Last Summer (1969)

I read this haunting tale by Evan Hunter in the late 1960's, and felt numb afterwards. It was a devastating story, but came across honest and true. I wasn't aware that it had been made into a movie until much later, but never felt compelled to "revisit" it, until it turned up on TV (TCM, I think) recently. The movie did capture the essence of the novel, unsupervised (neglected) adolescents from well-off, dysfunctional (hinted), families spiraled out of control when their ambiguous and budding desires fed off each other in a vicious circle, culminating in something akin to evil. The psychological and sociological overtones reflected the zeitgeist of the sixties - sex, drugs, violence, and the mob mentality.The sexually suggestive scenes and the violence was tastefully done, necessary but not exploitative. This film was definitely targeting a more mature audience, but surely will not unduly shock or traumatize the precocious youths of today. Nevertheless, portions of the story are unpleasant enough to discourage repeated viewing. In any case, the message is potent enough to come across loud and clear just going through it once.For the more inquisitive viewers who might wonder whether the worst had happened to Rhoda, I suggest a reading of the excellent book by Evan Hunter. ("The Blackboard Jungle" and "Mr. Buddwing" are among the films based on his books. In fact, he wrote a sequel to "Last Summer", aptly named "Come Winter". He was also well-known in another genre under the name Ed McBain.) In retrospect, I wish I had not read the novel before I saw the movie. I always prefer watching the movie before reading the book (if there is one). In my opinion, the medium lends itself to greater dramatic and emotional impact, and provides a more primal sensory experience, but there are invariably certain elements in a book that no motion picture can convey.I suspect my rating for this film would have been higher had it not been for the unpleasant and unresolved emotions and thoughts it provoked, but did (could) not provide any hope or closure in the ending.

about cruelty and innocence. adventure and revenge. past and future. a kind of Lord of the Flies. a group of teenagers. a vulnerable young woman. a seagull. and the flavor of sexuality. convincing acting, beautiful images and four inspired actors. film about lost of an age, seduction and worlds. about profound need by the other, it is special. for the exploration of force and for clear image about sensitivity. for the picture of an age with great accuracy. for the end who remains a question. for the parable about freedom and need of absolutely control. for the look of Catherine Burns and her touching confession. for the flavor of youth, desires and fall.

Having been a die-hard fan of Evan Hunter's novels-turned-to-films "Blackboard Jungle" and "A Matter of Conviction" (film entitled "The Young Savages"), I was delighted to receive Hunter's novel "Last Summer" as a Christmas gift at age 14. At that age, I didn't read books straight through, but skipped and skimmed over chapters, and what I skimmed over in this book - the viciously murdered seagull and the heinous rape of outcast Rhoda committed by her three alleged "friends," one of whom was a girl - made me feel twisted and sick enough to throw the book in the trash where I felt it belonged. Ironically, I was determined to see the film based on the novel I'd trashed when it aired on syndicated TV a few years later. So much for bravery! I found the novel devastating, but it was no comparison to seeing those characters come to life on the silver screen! In truth, novelist Evan Hunter is no less than a genius. His ability to create four adolescent characters so hauntingly and painfully realistic is astounding. The casting of the film couldn't have been better. Like many viewers, I found remarkable Cathy Burns' performance as Rhoda, a Mrs Beasley lookalike whose outspoken opinions and "Old Mother Hubbard" ideals (as quoted by Sandy) make her the ideal victim of others cruelty and mockery. And the male characters, Richard Thomas as the sensitive Peter and Bruce Davison as stud-muffin wannabe Dan are equally as impressive. However, the performance I find most impressive was Barbara Hershey's portrayal of Sandy, the dominant group leader who uses her female-ness as a weapon. I couldn't help but wonder what made Sandy what she was, sexually manipulative, cruel enough to mistreat and then viciously murder a seagull she'd started out nursing back to health, and wretchedly sardonic to Rhoda whom she obviously considered inferior to everything Sandy herself excelled in. Was it a genetic chink in her psyche? Was it triggered when her mother's boyfriend made a pass at her behind her mother's back (Sandy tells the boys this while drinking beer on the beach)? Or was Sandy the type who exercised her aggression rather than kept it safely locked in the vault of fantasy? In short, I found Hershey's performance horrifically realistic to the point where I could not watch her on screen for several years to come. It wasn't until I'd learned of Hershey's own anguish and repulsion toward Sandy's treatment of the seagull to the point where she actually changed her last name to Seagull that I able to "forgive" her and enjoy her in other movie roles. Suffice it to say, "Last Summer" is not a film for everyone's tastes. Even today, nearly 50 years after this film was made, viewers will be struck by the film's realism and candidacy.

Two teens (Bruce Davison & Richard Thomas) come across the enigmatic Barbara Hershey caring for a sick seagull on a beach. She seems earthy, loving and caring. She's also unusually cruel. The boys are soon infatuated. Things get complicated when a fourth teen (another girl)joins the mix. As Rhoda, Catherine Burns is awkward, precocious and very sensitive (something Hershey is repulsed by). Frank Perry directed this totally engaging coming-of-age film and it's one of the best of his spotty career. He coaxes thoroughly natural performances from the three leads and a miraculous one out of Burns. Ironically, Burns, who received the film's only Oscar nomination, did NOT go on to have a career nearly as substanitive as Hershey, Davison and Thomas. The perceptive screenplay is by Eleanor Perry. Filmed on Fire Island, but the film could have taken place anywhere.