Fraternity Row

As I recall, this was a University of Southern California thesis project for Gary Allison, the writer and producer of the film. After the film was completed, it was sold to Paramount. Everyone of the student actors and technicians were offered union membership. Especially, for the technical people, this became their entry into Hollywood.

For whatever reason, it has never been available on tape or dvd. Watch for it, as it may be a little dated, but it is still very enjoyable.

At a tony Pennsylvania college in 1954, an idealistic young man--who has faith in his belief of true-blue brotherhood--becomes a new fraternity pledge and tries to change the hierarchy inherent to the somewhat sadistic them-vs.-us system. Oppressive with nostalgia, sentiment, and pathos, this rather unhappy enterprise begins as an affectionate remembrance but winds up a cautionary tale (all the while narrated by Cliff Robertson who, in his fare-thee-well manner, coats the production with a "Waltons"-styled solemnity). Some of the dialogue exchanges are interesting, and screenwriter Charles Gary Allison (who also produced) is deft enough to give us several good guys and not just one sacrificial lamb. However, for a seemingly-autobiographical drama, the film comes up short on dramatic inspiration, and we never get to know most of the characters on display. Allison works his way up to one major plot development, which is handled bluntly by director Thomas J. Tobin, while the impressive cast of young actors get stuck performing all on one note. *1/2 from ****

When this film was released by Paramount, it was hyped as an anti fraternity, expose'. The marketers played up the alcohol, pledging rituals and other negative stereotypes commonly attributed to fraternities. In actuality, this film which was a student production at USC and depicts a true story from the late 50's, is the loving but critical tribute by its author/producer to his friend whose story is told in this film.

While it looks with an blinking and critical eye at the many shortcomings including bigotry and other evils of pledging in that era it also is clear that the writer has a love for the ideal of fraternity and what it can be to young idealists such as Zac, the protagonist. That the reality, in this instance, falls far short of the ideal and results in terrible tragedy, provides the irony and conflict of this really very well done thesis project.

Although it was released by Paramount, it is still owned by USC and for that reason has never been released to video. Probably the only way to see it is by direct rental from USC or when it occasionally shows up on television.

This is a valuable teaching tool for anyone working with fraternity systems in Colleges and Universities.

I saw it on TV while I was a College student. I eventually worked in Higher Education for over 20 years and for a long time wished I had a copy to use for Greek in-service education. A few years ago I was able to purchase a copy on ebay. I received a document which attests that Fraternity Row is a public domain movie.

The narration is smooth and focused. The acting, centered and honest. While it can be looked on as time capsule body of work the relevance of this true story still resonates with college students today.

I worked on Fraternity Row, mostly extra work, and I handled the boom mike for about half the picture. In fact, the unmistakable mike shadow right across an actor's close-up that survives today was my doing -- heck, it was 6 AM at the end of an all-night shoot. But it teaches you the value of adequate coverage.

Anyway, one day we were to shoot a scene that was supposed to put the rest of the story into flashback -- and into the USC classroom we were using come four seasoned character actors who showed up for one day's work -- Cliff Robertson, John Anderson, Andrew Duggan, and Pat Hingle. For me, it was a great thrill to work with these vets whom I had enjoyed on the screen for years. During the lunch break I ate with Messrs Anderson and Duggan, and they were first-class gentlemen, now sadly gone on to their rewards. Too bad that Tom Tobin, who went on to another business, couldn't make that one scene work with the rest of the picture. It never made it in.

I'm in another business now, but I think back to those summer days in 1976 (when the picture was shot) with great fondness. Particularly fond of the gorgeous "sorority girls" who were always around the set. Ah, show business...