You're a Big Boy Now.

Review #2560: You're a Big Boy Now.

Cast: 

Elizabeth Hartman (Barbara Darling), Peter Kastner (Bernard Chanticleer), Geraldine Page (Margery Chanticleer), Rip Torn (I.H. Chanticleer), Tony Bill (Raef del Grado), Julie Harris (Miss Nora Thing), Karen Black (Amy Partlett), Dolph Sweet (Patrolman Francis Graf), Michael Dunn (Richard Mudd), and Michael O'Sullivan (Kurt Doughty) Directed by Francis Ford Coppola (#592 - Dementia 13, #1139 - Supernova, #1460 - Apocalypse Now, #1469 - The Outsiders, #1502 - Bram Stoker's Dracula)

Review:

"You're a Big Boy Now is a flashy movie to some extent. I have since been more subtle than that. But flashy films do attract attention, and that was what I wanted to do when I was making my first film for a studio."

Maybe I haven't been fair to Francis Ford Coppola. The story goes that Coppola wrote a screenplay when working for Seven Arts that was a different take on the "coming of age" movie that was based on the David Benedictus novel You're a Big Boy Now. Coppola had the novel brought to his attention by Tony Bill (incidentally, he wanted to play the lead but also suggested Peter Kastner, because of what he saw in Nobody Waved Good-bye [1964]). He optioned the novel and changed the setting from London to New York City (going from shoe clerk to library assistant) while at the same time working with Gore Vidal on the screenplay for Is Paris Burning? [1966]. Seven Arts, asserting that Coppola's writing of the script on their time meant that they owned it, eventually came to a deal with him that would pay Coppola $8,000 to direct with a 29-day shooting schedule; he used the resulting movie as his thesis at UCLA for his Master of Fine Arts degree. Made on a budget that eventually rose to around $1 million around various locations in New York, the film was not a major success at the time, although it apparently broke even when it was sold to television.* Coppola worked with Warner Bros.-Seven Arts for his next two films with Finian's Rainbow (1968) and The Rain People (1969).

I could not help but think about The Gr-no, wait, not really. Actually, I couldn't get Dementia 13 out of my head when I thought about Coppola and the youthful energy of trying to make a go at filmmaking on a tight schedule and why it felt so much more interesting in that film than with this brash, messy, and altogether curious studio movie. And I then guess someone would compare it to The Graduate, which also was a coming-of-age movie with a young man and the alienation of his parents' generation that was released the following year*. And then I think about the lead character and wonder to myself: why do I hate this little bastard at times? Yes, there are a few hang-ups that actually do prove amusing, but there were almost as many times where I felt the strange desire to wish that Mr. Chanticleer took a nice smack upside on the head, funny as he might be. But you can at least say it is curious enough to free-form its way through an odyssey of someone learning to get a clue in the swinging era of what 1966 surely looked like (complete with peep shows, oddly placed signs*, and, well, pretzels). Amidst the consternation that one might have for some of these ridiculously repressed people, filled with frustrations at times, is an array of interesting performances. Sentimentally, Torn is the one I spring to first (much like oldie songs, I don't have many new favorites), and he actually is pretty funny here as a befuddled parent who thinks they know best in running their son basically like they were a business, complete with their varied responses to the women around them (staid wives, or messing around in a vault with odd books, you get the idea). The journey to get to the inevitable is fairly tolerable in seeing some of the hang-ups play out on screen, whether that involves a man-hating Hartman (to a point*) or the obvious cool loyalty in Black (making her screen debut) or Page in a role that probably could be defined as an amusing "shrew". At least it ends with a chase scene to help crash things down to some sort of reality (namely realizing what really matters between odd duck family and friends). You get a few interesting camera tricks, a few interesting moments looking at a New York movie with a worthy enough soundtrack involving the Lovin' Spoonful. As a whole, it is a strange little time capsule of an older time filled with a few interesting visuals, here-and-there jokes and a general vibe fit for hang-ups and hanger-ons that might be up your alley.

Overall, I give it 7 out of 10 stars.

Song of the day!

*I'll be honest, I haven't thought about The Graduate much since I saw it exactly one time...12 years ago. Strange that I didn't feel like strangling Dustin Hoffman's character nearly as much as the one presented here. 

*I couldn't find a direct source, but Coppola stated that his film was definitely influenced by Richard Lester's A Hard Day's Night (1964), as opposed to The Knack... and How to Get It (1965), which was released a few months before Big Boy. Of course, I wish for a direct quote because Coppola also apparently said he hated the movie.

*One sign has the N-word in it that naturally the lead character reads out loud, and no the word is not naive.

*Also, this may come as a surprise, but the Hartman character is depicted as a man-hating narcissist that was shaped by their molestation as a youth that saw them get revenge in a way that totally makes sense: stealing his wooden leg!