THE PARTY CRASHERS (1958)

 

Anyone familiar with this blog and my Youtube channel knows that I have a fanatical fixation with teenage oriented movies from the mid-1950's to the mid-1960's. My friends and fellow DVD collectors on Youtube, who don't share my fixation, have given these films the label "teen angst flicks", a label I have happily adopted for my own usage. While most film fans can recognize the merits of serious, innovative classics like BLACKBOARD JUNGLE and REBEL WITHOUT A CAUSE, both big studio productions released in 1955, not everyone is as thrilled as I am with lower budget exploitational titles such as HIGH SCHOOL CONFIDENTIAL and JUVENILE JUNGLE, both released in 1958. And film scholars who show reverence for James Dean and Natalie Wood are usually more dismissive towards lesser known talents like Scott Marlowe and Yvonne Lime. 

Me? I love them all. Low budget, big budget, it doesn't matter. There is something magical for me about these movies that took hold of my imagination way back in the 1960's and 1970's when so many of them played over and over on television. No doubt it has to do with the general themes of rebelliousness, loneliness, sexual awakening and alienation from parents that can be understood by every young person in every era. But for me, it also reflects a fascination for an era that existed before I entered my own teen years in 1964. The early days of rock 'n roll, the malt shops, the leather jackets and the D.A. haircuts worn by the boys in those movies were all part of the culture of the generation before me. I guess every kid pays close attention to what the older kids are doing and tries to imitate them as much as possible. That teen angst passes like a virus from one generation to the next, and gets updated and modified accordingly.

As more and more of these teen oriented films came out, the plots expanded to include dragstrip dramas, adventures in reform schools, teenage werewolves and endless variations on the dangers of premarital sex. Some of the movies featured comedy and music, and some were trying to be deadly serious. And usually the parents and other adults (teachers, police) were portrayed as the enemies or simply clueless obstacles to the kids and their longing for freedom and excitement. Adults tended to be portrayed as one dimensional characters. But every once in a while there was a film that stood out for its exploration of a slightly darker side of family relationships. One such film was THE PARTY CRASHERS, a Paramount picture released in 1958. Because of its rather lame title, one might expect nothing more than the usual exploitational atmosphere. This film, however, has a little bit more to offer.

The film begins with a teenage party in a private home being crashed by a local bad guy, Twig Webster (Mark Damon) and his unruly pals. The party quickly devolves into a brawl and someone calls the cops. Most everyone manages to get away before the cops arrive. Barbara Nickerson (Connie Stevens) and her boyfriend Josh Bickford (Robert Driscoll) were at the party. Barbara had gotten bored and told Josh she wanted to leave. But when Twig and his gang arrived, she was intrigued and decided to stay. Barbara is turned on by Twig and his reckless attitude. She tells Josh: "He's like an animal." Josh is appalled by Twig's behavior and upset by Barbara's attitude. Josh goes home to his obviously caring parents (Frances Farmer and Denver Pyle). Twig, however, goes home to find his father (Walter Brooke) drunk and complaining that his mother has been out all night, supposedly seeing a movie with a girlfriend. Twig's home life is established as unhappy and chaotic. His mother (Doris Dowling) comes home and has an argument with her husband, berating him in front of their son. She even physically assaults her husband when he accuses her of being a tramp. She seductively stands close to Twig and demands that he kiss her.

Mark "He's like an animal!!" Damon

The next day, Josh goes to Barbara's house to find that her father (Onslow Stevens) knows all about the party and has invited Twig over to encourage friendship between the two boys. Josh is not happy. But he agrees to take Barbara to a club called The Shack at Twig's suggestion. Twig stops at his house to ask his father for extra money. His mother has gone out again and his father is drunk. He and his father argue. His father threatens to sell his son's car if he crashes another party. He tells Twig about a big party that will be taking place at a local motel. Twig doesn't know anything about the party. He also doesn't know that Mr. Webster suspects his wife will be there and is secretly encouraging his son to go there and find her.

Twig talks Barbara, Josh, and a few of their friends into crashing the party, just so he can spite his father. When they get there, they find out it isn't a teenager's party, but one attended by adults the same age as their parents. The drunken partygoers refuse to let the kids leave, locking the door. The grown men go after the young girls while the grown women go after the young boys. The kids are appalled and embarrassed and want to get out. Josh starts a fight with one of the men that turns into a brawl, while Twig goes to look for a back door from which they can escape. He sees a man coming out of a bedroom with his shirt unbuttoned. He goes into the room and finds his mother sitting next to an unmade bed. He tries to get her to leave, but she refuses. In a struggle, she falls down a flight of stairs and is seriously injured. Twig runs away when the police show up. He catches up with Barbara and demands the keys to her car. When she refuses he starts beating her. He then gets into a fight with Josh and everyone is taken to the police station. Barbara and Josh's parents come to take their children home and resolve to be better parents. Twig's father is there alone and feeling terrible guilt for baiting his son to crash the party. He goes to the hospital to learn his wife has died. Twig arrives with a police officer to find out how his mother is. After hearing that she has died, Twig asks his father to go with him to the police station.

Bobby Driscoll and Connie Stevens

High grade melodrama, to be sure. But well acted by all concerned, and well directed by Bernard Girard, who also helped write the screenplay. Like the unhappy teens in REBEL WITHOUT A CAUSE, the kids in this film all have affluent parents and live in comfortable homes. They all have cars and wear nice clothes. Even Twig and his pals are well dressed and don't look like the big city delinquents depicted in many similar teen angst films. These kids don't lack anything material. But when we meet their parents, we can understand where much of their confusion and dissatisfaction are coming from. Twig lives in the middle of a domestic train wreck. And there are some dysfunctional vibes coming from Barbara's house as well. When we first meet Mr. Nickerson, he's busy mixing himself a morning cocktail when Barbara comes into the room. She's all dressed up. Her father gives her a blatantly lascivious look. Very disturbing. But what's even more disturbing is the look she gives her father; a knowing smirk, as if she knows the effect she has on him and likes it. Then dad starts dancing with her around the room, their hips moving in synch. It's a truly uncomfortable sequence. How the censors managed to look past this is beyond me. Meanwhile, Mrs. Nickerson comes into the room announcing that she just finished writing her latest speech about juvenile delinquency that she will be giving at the next PTA meeting. She is oblivious to her family and really doesn't want to be bothered. 

The true monster in this story is Twig's mother. Not only is she committing adultery  and spousal abuse, but she acts inappropriately with her son. As stated in the plot synopsis, she stood very close to Twig and told him to kiss her, making Twig obviously uncomfortable. A similar thing happens when Twig finds her at the party. She once again stands very close to her son when she asks him to let her go back with her friends. The look on her face is one of seduction, and Twig is sickened by it. These distorted adult/child relationships are magnified into an ugly reality by the way the adults at the party start latching on to the teenagers, young enough to be their own kids, and treating them as sexual objects.

A disturbing moment between Doris Dowling and Mark Damon.

Josh is fortunate to have two loving parents. His father, however, is a workaholic and doesn't have time for his family. His wife is trying, in a non-nagging way, to convince him that his son needs his companionship and guidance more than he needs money. The man finally gets the message before too much damage is done. 

This film is probably best known to movie buffs because of two of its cast members. Frances Farmer and Bobby Driscoll (billed as Robert) play mother and son in what turned out to be their final film appearances. Miss Farmer had been an actress since the 1930's and showed great promise. But a mental breakdown sent her to a hospital for several years. THE PARTY CRASHERS was her first film since 1943. She would go on to do some television roles, and then her career faded away. She does a decent job in this picture and doesn't seem to be having any difficulties. Bobby Driscoll had been a successful child star for years in films like SONG OF THE SOUTH (1946) and TREASURE ISLAND (1950), but was going through a decline as he tried to find acceptance as a young adult. He began having a troubled life and died very young. Driscoll also gives a good performance, and it's tragic that he wasn't able to find success and have peace in his life. 

Frances Farmer and Bobby Driscoll

Top billed Connie Stevens had gotten her start in similar troubled teen roles and was chosen by Jerry Lewis to co-star with him in ROCK-A-BYE BABY (1958). She went on to a Warner Brothers contract and found success on the television series HAWAIIAN EYE (1959-1963) and several films, and also did well as a recording artist. Mark Damon had been acting in films and television for several years, including a few other teen angst flicks, one of them being YOUNG AND DANGEROUS (1957) with Connie Stevens. A few years later he would appear in a couple of classic horror films: Roger Corman's HOUSE OF USHER (1960) and Mario Bava's BLACK SABBATH (1963). Damon spent several years working successfully in European films and went on to equal success as a producer, a career he is involved in to this day.

Doris Dowling was an exceptionally strong, talented actress who, unfortunately, didn't appear in too many films. She was seen in THE LOST WEEKEND (1945) and was very impressive as Alan Ladd's adulterous wife in THE BLUE DAHLIA (1946). Later on she would appear in some Italian films, such as BITTER RICE (1948) and also in Orson Welles' OTHELLO (1952). The gentlemen who portrayed the feckless fathers in this film, Denver Pyle, Onslow Stevens and Walter Brooke, were all seasoned character actors with long lists of credits in film and television. The top acting honors must go to Mr. Brooke for his work as the complicated Mr. Webster.

Even if you don't share my fascination with the teen angst genre, you may find THE PARTY CRASHERS to be worth a look. Besides, it's all over in 78 minutes. You've probably been to worse parties!!

THEATRE OF DEATH (1967)

 

Christopher Lee plays Phillipe Darvas, the owner and producer of the Theatre of Death in Paris, which features plays and dance routines depicting bloody executions. When several people are found murdered and drained of their blood, the film's storyline leads the viewer to believe Darvas is a vampire. But is he? One of his actresses, Dani Gireaux (Lelia Goldoni), and her boyfriend, Charles Marquis (Julian Glover), certainly think so. And they're also suspicious of his unnatural hold on another young actress, Nicole Chapell (Jenny Till).

The fantastic Mr. Lee gives his usual commanding performance, easily dominating the other less impressive actors. Unfortunately, he is burdened with a weak story that leads in one predictable direction, but then leads to a twist that makes absolutely no sense. And Lee's character disappears sometime before the unconvincing conclusion, making the proceedings even less interesting than they would have been with his presence.

Christopher Lee turns on the fright in THEATRE OF DEATH.

The film does have a very beautiful Hammer-esque look to it, though (It is not a Hammer film.), with rich color and well designed sets. Darvas lives (?) in a spooky house that seems appropriate for the owner of something called the Theatre of Death. It has secret doors leading to a basement/dungeon overladen with cobwebs and filled with all manner of mysterious furnishings and objects, all of which seem to lend importance to the story, but are never explained. Miss Goldoni, at one point, finds herself exploring this basement/dungeon with the typical dramatic flair exhibited by all movie heroines who find themselves in creepy spaces overladen with cobwebs, etc. Maybe the director included this sequence as an homage to Roger Corman and his Poe series at American-International Pictures in the 1960's.

Miss Goldoni, best known for her role in John Cassavetes' SHADOWS, is a good actress when given good material. However, like Lee, she is let down by the script. She also seems confused by the nationality of her character, mixing American and British accents, at times within the same sentence.

Fans of Christopher Lee will want to give this film a watch just to see his great performance. Otherwise, THEATRE OF DEATH is a rather disappointing entry into the lexicon of British horror of the 1960's.

Directed by Samuel Gallu. Also known by the alternate title BLOOD FIEND.

PLAY MISTY FOR ME (1971)

 The recent death of beautiful and talented actress Jessica Walter prompted another viewing of this exciting, stylish thriller. In spite of being imitated by so many subsequent films, primarily FATAL ATTRACTION (1987), this picture holds up very well and still packs quite a punch.

Clint Eastwood made his debut as a director and also stars as Dave Garver, a radio DJ who spins records on the night shift at a station located in Carmel-by-the-Sea in California. Listeners are able to call him and request tunes. A woman with a soft, breathy voice frequently calls and says: "Play Misty for me", referring to the classic jazz number by Errol Garner. One night, Dave meets this woman, Evelyn Draper (Walter), at a bar. He learns that Evelyn arranged for the meeting to occur. The two have a sexual encounter, which Dave believes will be a one night stand. He's trying to rekindle a relationship with a former girlfriend, Tobie Williams (Donna Mills). But Evelyn becomes obsessed with Dave and begins stalking him. She begins showing up at his home uninvited, and even interrupts a business meeting. Dave finally manages to get rid of her, or so he thinks. But Evelyn decides to go after Tobie.

This well paced, well acted film transcends genres. It seems to be an Americanized version of an Italian giallo thriller, and it can also be seen as a precursor to the slasher films that began in the late 1970's. At the same time, it has extended romantic and musical sequences that somewhat take the focus away from the escalating tension and violence of the story. There is a wonderful sequence with Eastwood and Mills walking along the beach and through the gorgeous wooded area near Carmel while the soundtrack plays Roberta Flack's hit song The First Time Ever I Saw Your Face. And there is a scene that takes place at the 1970 Monterey Jazz Festival which is a lovely time capsule and great fun to watch. Some viewers might say these scenes slow down the film. I would say, rather, that they calm the film down, a clever device that makes the impending violent actions even more surprising and effective. 

When these actions occur, they are quick and visceral. Evelyn turns out to be not only an annoying stalker, but also a murderous sociopath. She would have to be described as a completely one dimensional character. That isn't a problem, because that one dimension is all she needs to become a memorable villain. Miss Walter very convincingly turns into a female Michael Myers, jumping out of nowhere into the camera frame, screaming at the top of her lungs, and plunging knives into various cast members. Evelyn's stunning beauty, and the natural beauty of the film's location, both contrast strongly with the mounting atmosphere of darkness, obsession and dread that envelope the life of Dave Garver. And all because he had a one night stand with the wrong gorgeous stranger. We would all do well to consider that the guest who refuses to leave may also be packing a knife.

Also featuring John Larch, Jack Ging, Irene Hervey, James McEachin and Clarice Taylor. Director Don Siegel has a cameo as a bartender.

Rest in peace, Jessica Walter.

Clint Eastwood and Donna Mills share a romantic moment in PLAY MISTY FOR ME.

Two shots of lovely Jessica Walter in PLAY MISTY FOR ME.

THE CARELESS YEARS (1957)

 Acclaimed director Arthur Hiller made his feature film debut with THE CARELESS YEARS. Not a bad little film, although at times it resembles one of those educational movies we Baby Boomer types had to sit through in the 1950's and 1960's. Movies with titles like: How Going Steady Can Ruin Your Life Before You Even Know What Hit You. Or, Making Out:: How It Leads To Lust, Sin, And Unending Social Degradation. And no, I'm not kidding. (OK, maybe a little.)

Jerry Vernon (Dean Stockwell) and Emily Meredith (Natalie Trundy) are two decent teenagers who meet at a party and start dating. In no time at all sexual attraction rears its ugly head and the kids are all over each other. Racked with guilt and confusion, Emily talks to her mother (Barbara Billingsley), who in turn talks to Emily's father (John Stevenson). Dad's solution to the problem is to move the family across the country in order to preserve his daughter's virginity and prevent her from ruining her life. Meanwhile, Jerry also talks to his parents (John Larch and Virginia Christine). His blue collar father has been saving money for Jerry's college education and urges his son to be sensible and not to ruin HIS life. But Jerry has decided he and Emily should get married, even though they are both seventeen and still in high school. Jerry withdraws the money his father had been saving for him and rents a cheap apartment for he and Emily to live in after they run off to Mexico for a quick wedding. After a dramatic confrontation between Jerry and his father, the two teens manage to come to their senses and call off the wedding, to their parent's relief.

Dean Stockwell and Natalie Trundy

Many teen-oriented films of the period dealt with the same issues, and there is a strong sense of deja vu here. But the film does have some strong points. Dean Stockwell, with his lean and hungry appearance, looks like he could have been James Dean's younger brother. He brings quite a bit of emotional and physical energy to his portrayal of a young guy suffering from hormonal overload. The adults in the cast are also very effective. John Larch as Mr. Vernon is a standout. His powerful, sensitive performance is a perfect match for Stockwell's. His sincere attempts to reason with his son, and the confrontation between the two after Jerry withdraws the college money, are the best moments in the film.

Dean Stockwell and John Larch

Natalie Trundy, however, is the film's biggest drawback. Sixteen years old, and making her first film appearance, Miss Trundy's poor acting is what makes the film seem at times like an educational documentary. She displays the same level of controlled emotion in practically all of her scenes, whether getting hot and heavy with the boyfriend or arguing with her parents. As a result, she seems to hover over the proceedings like a spiritual being who can't be soiled by intimate relations with imperfect humans. While everyone else around her is in turmoil, she walks through the movie with a detached, placid look on her face. Maybe that's how lust affects some people. 

Barbara Billingsley would join the cast of the TV classic LEAVE IT TO BEAVER in 1957. For the next six years she would play the mother of two sons for whom the subject of lust simply never came up.

MIKE'S DRIVE-IN: A 1960'S BEACH PARTY DOUBLE FEATURE

 

WILD ON THE BEACH (1965)

Despite the somewhat suggestive title, no one in this film gets the least bit wild, and hardly anybody actually sets foot on a beach. But don't let such minor details steer you away.

Top billed Frankie Randall (described on the trailer as "The Singing Sensation") and Sherry Jackson (known primarily as one of Danny Thomas' kids on TV's MAKE ROOM FOR DADDY) end up sharing the same beach house with several other college students of both genders. Conflict ensues. Not to mention drama. But not so much to prevent the kids from hanging out together at the local coffee house, The Wheel. There they listen to the swinging sounds of The Astronauts, drummer Sandy Nelson, Jackie and Gayle and none other than Sonny and Cher, performing It's Gonna Rain. The latter duo look completely out of place in their hippie garb among the well dressed, clean cut, middle class darlings who inhabit the universe of this strange little movie.

At some point, Frankie and Sherry manage to take a walk on the beach, both of them barefoot and holding hands as the waves caress the sand. This gives Frankie a chance to lip synch a song called The Gods of Love while Sherry gazes at him adoringly.

The rest of the movie is filled with slapstick comedy bits and the usual atrocious dancing endemic to all beach party flicks. Still, this was fun to watch. Shot in black and white. Directed by Maury Dexter, who also gave the world SURF PARTY (1964) and THE MINI-SKIRT MOB (1968). Thanks, Maury!!

FOR THOSE WHO THINK YOUNG (1964)

Nineteen sixty-four was the year I became a teenager. I can't remember what I was doing that summer, but I somehow managed to miss seeing this movie. Just a few years ago I picked up a copy from The Video Beat.com, one of my favorite online sites to acquire flicks from the days of my lost youth. But the one thought that came to mind after seeing this was: Were the 1960's really this boring?

Maybe it's foolish to expect too much from a movie that takes its title from a soft drink jingle. ("Now it's Pepsi...for those who think young," Remember? If you DO remember, then you are no longer young, and no amount of thinking that way is going to help you.) But this convoluted mess takes boredom to a whole new level. The director, Leslie H. Martinson, was mostly a director of television shows, which explains why this film seems like a half hour sitcom that has overstayed its welcome.

The film attempts to cash in on the beach party craze of the period. Stock footage of surfing is included. This footage contains some of the best moments the film has to offer. Naturally, there is plenty of singing and dancing out on the sand, all of which is every bit as bad as what is featured in all beach flicks. But what is really missing here is the sense of fun and the undeniable Frankie/Annette chemistry of the American-International movies. The stars of the film are James Darren and Pamela Tiffin. Both of them are attractive, talented actors. And Darren is a terrific singer. But they're let down by the story. 

James Darren and Pamela Tiffin

Speaking of the story: Rich kid and party animal Darren is out to get gorgeous Tiffin in a compromising position. Meanwhile, her two guardians, Paul Lynde and Woody Woodbury, are busy trying to make a success of their beach hangout, aptly called Surf's Up. Darren's grandfather wants to shut the place down. Most of the action takes place at the hangout. Surf's Up has a resident stripper played by Tina Louise. Miss Louise shows off some sexy moves, but never gets around to taking too many clothes off. Most of the entertainment at the club is provided by Woodbury's comedy routines. Woodbury was a successful comic and radio personality in real life, and his scenes in the film are quite enjoyable. Also featured are Bob Denver and a young actress named Ellen MaCrea, later to change her last name to Burstyn. Making their film debuts are Nancy Sinatra and Claudia Martin, daughter of Dean martin. Miss Sinatra was two years away from an extensive cosmetic and professional makeover that would lead to a successful singing career, beginning with the hit song, These Boots Are Made For Walkin'. Miss Martin was two years away from, well, obscurity, for the most part. Bob Denver was still channeling his iconic Maynard G. Krebs beatnik persona from THE DOBIE GILLIS SHOW. He and Tina Louise, soon to be shipwrecked for all eternity on GILLIGAN'S ISLAND, have no scenes together. Two fugitives from the AIP films, Susan Hart and Mike Nader, show up during the orgiastic dance segments.

The movie does have its moments, mostly because of the adult stars. Robert Middleton is his usual formidable self as Darren's grandfather, and the always delightful Anna Lee is Darren's mother. There are some fun cameos from three old time players from the 1930's and 40's: Jack LaRue, Robert Armstrong and Allen Jenkins. And there is a brief appearance by the ubiquitous Bess Flowers, possibly the most famous extra, and one of the most recognizable faces in cinematic history.

Best advice for those who think young: Grab an ice cold Pepsi-Cola, get comfortable, and let the 60's nostalgia wash over you. Just don't take any of this too seriously.

Nancy Sinatra and Bob Denver share a mystical moment in For Those Who Think Young

EAGLE EYE (2008)

 

The term "thrill ride" as a description for an action film is certainly overused. But it's the only term I can think of that aptly describes D.J. Caruso's EAGLE EYE. While the story begins in a reasonably calm, almost solemn manner, it very quickly shifts into a high gear of almost constant movement, complete with all the requisite amounts of noise, car chases and destruction that are necessary for such cinematic ventures. This movie could quite possibly induce motion sickness and/or physical and emotional exhaustion. But it won't leave you bored.

Shia LaBeouf stars as Jerry Shaw, a college dropout who has always lived in the shadow of his twin brother, Ethan, an Air Force officer who has just been killed. After Ethan's funeral, Jerry's life inexplicably goes into bizarro mode. He suddenly has $750,000 in his bank account, and someone has delivered enough explosive materials to his apartment to reconstruct 9-11. He is contacted on his mobile phone by a mysterious woman who informs him that the FBI is coming to arrest him and he needs to flee. Now. This is where the thrill ride kicks in. Jerry finds himself connected to single mother Rachel Holloman (Michelle Monaghan), who has been receiving telephone instructions from the same mysterious woman. Rachel has been told that her young son will be in danger if she doesn't comply. The two confused, reluctant partners find themselves caught up in an insane adventure they don't even begin to understand. They are being pursued by FBI agent Tom Morgan (Billy Bob Thornton) and Air Force OSI agent Zoe Perez (Rosario Dawson).

Giving away too many plot details will spoil the many surprises and twists and turns in the film. Let's just say it has to do with terrorism, secret government security measures and a runaway computer. It leads to a riveting climax that takes place in the U.S. Capitol, a rather uncomfortable plot point considering what happened in January of 2021. The climax reaches an almost Hitchcock-like crescendo by adding the appearance of a children's school band (one of the children being Holloman's son) to an intense life or death situation.

LaBeouf and Monaghan exhibit all of the necessary energy needed for their roles as normal citizens forced into an outrageous situation. And in their (very) few quiet moments, they interact well as two people who slowly learn to trust and care about each other. Rosario Dawson is a strong, commanding presence throughout. And Billy Bob is, well, Billy Bob. And that's good enough.

As someone who isn't a huge fan of action films, I have to admit this was an enjoyable experience. Noisy, but enjoyable. And despite the subject matter, the violence quotient wasn't nearly as high as might be expected.

STAY (2005)

 This film is an exercise in creative cinematography that happens to have an engrossing narrative attached to it. Director Mark Forster has combined David Benioff's story about life, death and alternate realities with the amazing camera work of Roberto Schaefer. The result is a film that unfolds as a kind of fever dream where clear answers and coherent reasoning don't matter as much as the feeling one gets while watching the imagery. 

Sam (Ewan McGregor) is a psychiatrist who is trying to help a new patient, Henry (Ryan Gosling), a young man who is planning to kill himself in a few days. Sam's girlfriend, Lila (Naomi Watts), herself a survivor of a suicide attempt, tries to help and support him. The encounters between Sam and Henry are increasingly bizarre and disturbing to Sam, as his life seems to be somehow intersecting with Henry's. Sam discovers that Henry is going to kill himself on the Brooklyn Bridge and he goes there to try and stop it from happening. 

The performances by the three leads are all very convincing. This was the first time I had seen Ryan Gosling in a film, and I found him to be quite impressive. His rather understated portrayal is a perfect contrast to the more physical style of McGregor, who is called upon to portray a man who is desperately searching for answers as his life spins out of control. Naomi Watts is always excellent in everything she does and is seen to good advantage here. Bob Hoskins and Janeane Garofalo are good in their supporting roles.

But the real stars here are Mr. Schaefer and his camera. It was the imagery of STAY, more than any other factor, that held my interest from start to finish.