R.P.M.

In "R.P.M." students take over and occupy the administration building of a California college as school President Tyler resigns. After midnight, the College Board of Trustees decides to replace Tyler with Professor "Paco" Perez (Anthony Quinn), a 53 year-old sociology teacher. He has three main assets: (1) He is popular with the student body, (2) he has a Spanish surname, and his hiring would exemplify progressivism, and (3) he lives with a 25 year-old graduate student Rhoda (Ann-Margret) who has difficulty in staying clothed. An obvious liberal, Perez attempts to negotiate with the students. A problematic situation arises as he became part of the "establishment" when he was appointed by conservative deans. He agrees with 75 percent of the student demands, but those concessions are not enough. One of the three demands not accepted is that the students want to hire the professors! But the students, led by 33 year-old grad student Gary Lockwood (Rossiter) and 31 year-old Paul Winfield (Dempsey), are reticent. When they do not obtain acceptance on ALL of their demands, they foolishly decide to destroy school property (computer equipment). As Perez is backed up against a wall, his option is to call in the police. So where is the resolution?

Erich Segal's script is trite and hardly rises above comic-book level. Concerning the film's direction, where is the genuine emotion and character development? Anthony Quinn is always good, but in this movie he is miscast. Worse, 30 year-old Ann-Margret's performance as a collegian is ludicrous; she is way too old to be a typical grad student. As she does not exactly radiate intelligentsia, one wonders how she ever became an undergraduate. The impression does arise that she may have earned her bachelor's degree by lying on her back. Chemistry is lacking between her and lover Quinn, whom she even calls a hypocrite. Both Lockwood and Winfield are also too old for their respective characters.

The late 1960s and early 1970s was a time of college campus radicalization, although the students on the far left comprised only a small percentage of the school population. But they were both vocal and active. They were quite volatile, hence R.P.M. = Revolutions per Minute. All in all, this pointless movie certainly shows its age.

As Shirley MacLaine says in Rumor Has It, "Everyone needs someone in their life to let them know when youth has come to an end." For Anthony Quinn, that someone was Stanley Kramer, a director whom I normally love. Fresh off their success of The Secret of Santa Vittoria, Kramer cast Quinn as a middle-aged professor in R. P. M., standing for "Revolutions Per Minute". Quinn plays the "cool" professor who beds his students, rides a motorcycle, and talks with modern slang. When a group of protesting hippies take over the administration building and give "demands" as they hold the college's computer system hostage, an emergency board meeting is called and Quinn is sent as a mediator since the kids like him.

But here's the insulting part of the film, why dear vibrant, sexy Tony should never have taken the part: he's shown as over-the-hill and unable to relate to the wild generation. He wears reading glasses, he takes terrible insults from the students, and his girlfriend tells him "Pull in your gut" when he walks around naked. (Sorry ladies, he's given a flesh-colored thong to protect his modesty.) One could argue that he's still young and hip enough to go to bed with Ann-Margret, but as the movie progresses, the students are so disrespectful, they show the real generation gap: manners and decency. Even though Tony doesn't agree with the kids, he still tries to treat them with respect, but the angry, protesting teenagers don't give him the same courtesy.

There will be a large chunk of audience members who side with the teenagers, and that makes me both sad and disgusted. Manners never go out of style, and using them doesn't show weakness or inflexibility. It shows class, the ability to see the bigger picture, and maturity. Tony may belong to the older generation with graying hair and a growing tummy, but I'll happily join him any day of the week.

This film is relevant because nothing did change between the film's release date in 1970 and the two generations which have followed.

In a conversation on the stairwell toward the end of the film, Anthony Quinn and Gary Lockwood discuss change, indicating that nothing happened between Quinn's and Lockwood's respective generations. Nothing has happened in the two generations that followed, i.e. 1990 and 2010.

The sad fact is that society has degenerated. I graduated from a very liberal Big Ten school in 1962 and we didn't have campus unrest. After that, I began a successful career which was interrupted by the draft and a tour in Vietnam. I returned to work and became even more successful because I worked smart and hard. The draft saved me and I wish the draft would have never ended, although I think the Vietnam war was futile. Young men need military service to GROW UP! As for Ann Margaret, she always played sexy but never nude, except for her role in 'Carnal Knowledge' where viewers experienced her large arse.

Despite Ann's frivolous on-screen characters (I wonder how she was in private life) this was a film that predicts the future, as in...'Oh yah, life goes on, long after the thrill of living is gone.' (John Mellancamp).

A year after Gary Lockwood was slightly too old to play a hapless hippie about to go to Vietnam, cruising around L. A. with nothing to do but get stoned in MODEL SHOP, he played an even younger hippie and is completely miscast... especially since he's also balding... but this rebel at least has a cause...

Leader of a student group taking over a university's computer center, Lockwood... along with another thirty-something student Paul Winfield... have demands they give to a liberal professor they once really liked...

That's where star Anthony Quinn, hired as a kind of emergency dean/president, comes in: spending most of the picture either having long discussions with comparably stuffy and conservative university profs or hanging out with young girlfriend Ann-Margret, who, like Lockwood, has little to do here but spout smug counter-culture platitudes in what feels more like a progressive TV-movie than a watered-down big-screen expose of college revolutionaries (very timely here in 2024), hence the R. P. M. Title standing for Revolutions Per Minute...

But there's only one revolution here, and it drags, despite Lockwood having a few good monologues opening up to Quinn... yet the audience can never fully get into his shared plight/agenda since otherwise sympathetic left-wing director and scriptwriter Stanley Kramer and Erich Segal never properly flesh-out the characters to grow past clichés - on either side of the aisle.

A writer quipped that EASY RIDER was the most expensive movie ever made. Sure, it only cost 400 thousand to make and grossed 60 million. But Hollywood got the idea that it had to produce "youth" movies and so we got THE STRAWBERRY STATEMENT and THE Christian LICORICE STORE and THE MAGIC GARDEN OF STANLEY SWEETHEART and this movie, pretty much all of which are forgotten and got limited or no release.

Woodstock was in August of 1969. Altamont was in December of 1969. This means that the Woodstock Nation lasted barely four months. Elizabeth Taylor has kept husbands longer than that.

What the major studios did was get mainstream directors and told them make movies about youth in revolt. The result was movies like this which were very expensive imitations of movies that American-International had made in the sixties on nonexistent budgets.

RPM is watchable for a fine performance by Anthony Quinn. Lord, but he's a trooper. The script was obsolete before the ink dried on it. I'll be generous and say that Eric Segal's screenplay stinks. Of course, forty years later LOVE STORY doesn't get all that much love anyway.

The story centers on a Sociology professor who is picked to be president of a fictional college after protesting students occupy the administration building. The board has a late night meeting and decides to appoint Quinn president based primarily on the fact that he's sleeping with a graduate student in his department who is young enough to be his daughter.

Imagine trying to sell that to a major studio in today's Politically Correct world. Ann-Margret plays the graduate student and recognizes the script to be crap, so she has fun playing this airhead and wears ridiculous costumes and, in one scene, talks with while chewing food so that audiences won't have to understand the words she's saying.

Incredibly, this is directed by Stanley Kramer. Kramer had become a legend directing films like THE DEFIANT ONES, INHERIT THE WIND, SHIP OF FOOLS, JUDGMENT AT NUREMBERG, and GUESS WHO'S COMING TO DINNER, all of which dealt with Big Ideas from a socially progressive point of view. More importantly, they were full of characters that audiences could identify with and were fully realized human beings.

RPM is like a pageant put on by a community college Sociology department. Characters represent Sexual Freedom, Corporate Apathy, Prejudice, Sexual Liberation, Black Power, etc.

At its peak, the student revolution actually appealed to a very small per cent of students and had little support from the mainstream community. Worse yet, this film was released in the middle of Nixon's first term of office. Youthful idealism faded as more students pursued graduate studies in Business Administration.

Thanks to Turner Classic Movies for running this. I'd heard of it, but figured that Columbia Pictures had destroyed all the existing prints hoping nobody would remember it. Somehow TCM found a pristine print in excellent condition. It would have gotten just one out of ten, but I had to recognize Quinn's excellent work trying to make a dead horse run.