The Affair

There's Always Vanilla (1971) was a film that I saw a few years ago at a local video store. I was intrigued by the title and the clerk told me it was George A. Romero that was rarely seen. I felt at first that I've give it a try and scan it. I was surprised how good the movie was. Ray Laine is great as the lead in this movie. Judith Streiner (Ridley) plays the model/actress that he falls for with cameos by Russ Streiner, Bill Hinzmen and Richard France. I liked how Ray Laine's character addresses the camera giving the audience a insight into his life and times. Romero's camera work, direction and editing are real good in this flick. I enjoyed the social commentary and the ending. I thought it would be a snooze fest but once again Romero proved me wrong.

The title refers to a line in the movie that Laine's father tells him when he sees him for advice. The actor who plays his father is also great. Try and get a hold of it!!

Highly recommended.

A young man returns to his home city of Pittsburgh and moves in with an older woman whom he begins to rely on for emotional and financial support.

Following the international success of George Romero's "Night of the Living Dead", it was only a matter of time before Romero and his production company (Latent Image) made a follow-up. Though, as Romero would later concede, "Vanilla" is the worst film of his career and not surprisingly was never released on VHS and thus rarely seen before the DVD era.

Latent Image, which involved most of the people from "night", was largely doing commercial work, as well as some segments of "Mister Rogers' Neighborhood". The profits from "Night" should have made Romero and friends millionaires and kicked off huge Hollywood careers, but as we know today, the distributor botched the copyright and the millions in profits never mad it back to the filmmakers. Thus, Latent Image continued on as a low-budget production company rather than the sought-after company it should have been.

"Vanilla" was a miserable experience for all involved. Rudy Ricci never finished the script by the time shooting began, dragging what should have been four weeks to over a year of filming. Ultimately, the "finished" product did not even amount to feature-length and the Ray Laine monologues had to be tagged on after the fact. (Ricci played an important role in "Night"; he was college roommates with Romero in 1957 and introduced Romero to Russo, thus uniting the two primary figures behind "Night".) Although Romero more or less disowned this film, he is largely responsible for it. Not only the director, he worked as his own cinematographer and editor. Writing came from Rudy Ricci (as mentioned) expanding on a short film he penned, with production officially handled by "Night" veterans John Russo and Russ Streiner. Tackling the score was Steve Gorn.

Bill Hinzman, George Kosana and Judith Ridley (wife of Russ Streiner) are in the cast, as they had been in "Night". Hinzman would handle much work for Romero both behind and in front of the camera as the years went on. Others, such as assistant cameraman Paul McCollough went with Russo following the Romero-Russo split. McCollough would be editor and composer for much of Russo's work between 1976 and 1996.

Originally distributed (poorly) by Cambist Films, it was later picked up by Anchor Bay on DVD, tacked on as a bonus feature to "Season the Witch". In 2017, we finally get a proper Blu-ray release through Arrow Video. A cleaner picture obviously does not magically turn a bad film into a good one, but thanks to the audio commentary and special features (including a 30-minute making-of with Russo and Streiner), we get an in-depth look at the world of Romero and Latent Image. Like it or not, this film is the bridge between "Night of the Living Dead" and Romero's later work, thus making it a crucial watch for any student of his films.

There's Always Vanilla tells the story of Chris, who has recently returned home after serving in the Army in Vietnam. He doesn't have a steady job, instead making money by playing guitar on other people's records and through a variety of other implied methods, eventually moving into the apartment of a young woman he meets and mooching off of her while he tries his hand at writing. His father offers him a secure "vanilla" job at his factory, but Chris rejects the offer as it doesn't suit his lifestyle.

There's not much new and exciting in this film. For the most part, it's all stuff we've already seen a thousand times before. The director, George Romero, called it his worst film, and it is often overlooked even by fans of his work. I would argue, however, that it is well worth watching for two reasons: the dialogue and the lead actor, Ray Laine.

Laine, who plays the sarcastic, apathetic Chris in one of his few film roles, delivers a fun, memorable performance. His acting is leaps and bounds ahead of the other cast members', and even if this film isn't fresh and original, his performance is. The film is never boring and the reason for that is Ray Laine, who dominates almost every scene.

It's hard not to like the character he brings to life and his dry humor and constant sarcasm, even if we almost never agree with his selfish actions and motivations. I must say, however, that the performance is a bit spotty and drags at times, but for the most part it is solid.

Similarly, the dialogue is almost always unrivaled, especially when it comes to nearly every single one of Laine's lines. He delivers most of them flawlessly and nearly all of them are extremely quotable, hilarious, or otherwise memorable. Several of the other characters have some great lines too.

One particularly memorable moment is when Chris appears at his girlfriend's apartment long after she's kicked him out. She asks him what he wants. She wants to know why he's come to bother her and he knows that that's what she's asking, but instead of answering that question he simply shrugs and replies: "A peanut butter sandwich." This film is by no means a masterpiece, but it is entertaining at the very least and watching it would not be a waste of time. And if you're in the mood for a fun, cheesy 70's B movie, you just might end up loving it. Sure, we've seen this same old story a hundred times before, but rarely, if ever, has it come packaged with the wonderful performance and brilliant dialogue found in There's Always Vanilla.

There's Always Vanilla (1971)

** (out of 4)

George A. Romero's follow-up to NIGHT OF THE LIVING DEAD is about as different as you can get but, as the director stated, he didn't want to become known simply for making horror movies so what we got is a romantic- drama. The story follows Chris Bradley (Raymond Laine) who is just returning from Vietnam and spending most of his time with drug dealers and strippers. He eventually meets a model/actress (Judith Ridley) and the two hit it off until she gets pregnant and things start to change. For over thirty years this here was the hardest Romero film to see and it's one that he often calls his very worst when asked during interviews. I think the legendary horror director is being a tad bit harsh because there are a few interesting touches here and there but on the whole it's a pretty forgettable cause except for those who want to see everything the man has done. Of course, one of the biggest reasons for Romero fans to check it out is that Judith Ridley played Judy in NIGHT OF THE LIVING DEAD and she's actually not too bad here. She's certainly not going to win any awards for this her second and final film but she's still enjoyable to watch as that laid back approach of hers comes across quite nicely. Laine is also pretty good in the movie as long as they're not trying to get any strong emotions out of him. So, where does the film go wrong? Romero has said that the screenwriter was lazy and pretty much gave up on the picture so the director had to work with what he had. As to why he didn't try to do a re-write is anyone's guess but perhaps the low-budget nature just didn't allow the time. The screenplay isn't horrid but it falls well short of what you'd call good. I think the biggest problem is that he never really tries to explain countless things including why on Earth this woman would be involved with this guy. The two are certainly different types and one might say opposites attract but there's never anything here except this guy treating the woman badly and not doing a single thing good. Just check out the long sequence where he's telling her that her butt is too big for TV and you'll see what I mean. Romero's direction keeps the picture moving well enough and there are a couple good shots (including a nice sex scene) but in the end this is a pretty forgettable movie. The 70s were full of movies about drifters and this one can't come close to best so there's not really any point except for die-hard Romero fans.

Sometimes a director is not the best judge of his own work. He's too close. He second-guesses. I think this movie, Romero's follow-up to Night of the Living Dead, compares favorably to The Graduate. Don't laugh. Angst. Freedom. Commitment. These are all central themes and emotional building blocks in both films' major characters' world view. I view Dustin Hoffman's Ben as a failure of sorts, a man who becomes a stalker, harasser, home-wrecker (twice), and road menace. Sad. And a bit dated. However, Ray Laine's drifter has better qualities and only two vices: smoking grass and pecking out his unfinished novel on a manual typewriter. Norman Fell's landlord character calls Ben a pervert. A young Richard Dreyfuss smells trouble, too. Well... I digress, so back to the cinema of George Romero. I liked many things about this dizzy movie. The lead actress, the one in NOLD who had a seat belt problem, is gorgeous and talented. Who knew? Laine is charismatic and commands the screen. The 'Ultimate Machine' sculpture is funny and opens minds. Placed in Pittsburg's Downtown, the symbolism cannot be missed. There's some excellent rock music in the score. Romero's editing is impeccable--a picnic and boat excursion are highlights. Watch for a clown who looks directly into the camera. But there are dark sections. Laine's mother is nuts. He also may have had a child from an old girl fiend. She sleeps with a giant stuffed camel or turtle. I can't make up my mind which it is. And finally the trip Laine's new girlfriend takes to an abortion doctor's pad. Sick. Creepy. And a little disturbing. I feel the movie deserves a second look.