BUS RILEY'S BACK IN TOWN (1965). Director: Harvey Hart. Screenplay by William Inge, writing as "Walter Gage."
Bus Riley (Michael Parks of
Kill Bill) has spent three years as a sailor and now has come back to his small town and his family, which consists of his mother (Jocelyn Brando) and two sisters, worshipful Gussie (Kim Darby) and disdainful Paula (Mimsy Farmer of
Four Flies on Grey Velvet). Also in the household is a boarder named Carlotta (Brett Somers), who objects to Bus' noisy presence. Bus discovers that his old sweetheart Laurel (Ann-Margret) is married to a wealthy older man, but bored and childish, she won't leave him alone. Bus had planned for a career as an assistant mortician, but that doesn't work out when lonely and middle-aged Spencer (Crahan Denton) -- who runs the funeral parlor with his no-nonsense mother (Ethel Griffies) -- wants Bus to move in with him and all that implies. Bus gets a job selling a house disinfectant device to lonely housewives while dallying with Laurel, but a neighbor girl named Judy (Janet Margolin) also catches his attention, especially after a tragedy in her family. But will Bus have the strength to cut all ties with selfish Laurel?
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| Michael Parks |
Bus Riley's Back in Town started out as a short play by William Inge, who turned it into a screenplay, then was dismayed when changes to the script were made to accommodate Ann-Margret (who later claimed that she didn't care for the changes either). So dissatisfied was Inge that he used the name "Walter Gage" instead of his own. I don't know what the screenplay was like before it was changed, but
Bus Riley comes off mostly like warmed-over Inge, with snatches of
Picnic and other plays, For instance, in both movies we've got a widow with two daughters who takes in boarders, one of whom is a neurotic spinster, not to mention a handsome hero who ignites sexual interest in many.
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| Ann-Margret |
As for the actors, most of them are so good that you wish they had been given better material. This includes Brett Somers, whose part seems to have been cut to the bone; Kim Darby, whose feelings for her brother seem to border on the incestuous; Griffies and Denton as mother and son; Alice Pearce as a potential customer; and Janet Margolin in a sensitive turn as Judy, among others. As for Ann-Margaret, her appearance does not really unbalance the movie as some have suggested, and I happen to think that she's excellent in the film. Her sex-kitten mode is completely appropriate for her part, and she runs with it, out-acting Parks, whose James Dean impressions do little to suggest that the chief reason for casting him wasn't his considerable sex appeal. Both he and Ann-Margret are, in a word, voluptuous.
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| Margolin, Parks and Denton |
An interesting aspect to the film is its pre-Stonewall treatment of homosexuality. One could argue that mortician Spencer is almost guilty of a form of harassment when he makes his suggestion to Bus (although he places his hands nowhere besides Bus' knee), but the man comes off as more desperate and pathetic than anything else. Bus doesn't get angry, but he is clearly disillusioned and simply walks out of the room. Later, at a minor character's funeral, he is friendly to Spencer and vice versa but it is, of course, awkward, and he excuses himself quickly. Inge himself was a deeply closeted homosexual man.
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| Michael Parks |
For a time the star build-up certainly worked for Ann-Margret, but Parks' period of movie stardom was very brief, with him returning to television where he started with
Then Came Bronson. He managed to amass 145 credits, however, and had a successful career by any standard, although mega-stardom eluded him. As for
Bus Riley it got a surprisingly good review from the New York
Times at the time of the film's release, but other reviews were mixed. It is probably the weakest of the films inspired by Inge's work. Harvey Hart also directed
Dark Intruder.
Verdict: Inge Lite. **1/2.
