There's Always Vanilla

Sometimes a director is not the best judge of his own work. He's too close. He second-guesses. I think this movie, Romero's follow-up to Night of the Living Dead, compares favorably to The Graduate. Don't laugh. Angst. Freedom. Commitment. These are all central themes and emotional building blocks in both films' major characters' world view. I view Dustin Hoffman's Ben as a failure of sorts, a man who becomes a stalker, harasser, home-wrecker (twice), and road menace. Sad. And a bit dated. However, Ray Laine's drifter has better qualities and only two vices: smoking grass and pecking out his unfinished novel on a manual typewriter. Norman Fell's landlord character calls Ben a pervert. A young Richard Dreyfuss smells trouble, too. Well... I digress, so back to the cinema of George Romero. I liked many things about this dizzy movie. The lead actress, the one in NOLD who had a seat belt problem, is gorgeous and talented. Who knew? Laine is charismatic and commands the screen. The 'Ultimate Machine' sculpture is funny and opens minds. Placed in Pittsburg's Downtown, the symbolism cannot be missed. There's some excellent rock music in the score. Romero's editing is impeccable--a picnic and boat excursion are highlights. Watch for a clown who looks directly into the camera. But there are dark sections. Laine's mother is nuts. He also may have had a child from an old girl fiend. She sleeps with a giant stuffed camel or turtle. I can't make up my mind which it is. And finally the trip Laine's new girlfriend takes to an abortion doctor's pad. Sick. Creepy. And a little disturbing. I feel the movie deserves a second look.