MCN Columnists
Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

The DVD Geek: The Strawberry Statement

The further they recede in time, the more fascinating the campus riot movies become.  Despite the brief resurgences of similar sentiments in the Occupy Wall Street movement, there is something very alien about the militancy of the youthful rebels.  And while violence as a means of suppression by the authorities has continued as a practice, usually of last resort or near last resort, that practice has not been depicted in popular entertainment since the spirit of the Sixties subsided.  Directed by Stuart Hagmann, the 1970 MGM campus riot feature, The Strawberry Statement, released as a Warner Home Video Archive Collection title, won some sort of secondary award at Cannes, and has some interesting stylistic touches.  When the climactic riot begins, there are even shots from ‘inside a gas mask’ as the police approach the gymnasium where the protestors are peaceably demonstrating.  The police begin running smoke machines, which one supposes would have the protestors coughing and leaving the building as soon as it got heavy enough, but rather than waiting, the police also start whacking on them with nightsticks and such, and dragging them out by their feet.  The logic is illusive, but logic in the heat of such situations is also illusive.

Bruce Davison, back when he still had promise, stars as a member of the college rowing crew who by chance becomes curious about the protestors that have taken over the school’s administration building and gradually becomes involved in their cause.  Kim Darby, who was, briefly, believed to have boxoffice clout, co-stars as another protestor, and the core of the film is the easygoing, college romance that develops between them.  Bud Cort and Bob Balaban also have major roles.  The film really doesn’t have much of a plot, however, as it is relying instead upon the dynamics of the campus protest itself—from the discovery in the Dean’s office of documents that link corporate malfeasance to the college’s financial shenanigans, to the execution of the riot at the end—to justify its narrative.  Maybe in 1970 it did, and the Cannes judges must have believed it so, but now it just seems disjointed, aimless, and strange.

Two versions of the film are presented on two separate platters.  The ‘Original Theatrical Version’ runs 103 minutes (with story-generated chapter encoding) and is presented in letterboxed format with an aspect ratio of about 1.85:1 and an accommodation for enhanced 16:9 playback.  The color transfer is fresh and smooth.  The ‘International Version,’ presumably the one seen at Cannes, runs 109 minutes (with generic chapter encoding) and includes an elaborate and provocative erotic sequence featuring Davison, but not Darby.  The International Version, however, is presented in full screen format, adding just a little to the top and bottom of the image and losing a lot from the sides.  The picture is also a little grainier and colors are a little weaker.  So, if you want the sex, you have to pay for it.  The monophonic sound on both versions is fuzzy if you raise the volume too high, but fine if it is kept at a sensible level, and the soundtrack contains several intensely nostalgic Crosby, Stills & Nash, and Neil Young tunes, along with other choice songs from the era.  There is no captioning.  A meandering trailer for the Theatrical Version is also included.

2 Responses to “The DVD Geek: The Strawberry Statement”

  1. Daniella Isaacs says:

    Now I have to see the whole thing again, just to see the “elaborate and provocative erotic sequence”!

  2. Bob Burns says:

    saw this at a midnight show, packed theater, when it was released. I was a college freshman and identified strongly with it. will probably leave it at that.

Leave a Reply

The Ultimate DVD Geek

Quote Unquotesee all »

Kyle Buchanan: I think the deal with a lot of white, male critics is there’s a very empirical way that they write that they write their movie reviews that always puzzled me. Movies are such subjective things. Back in the day, I used to be the film critic for The Advocate, and it was really striking to me when I would go into screening rooms and I was by far the youngest. They were filled with old white men. And when you watch a film like Black Snake Moan, that’s playing with a whole lot of gender and race issues, I was like, Are like 70-year-old white men like really the sole voices that I want to hear on this movie? It just didn’t feel right.

Jen Yamato I’ve been very pleasantly surprised to see the receptions Moonlight has gotten. But one of the films that I was disappointed to see not get more traction was American Honey. I distinctly remember sitting in a screening room full of mostly older white guys and thinking during the film, How are any of them going to relate to this movie?

~ Taking On The “Old White Guys”

“I was frustrated, a bit angry even. There should be no need for winning in the arts. Awards condition people into thinking that art is a competition, that good cinema is prize-winning … that a filmmaker must win an award or two to be considered finance-worthy. It enables the slow death of many and lack of support for most. My films do not ask to be liked. In fact, my films actively seek to be disliked. It seems that I have failed at this goal. What does it mean to be political in the time of Trump… in the country of Duterte? I dedicate the film to all the outsiders of the world: kids, midgets, freaks, paralytics, prostitutes, scoundrels. These are my people. I make outsider films that talk about the pain and joy of not belonging, of always being on the outside peering in.”
~ Prolific Philippines Filmmaker Khavn de la Cruz On Getting A Prize From Geneva Int’l Film Fest