Patterns

"I didn't hire you to like me!" shouts Walter Ramsey (Everett Sloane) at Fred Staples (Van Heflin) at the climax of Rod Serling's "Patterns." Those seven words pretty much sum up the whole film.

Ramsey knows no one likes him, but he couldn't care less. He'd rather play to win than play nice. He knows that it's time for nice old boy Bill Briggs (Ed Begley) to go and he's found just the man to take his place in Staples, who'd been managing his plant in Ohio. The only problem is that Staples genuinely likes Briggs and detests Ramsey.

You'll hate Walter Ramsey too, but you'll see that he built his company not merely through intimidation but by being an excellent judge of character. He recognizes that Staples, who seems clueless when it comes to office politics, is immensely talented and actually very ambitious. Ramsey sees that the fact Staples will never like him is really an asset. He doesn't want a groveling yes-man, he needs someone who will fight him.

Of course Briggs also fights with Ramsey, but his punches never land. His arguments are easily brushed aside and only serve to make Ramsey even angrier. Briggs refuses to accept that he's washed up, which reflects either his stubborn nature or his lack of professional vision. In any case, it's a fatal flaw and Ramsey mercilessly carves him up.

This is painful to watch and all your sympathy is with Briggs, but from a business perspective you have to accept that Ramsey is right. Gradually, Staples sees this as well and that Ramsey understands him better than he understands himself. At the end, Fred Staples hates Walter Ramsey more than ever but he can't resist his boss' challenge. And Ramsey knows that though the price was high, he finally has the man he wants as his vice president.

"Patterns" offers many solid performances, especially Sloane's and Heflin's. Ed Begley is hardly my image of a corporate executive (he was much more credible as the cop turned crook in "Odds Against Tomorrow"), but he certainly looks the part of a sick man. Watching Beatrice Straight I couldn't help but recall her role in "Network" and wonder if her Nancy Staples would suffer the same fate in the 1970s. Straight had a rare combination of intelligence and beauty, and it's a shame she made so few films.

"Patterns" is quick (about 85 minutes) because it has to be. Were it any longer Ramsey's bullying of Briggs would be unbearable and the film's real point would be lost.

Today we flatter ourselves when we think that characters like Ramsey went out with the Edsel. It's a different world, but it's still a cruel one. Working women are no longer called "girls" and some may have moved into executive suites, but the corporation imperatives are the same as they were in 1956: know your people, know your product, make money, cut your losses.

None of this was lost on Walter Ramsey. We may hate him, but as much as we hate to admit it, we still need him. That's not the way we like it but that's the way it is.

Patterns finds Van Heflin, newly arrived from Mansfield, Ohio where Everett Sloane's corporation has just bought out the factory where he was the plant manager. Sloane was impressed enough with Heflin to take him along to New York and make him a member of his company's board of directors. Vice President Ed Begley was impressed with Heflin's abilities as well and befriends him.

What Heflin doesn't realize is that he's the object of a corporate power play. Sloane is hard driving, ruthless executive usually in the kind of role Ed Begley plays. For once Ed Begley is a nice guy in a film. He's a decent soul unlike Sloane, but he's past his best years. Sloane doesn't want to fire him, just demean him enough so he'll quit. Begley's loyalties to the company stem from when Sloane's father ran the business and he can't see life beyond it.

All this comes out at the first board meeting that Heflin attends and later at a party that he and wife Beatrice Straight throw for the board members. Heflin is a confused man, caught between liking and admiring Begley and sadly knowing his future lies with Sloane.

A number of films were made in these years about corporate connivings at the top. Patterns can hold its own with any of them and that list would include Executive Suite, The Power And The Prize, Cash McCall, and B.F.'s Daughter in which Van Heflin co-starred with Barbara Stanwyck.

Patterns was originally a television drama and one of the best early scripts done by Rod Serling. Begley and Sloane repeated their roles, movie name Heflin was substituted for Richard Kiley. The filming still betrays its photographed teleplay origins, but the players more than compensate for the deficiencies there.

For a good look at how we saw corporate America in the Eisenhower years you can't do much better than Patterns or any of the other films I mentioned.

I happened to stumble on this on TCM while channel surfing (I had seen the blurb in their program guide and had given it short shrift) and, although ten minutes or so into the movie I was immediately gripped by the acting. I stayed for the whole thing and was amazed at the quality of this practically forgotten movie with script by Rod Serling and superb performances by Van Heflin, Everett Sloane, Ed Begley and Beatrice Straight. Anyone who has been in the business world in even an incidental way will be taken by the way in which Serling has so effectively captured the machinations and power ploys in the corporate world. A bald description of the plot - ceo grooms upcoming exec to replace a company veteran - gives no idea of how exciting the realization is on screen (which is why I skipped past the program guide listing); it is simply gripping. Director Fielder Cook's work subsequent to this has been primarily in television.

If you're fortunate to find this rarity scheduled, by all means don't miss it.

Patterns centres around the fierce and dog eat dog world of an executive conglomerate company. Written by Rod Serling (he of The Twilight Zone fame) and based on his own play, it's a stunning picture that relies (and succeeds) on spiky dialogue and a trio of superlative acting performances. Not containing any music at all and filmed primarily within the confines of an interior setting, Serling and his on form director, Fielder Cook, have crafted probably the essential picture dealing with the harsh and at times brutal realities of big business ladder climbing.

Everett Sloane, Ed Begley and Van Heflin really provide the viewers with an acting tour de force. Sloane as the big boss Walter Ramsey, creates a strutting despotic character that is as memorable as it is harsh, here's a man who will not "pattern" a sacking of an employee, he would rather break him into resignation!, a totally vile and cruel "pattern" tactic. Begley (superbly playing weary emotion) plays the genial and honest William Briggs, who upon welcoming Van Heflin's Fred Staples to the company, realises it's likely to be at his own cost. This giving the film a deep emotional "pattern" as Staples (Heflin to me, donning a career high) gets conflicted about his role in this company, this leads us to a truly excellent finale as Heflin and Sloane go at each other with a gripping intensity that many modern actors could do no worse than to take note of, it really is something to behold.

A fabulous movie that comes highly recommended to anyone who appreciates dialogue driven films with intelligence pouring from every frame. 9/10

This tight, intense little film has been rarely seen in recent years (although the original teleplay on which it is based was a huge hit.) It's impact has been dulled slightly (mostly because it's ideas have been stolen for other countless TV shows and movies), but it's basic story is still as relevant as ever. Heflin is a small town plant manager whose company has been swallowed up by Sloane's conglomerate. Sloane moves him up to the executive level of the conglomerate and sets him up with a beautiful home, a fancy office and a top secretary. Soon, however, Heflin realizes that his promotion may have more to do with leverage against one of Sloane's adversaries, his vice president, Begley. Straight is Heflin's materialistic wife who urges him to succeed no matter what the moral cost. Wilson is Begley's secretary who finds herself torn between personal loyalty and company loyalty. The film is a curt 83 minutes and wisely unpadded with excess subplots. The acting is uniformly strong. Heflin is able to display a wide range of emotion. Begley, often cast as overbearing boors, is able to show a more vulnerable side. Sloane is the one who almost goes over the top. He shouts wildly at the drop of a hat and doesn't allow anyone to finish a sentence. One hopes that his type of management wouldn't be tolerated in today's world, but it very well may be. Wilson comes across very solidly in one of her better screen roles. She's given many quiet moments that display her internal struggle. (She would later put a comedic spin on the whole office thing with her wondrous turn in "9 to 5".) Straight is good, but isn't really a focal point of the story. The film has a dim view of corporate America and the unsettling feelings in the office begin right away. Though the times have changed, this story still holds value today and is an arresting work to watch.