Avaliações de usuários

This movie is an overlooked gem, and deserved better than what it got. I remember it coming out in theatrical release in the late 1960s, and it received very good reviews but for some reason it quietly died off; or so it seems. The director, in the commentary on the DVD, tells why this occurred and that was basically due to a change of management at MGM shortly after this movie was released. Now, it can be appreciated with the new DVD technology.

The technology used to film this movie was very sophisticated for its time and gave results that would challenge the technology of today. Film cameras instead of video cameras were used by the skydivers; nevertheless they obtained tremendous aerial shots that are thrilling even today. It is hard to believe that these scenes were filmed thirty six years ago.

The documentary film on the DVD about the making of this movie is absolutely essential to fully enjoy and understand the skydiving associated with this movie; including the "Bat Wing" stunt skydiving that forms a sort of particular drama with this movie. A better film documentary film about this movie, which I doubt exists or will be shown, would be about the making of the love scene between Burt Lancaster and Deborah Kerr. The had a love scene, of sorts, in the 1953 movie, "From Here to Eternity". That scene, on the beach, is quite well known. However, due to the Code restrictions then not really that much could be shown.

I believe that one unspoken reason this movie was made was to allow a reunion between Lancanster and Kerr. Also, she was willing to be naked in a movie, very rare for the late 1960s. Those would be the primary reasons why she was in the movie as she was actually somewhat miscast due to her accent; a definite British accent in Kansas is somewhat incongruous (nowhere in the movie are we told that she is, say, a war bride or a British girl who somehow otherwise married a Kansas man).

Having said that I am actually very glad they cast her! Nowadays I look a lot like her and worry about whether or not I can find another husband (divorced and looking). Debby showed that a girl could still get a gorgeous hunk like Burt even when she was 48! You guys just can't imagine what us middle aged gals feel when we see Debby and Burt finally doing the wild thing in that living room! It gives us hope that we can still get a man! Deborah Kerr still had a great body at 48, and that is why I think she did not mind doing the nude scene. I think she was not near as nervous showing off as Burt was and certainly not near as nervous as the director. Her performance was certainly a highlight of this movie.

Puzzling was the performance of William Windom; who portrayed her husband. His role is somewhat out of place; and I don't understand why his fine acting skills weren't use more than they were. His role is disjointed at best and it is hard to understand how the character is supposed to fit within this movie. There are absolutely no husband-wife dynamics shown between him and Kerr. Even in the most disjointed of marriages (such as the second of my two marriages) there is generally some sort of attachment between the two even though they may both be in the divorce court! Interestingly enough, when Lancaster was on this film he had just gone through a divorce. His wife was upset due to all the flings he had been through while married to her. Well, it is easy for this gal to see why he was not totally loyal to his wife; he had all those sexy women throwing themselves at him! And, if I had been around that area when this film was being made I would have been one of them! He was a good looking fellow then! Debby, you were a lucky gal!

John Frankenheimer's drama of itinerant skydivers intersecting with small town doldrums is heavy on atmosphere but frustratingly ambiguous in its storytelling.

Not having read James Drought's source novel, it's hard to say just what went wrong here. Perhaps in an attempt to avoid conventional melodramatics, adapter William Hanley's script was kept as low-key and naturalistic as possible, to the extent that all of the silences and unspoken words end up conveying practically nothing of the characters' motivations beyond a kind of inchoate yearning. Usually I'm all for scripts that don't shout and scream, that rather rely on subtlety and restraint, but this one is so elliptical that its own best intentions are undermined. The ending seems flat and pointless. Yes, a death has occurred, but has anyone in the story really changed?

It's particularly frustrating given the talent involved. Stars Burt Lancaster and Deborah Kerr, with support from younger players like Scott Wilson, Gene Hackman, and Bonnie Bedelia, give strong and convincing portrayals. Add to that some remarkable aerial photography of skydiving derring-do -- plus a love scene which features the beautiful Ms. Kerr's bare breasts -- and you probably won't feel you've wasted 2 hours. But if only there were more.

Not a 'lost treasure' of Frankenheimer's, Lancaster's and Kerr's careers, but an intriguing, minor footnote.

Actor & director combo Burt Lancaster and John Frankenheimer team for this appealing film that explores the lives of three sky divers, played by Lancaster, Gene Hackman, and Scott Wilson. They come to a small Midwest town named Bridgeville where they stun the locals with their aerial feats. Meanwhile, they affect the lives of some of the local woman. Mike Rettig (Lancaster) finds himself falling for Elizabeth Brandon (Deborah Kerr), who happens to be the aunt of Malcolm Webson (Wilson).

Fundamentally, this is a good story (scripted by William Hanley, based on the novel by James Drought) well told, and it's punctuated by absolutely dazzling sky diving footage. Some viewers may wish there was more of this type of thing in the movie and less romance. The film flirts with melodrama (such as a back story involving Elizabeth) but Frankenheimer and the actors help keep it on an even keel.

It's the cast that makes this worth watching. The majority of the performances are agreeably subtle, with the exception of Hackman, who's playing the extrovert of the group anyway. Lancaster and Kerr have a very alluring sex scene; both actors look incredibly good. Hackman strikes up a relationship with a hottie waitress (Sheree North) while Wilson is attracted to the college student (Bonnie Bedelia) who's boarding with the Brandons. North absolutely sears the screen. William Windom is good as Kerrs' husband whose aloof nature is a factor in her being turned on by Lancaster.

Frankenheimer gets great use out of the real Midwestern locations (this was filmed in various parts of Kansas); the movie is definitely a real slice of Americana. Overall it's endearing enough and exciting enough to make it an okay view; it's ultimately rather predictable, but it remains watchable throughout.

Seven out of 10.

As a very young boy in El Dorado, Kansas, I marveled when the film crews came to town from Hollywood to shoot this film, what is considered John Frankenheimer's `lost classic.' The story is sub-par: three barnstormers stop at a small Kansas town to put on a show and get involved in a less-than-intriguing soap opera with the occupants of a house where they are staying. What makes the movie work for me is the reoccurrence of so many memorable images from the town where I grew up, but for outsiders, the essence of small-town Kansas life is captured so purely you'll be transported to the peacefulness of a world where the arrival of daredevil skydivers is a Big Event.

Most interesting to note in this film are the back-stories. Scott Wilson was called in to replace an injured John Philip Law, who was originally cast as the young daredevil. Gene Hackman was still a fledgling, relatively unknown, and yet he managed to steal most of the scenes from the established Burt Lancaster. For the locals, this film still lingers in the memory. The Victorian home where the barnstormers stay still stands, and the screened in porch on the house's north side--built exclusively for this film by the visiting film crew--is still referred to by locals as the `MGM porch.' The fight song that the marching band plays throughout this film is still the fight song of the Butler County Grizzlies, the athletic team of the local community college. And even today, old-timers wonder whether or not that was really Deborah Kerr in the buff … or if a body double was used. Either way, you'll get a real feel for this community, an interesting first look at up-and-comers Gene Hackman and Bonnie Bedalia, and a fascinating series of sky-diving sequences that set the tone for many such scenes to come.

Like most films about individual type sports i.e. skiing, surfing, scuba diving etc. it helps if you've tried the sport at least once to be able to relate to what the picture is about. A small three man parachuting team barnstorms their way from town to town putting on a skydiving show. They roll out of one town into another and rather than stay at a hotel they are taken in by a couple who are related to one of the skydivers. Kind of like sailors on liberty the three are looking for a good time and after an uneasy dinner with the couple strike out in search of female companionship. They eventually all find some and the film even has an extramarital affair between Lancaster and Kerr. Some unexpected events at the subsequent air show twist things around and the hard to figure out scenes of a high school band practicing finally comes in to perspective. Good skydiving scenes, a little romance, a little sex not a bad film to see especially if you've ever taken the plunge out of a perfectly good airplane.

As George Peppard said in The A-Team he did all that he did with the A Team for 'the jazz'. The Gypsy Moths is a film about 3 parachute jumpers who entertain in small town red state America in the late sixties. One is a young man Scott Wilson and he's brought the show back to his small Kansas town of Bridgewater. His two fellow jumpers are Burt Lancaster and Gene Hackman and these guys are at varying degrees of having their fill of 'the jazz'. Especially Lancaster, not too many notes left in his horn to blow any jazz.

But all three feel they have an image to maintain especially in Wilson's home town. They all get invited to a home cooked meal at the house where William Windom, wife Deborah Kerr, and daughter Bonnie Bedelia live. There's some unusual history with Wilson and that family and all three are drawn into this unhappy family's domestic dispute.

Burt Lancaster who was one of the most vitally alive men on the big screen is great as that vitally alive parachute jumper who jumps out of airplanes for people's entertainment. Alive only when he's in the air and even that's coming to an end. But he's one who wants to be in control of his own destiny and will be to the very end.

Gene Hackman has his doubts and fears and gets them exorcised he feels at the midnight mass of the Catholic Church of wherever he's performing. Otherwise he's the original good time man who's in the business because it makes him money and gets him women. Lancaster and Hackman both have qualities that Wilson should emulate and distance himself from.

This was the 6th and final collaboration between director John Frankenheimer and Burt Lancaster and all six of their films mark some of the best films of the Sixties. Gene Hackman was continuing to break out after his rave reviews from Bonnie And Clyde. And Deborah Kerr ignites some of that old From Here To Eternity chemistry with Lancaster as she realizes he might be her chance at happiness.

The aerial and jump sequences are photographed beyond reproach. Those spectacular stunts and the men who do them stand in sharp contrast to some empty lives they lead.

Definitely for fans Lancaster, Kerr, and Hackman.

When action scenes for "Gypsy Moths" were about to be shot, mostly at the Benton,Kansas airfield, I was 18 and living in Wichita. Due to my interest in acting, mainly in High School productions, I, along with my five brothers and sisters and Mother who was a bit of a ham herself, answered a "cattle call" for crowd scenes at Benton Airfield. Because I was Burt Lancaster's general height and build and was the same size, 42 Long, I was upgraded to Stand-in for him and ended up standing in for all the principle male characters except Gene Hackman who used his brother. There was a scene in a park in El Dorado, KS where Deborah Kerr and Burt Lancaster sit on a merry-go-round and talk. He then stands up and leans in rather closely to Ms. Kerr. The director wanted to change the lighting on that particular shot to compensate for Mr. Lancaster's new position. He called for the "Seconds" to take the actors' places while they fine tuned the lighting. At that moment Deborah's stand-in was over by the swings, in the process of losing the greasy chili which had been catered that night and couldn't answer the call. John Frankenheimer was upset by her failure to report and acted like he was about to fire her, but, always the gracious lady, Ms. Kerr said she was fine just sitting there and would stand in for herself. The scene required that Burt Lancaster lean in to the point that their faces are mere inches apart. There she was, the consummate professional and I, standing in for Mr. Lancaster, was face to face with an actress I had loved ever since seeing her in such films as "From Here to Eternity" and "The King and I". It's understating my uneasiness by saying I was sweating bullets and worrying about my breath. She sensed my discomfort and proceeded to ask me questions like what I aspired to be (she didn't say 'when I grew up', which was, to me, just more evidence of her class) to set me at ease. At the time I was very interested in an acting career and she said that if I ever got to Hollywood to look her up and she would get me an appointment with her agent. What amazed me about the exchange was that I realized she was serious and would very probably have taken the time out of her busy schedule to do just that. My esteem for her grew many fold that night. Although I understand she now lives in Switzerland, I have often thought that even though I am in my 50's and gave up the thought of acting professionally years ago, it would be great if she still lived in Hollywood and I was able contact her. I would remind her of what she said 36 years ago and ask when she would be able to take me to see her agent. At 85 years old, I wouldn't be surprised if she said, "Give me a couple of minutes and we'll go over right now." Deborah Kerr, I still love you and I always will.

Whoa...this was not the sort of film I'd assumed it would be! While I knew that the film would be about skydiving, I didn't think it would have some of the adult content that it did. While seeing Sheree North naked was a bit of a surprise, she was playing a stripper. However, when moments later I saw Deborah Kerr(!!) and Burt Lancaster naked, I knew that this was NOT what I had expected! This was clearly the late 60s when it came to its sensibilities and in a way it was a shame, as I am sure audiences of the time were a bit hesitant to see films like this or send Junior to see it! This was NOT the Deborah Kerr of "Black Narcissus"!! As for Lancaster, with "The Swimmer" and some other adult roles to his credit already, seeing his butt didn't surprise me very much...but Ms. Kerr?! The angelic and sweet Ms. Kerr?!

As for the movie, while it was not a great film or a must-see, there is a lot to admire. Most importantly, the camera work is very, very impressive--particularly for 1969. Having a cameraman following the skydivers as they jumped wasn't easy. Because of this, the 'making of' film "The Sky Divers" is a great addition to the DVD as it talked about and showed the many technical problems posed by such a demanding shoot.

The plot is not particularly action-packed (despite all the skydiving) but is more like a tale of three very tired men...men who go from city to city putting on jumping expositions to make a buck. It's obvious they aren't getting rich this way and perhaps they hate it in a way, but it's their life. This turned out to be an interesting case study--although it was not particularly easy to connect with any of them. And, at times, it was easy to dislike or be confused by the characters. For example, why did Kerr cheat on her husband? And, for that matter, why did the husband (William Wyndom) go through his role like he was a zombie? Overall, an interesting film but one I don't strongly recommend--especially since, although John Frankenheimer loved this film (probably because he was proud of the technical aspects), it's not among his best work.

By the way, near the beginning of the film, you see some folks talking with the three leads about parking for the upcoming parachute jumping exhibition. Oddly, one of the men in the scene is asleep and the magazine he's been reading is blanked out--like they do on MTV when videos show people with pot leaves on their clothes. Why did they do this AND why does this appear on the DVD? Was it this way originally in theatrical release? I was so curious that I tried listening to the commentary track but it said nothing. I assume the magazine was a Playboy or something but I still wonder why the DVD has it blanked out...especially since you DO see a high amount of nudity throughout the film (for the time it was made).

Being an aviation enthusiast, but not a jumper - I was drawn to this movie. Burt Lancaster plays "Mike Rettig" in the sort of role he is best at, plenty of action, with an eye for a pretty face. The pretty face in this case being Deborah Kerr. Miss Kerr was approaching 50 years of age when this movie was made, but was able to been seen close-up and naked with Burt Lancaster in what what must be one of the few (if the only) scenes where Miss Kerr reveals all. A far cry from the many Nuns she has played in her career. Compare her in this with "Heaven knows, Mr Allison" with Robert Mitchum. Gene Hackman provides good support as the reckless carefree "Joe Browdy", seeking out the local haunts for loose women. William Windom brilliantly plays Kerr's isolated and betrayed husband. A good film that happily TCM repeats regularly - thank goodness!

With three careers going in opposite direcetions, this film is an entertaining piece of cinema due to the great photography and stunts. Unfortunately, this is quite a lull after the exciting beginning, in order to present the necessary soap elements for the three protagonists. Deborah Kerr does a nice turn (literally), and Burt Lancaster is always very good. Gene Hackman, however, is the only actor in the film whose carerr is on the rise at this point in time; he would go on to make The French Connection a few years later. Burt still had Atlantic City in his future. But Kerr seemed to disappear after this film. Doing nude scenes after 50 was a bit risky. A decent film to take in.

During the sixties Burt Lancaster often worked with director John Frankenheimer, and the two were together responsible for a good film ("Seven Days in May"), an excellent one ("The Train") and a great one ("Birdman of Alcatraz"). I was therefore hoping that "The Gypsy Moths", made by the same director with the same star, would be a movie of similar quality. Unfortunately, it falls well short of the standards of any of those films. (I have never seen "The Young Savages", the first film they made together in 1961).

It tells the story of three skydivers who arrive in a small Midwestern town to entertain the locals. It has some similarities in theme with George Roy Hill's "The Great Waldo Pepper", although that dealt with the barnstorming stunt pilots of the twenties rather than with skydivers. The first half of the movie contains little in the way of action but focuses on the relationships between the three men and the people of the town. Mike Rettig, the oldest and most experienced of the three, begins an affair with Elizabeth, his landlady and the aunt of his younger colleague Malcolm. Malcolm himself becomes friendly with a local girl, and Joe Browdy, the third member of the team, picks up a waitress in a sleazy bar. There is more action in the second half, when the team begin performing their shows, and Mike decides to try a particularly dangerous stunt.

The film reunited Lancaster with Deborah Kerr, with whom he had previously appeared in "From Here to Eternity" and "Separate Tables". As in "From Here to Eternity" there is a love scene between them, and the differences between the two scenes serve as a good example of the way in which social values changed between the early fifties and the late sixties. In 1953 a few seconds of Kerr and Lancaster embracing on the beach in their swimsuits caused uproar. In 1969 a longer and more explicit sex scene including nudity was much less controversial.

Frankenheimer, apparently, regarded this as one of his best films and was greatly disappointed at its lukewarm reception by the critics and the public, although it was welcomed by skydivers themselves who saw it as an opportunity to promote their sport. With all due respect to Frankenheimer, who at his best was an excellent director, I think that the critics were right.

The best of the cast is Gene Hackman as Joe; at this time he was not yet a major star, despite being nearly forty, but he shows the talent that was soon to make him one. Lancaster, however, gives one of his weaker performances and never makes the rather world-weary Mike come alive. There is no sense of why Mike is so keen to risk his life.As for Kerr, her presence here is something of an embarrassment. The action scenes featuring skydiving stunts were well done, but Frankenheimer never succeeds in capturing the sense of excitement which Hill brought to "Waldo Pepper". For the most part the film never rises above the level of a dull soap opera. 5/10.

Burt Lancaster, Gene Hackman, and Scott Wilson portray a team of professional sport parachutists barnstorming their way through small-town America.

The movie features some fine performances, particularly Lancaster's. I enjoyed the way the small town was depicted; it felt curiously familiar and yet distant at the same time. The movie holds its own, even 30 years after its initial release.

The jumping sequences are fantastic...truly the finest jump sequences ever captured on film at that time (1969). Pay particular attention to the 'cape' jumps, particularly the last one (Scott Wilson's) which gets me bug-eyed every time I see it (yes, I'm a jumper too).

Longish and slow-moving at times but well worth it.

This film's director, John Frankenheimer, blamed its failure at the box office on studio head Jim Aubrey but it's really his own, and to a lesser extent his scenarist, William Hanley's, damn fault for not doing what James Drought in the novel upon which the movie is based was able to accomplish, namely the seamless stitching together of an exciting flying stunt story with a sensitive examination of a self destructive sky diver and an unhappily married woman. The result is a film that satisfies no one. There's not enough aerial excitement to turn on the action junkies and the scenes between Lancaster and Kerr, designed for the drama lovers in the audience, are nowhere near as compelling as those in "Eternity". Still, I'm gonna give it a generous B minus if for no other reasons than the excellence of Gene Hackman as a barnstorming everyman and that I'm a sucker for small town movies, especially when they come with great Kansas location shooting courtesy of cinematographer Phil Lathrop and lovely Elmer Bernstein music.

Over the years on several occasions, I tried to watch this movie in its entirety without any success. Always made it about 1/4 to a 1/3 of the way through and then, just gave up. Finally, I watched it from beginning to end. It always struck me as a very strange movie and not one that was very entertaining by any set of standards.

Considering the cast --- Lancaster, Kerr, Hackman, Windom and the rest --- and on top of all that, it being directed by John Frankenheimer, I guess my expectations were sky high. While the acting was generally okay, only Hackman gave it his usual all out effort. The story was plodding and the direction unfocused. Frankly, it was a dull and uninspiring effort all around. Something I thought was highly unusual for a Burt Lancaster movie.

Gypsy Moths had the same feel to it of another Gene Hackman movie called Downhill Racer, made the same year, 1969, and starring Robert Redford. It was about Olympic skiing and while a slightly better effort then the Gypsy Moths, it too fell way short of the mark in entertainment value.

I give Gypsy Moths a generous rating of 6 stars.

John Frankenheimer's film is supposed to be about skydiving, which it is. But, there's LOTS of melodrama to go along with it. If I remember, Frankenheimer's "Grand Prix" was like that too. That was about racing, but there was lots of soap opera.

The prelude, which lasts a while, does lead to the skydiving sequences. Then, there's a major tonal shift. It is then that the film actually works, and works well. I really liked how the film came to its almost poetic conclusion. The thoughts behind the final part of the film should have been used in the introductory hour or so.

John Frankenheimer was very disappointed that this film saw almost no distribution in the U.S. Frankenheimer said it was his favorite film of those he directed. The film was rated "M," which was the two-year forerunner to the MPAA's "GP," and subsequent "PG." Perhaps it was the mature content in those early days of the MPAA's modern rating system that threw audiences and exhibitors off.

It is an interesting film, and worth one viewing for those who followed Frankenheimer's career, or those who are interested in skydiving.

****** (6 Out of 10 Stars)

I had been underwhelmed by my first viewing of this film but, re-acquainting myself with it now, has proved a relatively more satisfying experience. Director John Frankenheimer here tries to do for sky-diving what he had previously done for motor-car racing in GRAND PRIX (1966) - which, ironically, would virtually be the last unqualified critical and commercial success he¡¦d enjoy for over 30 years (as it happens, I've just learned that it'll be released by Warners this year as a 2-Disc Set!) - and in the accompanying Audio Commentary states that THE GYPSY MOTHS is one of his own personal favorites!

The actors are all extremely convincing - both established and upcoming stars - managing to overcome the potentially soap opera-ish situations of the script; apparently, Scott Wilson's role was originally slated for John Phillip Law (who had to be replaced when he hurt his wrist while performing a stunt for the film). This was Lancaster's fifth and final collaboration with Frankenheimer, in which he shares a fairly ridiculous sex scene with Deborah Kerr (16 years after their famous clinch on the beach in FROM HERE TO ETERNITY [1953]!); incidentally, that same year, she also appeared in the nude alongside Lancaster's old pal Kirk Douglas in Elia Kazan's THE ARRANGEMENT (1969)...and then disappeared from the screen for 16 years! As a matter of fact, for all the film's air of an old-fashioned melodrama, it's surprisingly "with-it" (Sheree North is also featured as a performing stripper Gene Hackman picks up in a bar).

Anyway, the small-town atmosphere is vividly captured (down to the irascible old coot of a band-leader, actually Lancaster's dialogue coach!) and the sky-diving sequences - highlighted by elaborate and spectacular photography - create the appropriate excitement (even if they do not take up too much of the running time). However, the existential undertones (Lancaster as a taciturn sociopath with a death-wish; Kerr, trapped in a loveless marriage, consoles herself with the boarders she takes in from time to time; Hackman, a regular church-goer for all his philandering, getting the shakes the night before the big day, etc.) are less successful. Still, the film is kept going steadily by virtue of Elmer Bernstein's evocative and memorable score...

Although this film wasn't a career high for either of these great performers it did demonstrate that there was majic between them. If you check Kerr's biography, this film isn't list on her film chronology. In fact, it is hardly mention on any other site other than IMDb's. I think it was because she appeared nude. She was 48 when this film was released. I think she is one of the greatest beauties that ever graced the screen.

An offbeat story of barnstorming parachute artists circa 1969 & directed by John Frankenheimer & starring Burt Lancaster (reuniting w/his director of 5 features which I still need to see one more to complete), Gene Hackman, the late, great Scott Wilson (Herschel from the Walking Dead) & Deborah Kerr. Wilson remarks that they're playing his home town so the trio visit his aunt for room & board while plying their huckster trade to get people from this admittedly sleepy burg to come out & see them do their death defying deeds. Already feeling their trade is getting long in the tooth (Hackman is nervous about this particular gig), they go through the motions of their special brand of show business. Never really hitting its stride, this film works better when the daredevils deal w/the mere mortals they come in contact with so much so that when a tragedy strikes one of the aerialists you kind of see it coming. Seeing Lancaster & Kerr back together since their appearance in the Best Picture winner From Here to Eternity is great in itself but still it's a shame since Lancaster sleepwalks through his performance giving Hackman all the chewy bits of scenery to nibble on.

Directed by John Frankenheimer, best known for his political thrillers, this is one of the few films to take a serious look at the increasingly popular thrill sport of sky diving. Burt Lancaster, Gene Hackman and Scott Wilson represent three different points of view of sport parachuting. For Hackman it is a business, for Wilson it is about escape and acceptance, for Lancaster it is something more personal. Seven gifted amateur sky divers did over 2000 jumps to create the stunt work in this film. Between uncooperative winds and rain and with settings in parts of seven different Kansas locations they managed to pull together this film, which will have you on the edge of your seat all the way through. Excellent supporting turns are put in my Debra Kerr and William Windom

John Frankenheimer's THE GYPSY MOTHS has some incredible aerial shots, and it's a shame they had to, right off the bat, provide studio inserts of two of the actors: one who should have been famous from IN COLD BLOOD and the other soon to make his breakthrough in THE FRENCH CONNECTION...

When Scott Wilson and Gene Hackman, as the gold and white suited jumpers, are shown in an obviously contrived setting with a counterfeit sky-blue backdrop, supposedly far up and descending with their own colored parachutes open, it's impossible not to tell we're watching a motion picture...

But Frankenheimer, in what's his personal favorite film, and, despite a dated made-for-television style main theme, gives us the impression, otherwise, that these guys are the genuine article: not only by the myriad of actual footage, but in a more harmonious, less obvious rhythm, combining these with close-up expressions of each actor, about to jump for what may be their very lives...

Especially Burt Lancaster, who wears the bright red color and is the star of the mobile open field shows since he takes the longest to open his chute, making him the leader of this trio of GYPSY MOTHS and, as their movie's concerned, he's not alone in top billing...

His multi-collaborating co-star, Deborah Kerr, most famous for their lovemaking in the foamy beach in FROM HERE TO ETERNITY over a decade earlier, plays the wife of small town suburban patriarch William Windom, who, with the personality of a Stepford husband, might as well have carried his melancholy wife into Burt Lancaster's arms, making it easy for the still attractive old-timers to hit the hay... or in this case, the couch...

Where most of the film takes place, at home... this home... which brings the late Scott Wilson up close and personal: He's the long lost nephew of Kerr's from.... well that's all in the backstory she shares with Lancaster, and their romance is not only too easy it's breezy and forgettable, taking away from the three airshows that provide the baseline template for THE GYPSY MOTHS...

Aside from forced and awkward, claustrophobic sequences with the family, the best scenes occur when it's only the trio together, either indoors or out, up or down, and Hackman, as the most boisterous - providing the crowd a commentary between jumps - has ten-times the dialogue and personality of everyone else (which, for some unexplained reason, annoys his cohorts).

Otherwise, the movie eventually points to Wilson, who is the man... or, the kid... of the hour. A more low-key, less edgy, non-method actor was originally cast (John Phillip Law), which might have lent importance solely to his youth and family connections. Wilson, though, provides the usual intensity that made all his characters shine even when they were haunted, brooding, tortured, and not so shiny.

Oh brother is this film a misfire! Awful does not even begin to describe it. I flew to Kansas to meet with the director to pitch a project and he was so drunk I walked out of the meeting. No wonder this film is such a mess. By the time he made the film he was a basket case and every minute of this dreadful film says that. There is so much that is wrong with it that it really is hard to begin but for me the scene in a topless bar was the last straw. The last thing I needed to see were a bunch of twirling breasts in my face! And to top that even poor Deborah Kerr was talked in to exposing herself in a love scene. Oh my God! After The King and I and Heaven Knows Mr. Allison! Oye!