Inserts

"A degenerate film with dignity" is the tag line for this comedy...and it is...a comedy. One thing many people might miss from this movie is the humor. At times it is bitter sweet and at times it is caustic. With characters like the mogul named "Big Mac", who wants to conquer the hamburger stand market, to the the porn actor called "Rex the Wonder Horse", who moonlights as an undertaker; what can you do but laugh.

It is very much a filmed stage play taking place in one large room with only a handful of actors. Yet you will hardly notice it. True to it's time frame (Hollywood at the dawn of sound), it's stands up to it's own time (1970's) and today's (2000's). Currently the porn industry does almost as much business as main stream films ("What Price Hollywood?"). In fact, Porn generates more money than Country Music. How many country music channels are there? How many porn?

You may never listen to the tune "Moonglow" in the same way again.

Watching it as a bitter sweet comedy, you cannot but enjoy this film. I have only seen the 117 min. version and not the shortened one. Be warned if only the 99 min. version is available.

It's difficult to find this movie. But if you get the chance, see it.

John Byrum's 1975 film "Inserts" owes a lot to Hitchcock's 1948 classic "Rope". Although it does not feature Hitchcock's experimental feature length continuous shot, it is nonetheless told in real time. The 115 minute running length is the time needed to tell the story as it is the entire duration of the action on the screen, nicely book-ended by shots of the main character alone in his Hollywood home playing the piano. There are no flashbacks or progression of time sequences, and the camera frame never leaves the immediate area of the great room of the house.

Technically two cameras as this is one of those "film within a film" things; one on and one off screen. The main character (played by Richard Dreyfuss) is a gone-to-seed once famous movie director nicknamed "The Boy Wonder". It's never made entirely clear whether his is a self-imposed exile; only that he has great disdain for talking pictures. In the midst of the Great Depression he earns money cranking out smut films shot inside his doomed home; a house standing in the path of the so-to-be Hollywood freeway.

Inside his Moorish style bungalow, all the Boy Wonder needs is a girl, a boy, a camera, and a bottle. This is a casual set with the director prowling around in his bathrobe and the swimming pool serving as his septic tank. And not unexpectedly there are a fair amount of self-reflexive movie references in the script; such as those about the "new Gable kid at Pathe" who wants The Boy Wonder to direct his next film.

"Inserts" is odd and ambitious, more a play than a film; with dialog and intensity level worthy of "Dinner Rush" (2002). Watch how all scene transitions are signaled by the entrance or exit of a character speaking dramatic entrance and exit lines. The Boy Wonder's leading lady (played by Veronica Cartwright) is the first character to make an appearance. She's an airhead flapper with a heroin habit and a heart of gold. Cartwright is wonderful in this role, with a voice just slightly less irritating than the one Jean Hagen brought to her character in "Singin in the Raid". Voices that for obvious reasons were a better fit in the silent film days.

Next to appear is the leading man, Rex the Wonder Dog (Stephen Davies), a gravedigger who will do anything to break into the movie business. Bob Hoskins plays Big Mac, a gangster with a plan to open up a chain of hamburger stands. He is financing The Boy Wonder's films and pays a visit to the set along with his new girl Cathy Cake (Jessica Harper). Cathy has come from Chicago to break into the talkies and is playing Big Mac to get a jump-start on her acting career.

"Inserts" shares its main theme with "The Stunt Man", the blurring of a participants's ability to distinguish between the reality of life and the fiction being acted for the camera. Watch for the occasions where the actors get into a scene too far; even the "barely with a pulse" Boy Wonder gets too involved. A liquor bottle broken over their head quickly brings these characters back to earth, insert heavy symbolism here.

Bynum also allegorically explores the dynamic of an artist who must create for an audience for whom he has total contempt. The Boy Wonder is equally contemptuous of smut viewers and mainstream commercial movie goers.

Then again, what do I know? I'm only a child.

This unusual and imaginative tale is well-acted, funny, and a credit to Dreyfuss, Harper (Phantom of the Paradise), and Hoskins (The Long Good Friday). The comments of others will give you a sense of the plot line; the sad thing is that you may never see this small gem, which richly deserves to be released on tape. I certainly regret not being able to see it again.

This films plot centers around the making of, probably one of the first, porn movies, Sadly when it was released it was pre-arthouse cinemas and pre-video, so it was lumped in with second rate soft porn flic houses around soho London. Consequently it died a lonely death. Around this time Art house cinemas were starting to emerge in University towns which is how I caught it late night in Edinburgh. I was just knocked out by it's sharp drama wrapped in a comedy that launched incredibly incisive comment. Bob Hoskins character as the wannabee hood getting irate when he discovers that Richard Dreyfuss's character, the has-been director, has removed the camera from the tripod, in shear enthusiasm, as he filmed the sexual act. 'How is that going to look!' 'It's not going to look, it's going to be looked at!' retorts Richard Dreyfuss character. The economy of the lines are brilliant! Yes this is a one room drama, which is a tall order for cinema and few have conquered it but this film does brilliantly.

I first saw this film alone. The following night I took my friends, and that weekend I named my band after it. In Cambridge in 1977, this film became a small cult. The allusions to silent days were intriguing to a burgeoning film buff, with Clark Gable, that kid from Pathe, forever trying to get through the door, junkie reminiscences of Wally Reid, and many more nods and in-jokes that I would undoubtedly smile at now from knowledge, not ignorance.

The performances were, as I recall, uniformly good, with Dreyfus - whom I had only seen previously in American Graffiti - a revelation. This was also the first big screen role I can remember from Bob Hoskins, and after her small but memorable role in Love and Death, Jessica Harper brought just the right degree of irritating sexiness to Cathy Cake.

Annoyingly, despite the limitations of scale, and the occasional staginess, I don't think John Byrum has ever made a better film!