Oliver

This is sort of worth it for the last fifteen minutes, but otherwise it's a pretty awful waste of our time and their efforts - such as they are. James MacArthur and Patricia Oliver are being disciplined by their university for the school rag publishing material just a bit to close to the bone for the principal. In protest, Richard Todd ("Dr. Barnett") quits and is soon a spokesman for their free love style existence. Initially, he holds to his liberté, égalité, fraternité existence but the adulation and success, as well as a little romantic attention from his erstwhile student gradually corrupts his soul and soon someone is heading for a fall. It's really only at the end of this film, that we get anywhere near a point to it all. The proof that absolute power (or a variation thereof, in this case) corrupts absolutely - even those with the most benign intentions. Todd is hopeless, however - he really is a fish out fo water; MacArthur and Oliver are just too preppy and cute to evoke any sort of passion for what they are trying to achieve - indeed the whole "niceness" of the first flower-power, anti-establishment 75 minutes is quite hard to sit through. The censors rejected it... I can't think why?

During the late 1960s, Hollywood tried to cash in on the hippie drug craze going on in much of the United States. And, in most cases, they produced films with dubious messages and often starring down-and-out stars who were essentially slumming it for a paycheck (such as Lana Turner and Jennifer Jones).

When the story begins, a group of students are being expelled from a university for producing an underground newspaper. One of the professors, the 'cool' Dr. Jonathan Barnett (Richard Todd) quits in sympathy over the overreaction of the school and soon he finds himself a minor celebrity...adored by the hippies. After appearing on "The Joe Pyne Show" (sort of like "The Morton Downey Jr Show"), he moves to San Francisco and he moves in to a flat occupied by 147 people and some of his old students.

At first, he's more an observer of the Haight-Ashbury scene, but soon (too soon really) he's a cult leader...wearing white robes and with students sitting at his feet and waiting for him to dispense knowledge...which is mostly about liberation and LSD use. To say he has delusions of godhood is pretty much on point. After one of these old student (Susan Oliver) has a bad Acid trip, the other student (James MacArthur) becomes very suddenly jaded and realizes that Barnett and the drugs are awful. This change, like the change in Barnett, is way too fast to be realistic. So what's next for these folks? Tune in and see....or not.

There are quite a few problems with this film, even if it is an interesting window into a certain subculture of the late 60s (led by Professor Timothy Leary). First, many of Barnett's teen and early 20s disciples are quite old and very square (such as Mark Goddard (31), James MacArthur (30) and Susan Oliver (35))....and becausse of this, they are ridiculous and come off as phonies. Second, the music in the film is pretty awful....or at least much of it. Several times, it seems as if a dozen folks with no musical abilities just started performing their own personal song! Third, and most importantly, the film is chock full of one-dimensional characters. There is no middle ground between the ultra-squares and the hippies most of the film. And, folks go from loving Barnett to hating him almost instantly!

What I did appreciate about the film was how it unknowingly actually predicted the dark side of this 'Summer of Love'.....showing the dark side of the hippie movement. However, it also wasn't exactly subtle nor realistic....and seemed to say that hippies were bad...which is a gross over-generalization.

Overall, the film is interesting from a cultural sense but also imbalanced and phony as well. Please don't, like my daughter, assume all the late 60s was like THIS! Some of this is quite realistic....and much of it isn't.

After university professor Richard Todd "drops out"--in protest of the expulsion of two clean-cut students who print an underground newspaper, The Tomorrow's Times--he takes a jaunt to San Francisco to check out the action: bubble-blowing, hip-shaking, body-groping kids frolicking in the park (but nothing too outrageous: the dancing blonde has flesh-colored undies beneath her dress, and all the couples are strictly boy-girl). Quickie product filmed on the Columbia backlot brings up 'relevant' themes such as religious cults, but has so little to say about its own era that everything ends up cheapened by the exploitation. Poorly-made and naïve (and, ultimately, conservative), "The Love-Ins" nearly runs the risk of being endearing. * from ****