Getting Straight

Dir: Richard Rush

1970

****

1970’s Getting Straight was the first of two collaborations of director Richard Rush and screenwriter Robert Kaufman. Like their second film (Freebie and the Bean), Getting Straight is very much of its time and is a pioneering beacon in the world of cinema, even though most people haven’t seen or unaware of its existence. The novel on which is was based on was only three years old at the time of release, so the story was relevant to the climate in which it was set. 1970 was a time after many a protest and riot had had great effect – there were plenty more to come, but the youth suddenly felt they had a voice and the establishment suddenly found themselves without full control. What better example of the social and political climate of the time then that of a university. Elliott Gould, who had just found success and had made a name for himself in both M*A*S*H and Bob & Carol & Ted & Alice, was the perfect choice to play non-conformist graduate student and veteran Harry Bailey. A former student activist, Harry goes back to university to complete an educations course to become a teacher. He tries best to avoid the increasing student unrest but finds it difficult given his girlfriend and friends are leaders in the constant protests. His fellow students look up to him and the establishment want and encourage him but his fellow students also begin to doubt the man they look up to, while the establishment also begun to suspect he will let their side down. Bailey wears his feelings – and political opinion on his sleeve but it becomes increasingly unclear whether he can be part of both worlds. It’s a role Elliott Gould was made for, with a script that suited him perfectly. It’s a very good depiction of student politics of the time that paints a very balanced picture of life how it was. It’s now considered something of a period piece, a window to the past as it were. What I really admired about it was how fair it really was. Bailey has his faults – many faults in fact – but he acted as the perfect protagonist of the day. Protest is often best delivered by those with nothing to lose but then that is how the establishment gains obedience. The students muddy the water and end up rioting for certain things that aren’t that important but the establishment also overlook how unjust they are, purely because they follow the ways things have always been done, simply for the sake of it and because they’ve detached themselves from society. Both camps are balanced perfectly, with Robert F. Lyons playing Harry’s friend Nick – a drug taking chameleon whose mission statement changes every five minutes – a brilliant representation of the hippie movement of the time and Candice Bergen playing Harry’s girlfriend Jan – a nice but simple girl who wants justice but also wants a white picket fenced house in the middle of suburbia and collector of opinion and interesting people Jake – played by Harrison Ford in his debut - on one side, and Jeff Corey as friendly but right-wing Dr. Edward Willhunt, compassionate but clueless Dr. Kasper (Cecil Kellaway in his last ever role) and arrogant establishment lap-dog Lysander, played by Leonard Stone (who was soon to be remembered as Violet’s father, Mr. Beauregarde) on the other. Harry fights impetuousness behavior one one side and futile objectiveness on the other, it’s very amusing but also quite serious. The climax is striking and a little absurd, which I think it probably the best conclusion it could have given the content and characters. It’s a peculiar film, very much of its time, not too dated though, overall a forgotten classic.