Un uomo sbagliato

Calder Willingham started a career in Hollywood by writing the book, the Broadway play it was based on and finally the screenplay for his work End As A Man. Now on the screen with the title The Strange One it presents a really nasty picture of a southern military academy and some of the cadets there.

There's more than one strange individual in The Strange One. But the title refers to protagonist Ben Gazzara who is both charismatic and evil. A good old southern boy he holds the rest of his set in some kind of sway and they're all afraid of him.

What Gazzara has put in motion is a carefully laid out scheme to embarrass Larry Gates the second in command of the academy by getting his son Geoffrey Horne expelled. With the aid of some lower classmen and a couple of sycophants he gets Horne drunk and leaves him out all night on the parade grounds. Horne is expelled and later Gates loses control when confronting Gazzara.

But at some points all the worms turn. I suspect in both the novel and the play Gazzara gets worse than what he got here.

The play ran 105 performances on Broadway during the 1953-54 season and besides Gazzara, Pat Hingle, Paul Richards, Arthur Storch, and Peter Mark Richman all repeat their roles from Broadway.

Richards is a halfway out of the closet gay man who Gazzara just toys with, catch that deliciously erotic scene as Richards who fancies himself a novelist reads some of his writings to Gazzara as Gazzara plays with his ceremonial sword. The shy and introspective Storch is another closet case who is just crushing out big time on roommate George Peppard who was making his big screen debut as was Gazzara.

It seemed like half the Actor's Studio got involved in this project. But they all do a fine job especially Gazzara who is terrifying and twisted.

And these are the guys who will be defending America.

Film takes place at a military academy. Cadet Jocko DeParis (Ben Gazzara) concocts an elaborate scheme to get another cadet thrown out of the school. He has the unwilling help of two freshman--Simmons (Arthur Storch) and Robert Marquales (George Peppard). He orders them to keep quiet--but they're not sure if they can and Jocko is a very dangerous man...

Bizarre movie. I hated it at first--it took some time for me to get used to the characters and figure out what was going on but I eventually did. It's not an ordinary Hollywood movie--it was independently made and had trouble with the censors. There's a VERY obviously gay character named Cockroach (Paul E. Richards) who has a crush on Jocko and a shower scene that is homo erotic to a strong degree. There's also a hint of sex between some of the cadets. Pretty raw for 1957.

The acting is just OK. Gazzara and Peppard made their debuts with this film so their overly mannered performances can be forgiven. The rest of the cast is pretty good and carry the film. This was not a commercial success and is rarely screened but it's so strange and different it deserves some recognition. Worth catching if you're interested in offbeat films. A 7.

Jack Garfein made "The Strange One" in 1957. It was adapted by Calder Willingham from first his novel and then his play "End as a Man". Actually the title "The Strange One" doesn't really do it justice; a better, if somewhat declamatory, title might have been 'The Evil One' since its central protagonist, Jocko De Paris, is one of the most sadistic and warped anti-heroes in all of fiction. The setting is a military academy in the Deep South and Jocko is cock of the walk. He rules with a combination of charm and viciousness but it all goes belly-up for him when he targets a young cadet and his father, who happens to be an officer there. His scheme involves four other cadets whose fear of him he's counting on. It's a melodramatic scenario that culminates in a bravura, sustained passage of mounting hysteria but it's brilliant in the way that the best of Tennessee Williams or William Inge are brilliant. Willingham's dialogue has the ring of poetry to it and Garfein, whose first film this was, (he's only made one since), directs it superbly.

Of course, it would have been nothing were it not for its cast, many of whom were totally unknown at the time. Ben Gazzara may already have been a star on the New York stage, (he was Brick in "Cat on a Hot Tin Roof"), but was an unknown quantity in the movies, (it was also his first film). His performance as Jocko should have made him a much bigger star than he ever became and it remains a career-best performance. Those who fall under his spell include Pat Hingle, James Olson, Arthur Storch and George Peppard. They are all terrific; Peppard, also making his screen debut, shows real promise and Hingle in outstanding.

There's also one overtly gay character, (though the whole picture is suffused with homo-eroticism), a cadet who fancies himself a writer and who is obviously in love with Jocko. He's played by Paul Richards as a grotesque and flamboyant queen, part Truman Capote and part Gore Vidal. In any other film this character would be offensively out of place but here he's just one more poisonous plant in this insidious hothouse. The film wasn't successful and is almost impossible to see now, at least here in the UK but it's a masterpiece and one of the best American films of the fifties. Essential.

An interesting look at gay themes from the 1950s. At the time this movie came pout, homosexuality was still a crime in most (maybe all) states. It had another decade and a half to go before being declassified as mental illness.

This opens with a drawing that looks like Tom of Finland. The people involved in making this may never have heard of Tom of Finland. It was the stylized gay zeitgeist. (I guess. I was not there.) Ben Gazzara plays the central character. He is a horrible, thoroughly unlivable bully. It all takes place at a military academy. A fey student who seems to worship him, despite his cruelty, is writing a novel based on his life. It's called "Nightboy." And John Rechy was still a youngster! It's a worthwhile movie. The acting is good all around. The plot is not entirely plausible. But it's exciting and consistently well done.

An upper class man at a rigid southern military academy abuses his power in a highly conceived plot in order to orchestrate an expulsion of another cadet. We're left to wonder why he's motivated to do so, and the acting and scenes in this part of the film do seem to be too staged, but the film makes for riveting viewing as in its portrayal of the overall ambiance of the the academy, a strange hierarchy with bizarre scenes of interaction between the lower and upper class men. And a final military brand of cadet justice that unites the two classes gets born out of the incident, and reveals a lot, and ends in a chilling finale with superior night scenes.