Customer Reviews

Inserts

5 star:		(4)
4 star:		(3)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

An insert, with relation to the cinema, according to Wikipedia, the free encyclopedia, "is a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action due to the different framing. An insert is different from a cutaway in that the cutaway is of action not covered in the master shot." Inserts (1976), the film, was written an directed by John Byrum (The Razor's Edge, The Whoopee Boys), and features Richard Dreyfuss (American Graffiti, Close Encounters of the Third Kind), Jessica Harper (Phantom of the Paradise, Suspiria), Bob Hoskins (Brazil, Who Framed Roger Rabbit), Veronica Cartwright (Alien, The Right Stuff), and Stephen Davies (The Long Good Friday, The Razor's Edge).

Dreyfuss plays a character referred to in the film as the `Boy Wonder', a once prominent silent film director and rising star in the industry, one who quickly found himself out of a job once `talkies' made the scene, apparently unable to make the transition. He now spends his days reclusively rambling about his spacious house in his bathrobe (the plumbing is on the fritz, in both the house and the man), drinking himself silly (he's got a real problem with the booze...he can't get enough!), and shooting stag films. We soon meet one of the `stars' of his current project, a faded flower named Harlene (Cartwright), a hophead who once had a promising career in `real' films, but has since found herself relegated to waitress gigs and performing the horizontal mambo before the cameras. After a little give and take between the pair, the male lead shows up, aptly known as Rex, the Wonder Dog (Davies), a gawky, brain dead stud with aspirations of greatness, and the shooting commences. Soon afterwards Big Mac (Hoskins), the money man of the operation, shows up with his girlfriend Cathy Cake (Harper), the latter possessing a strong desire to make it into `real' films, hence her involvement with Big Mac, who's a real lout, but a lout with connections (peripherally at best) in the industry. Anyway, after Harlene overdoses, and Big Mac and Rex leave to dispose of the body, Miss Cake (who turns out to be quite a piece of work), offers to fill in and help with the inserts, the shots needed to complete the film, if only to work with the Wonder Boy, whom she thinks is a genius and will impart upon her the knowledge and experience needed to make her break into the business. The pair goes back and forth, continually testing each other's resolve, that is at least until Big Mac returns...

What I've detailed above may appear to be a plot, but it really isn't as this is a character driven drama with dark, quasi-comical underpinnings. I thought all the performers did very well, with Dreyfuss being the real standout as a sarcastic, pathetic husk of his former self, wallowing about in booze and self loathing for what he's become, a purveyor of sperm jerkers. Present is that freaky, kinetic energy found in many of his performances, transposed onto a demoralized and broken character (sounds odd, but it worked for me). Despite the repugnant and seedy medium in which he now toils, he still tries to apply his artistic expertise, if only to keep the spark alive, much to the consternation of his producer who chastises him for not following the established format of the genre by removing the camera from the tripod, focusing on the aesthetic, and "all that other fancy crap nobody else does." Dreyfuss' character has no illusions about the type of movies he currently directs (or his audience), just a desire to make them on his own terms. Jessica Harper's character also did a remarkable job displaying a character who, at first, seemed more of a set piece, but comes to life once her beau is off taking care of business. Off the tether she displays her resolve in getting her foot in the door, no matter what it takes, seeing an opportunity to cull what she needs from the genius possessed by Dreyfuss' jaded character, and when I say `whatever it takes', I ain't fooling...talk about a super freak. I think part of her motivation stemmed from her stifling relationship with Big Mac, as he seemed to have the means to fulfill her ambitions, but probably not the inclination, forever dangling the possibility in front of her like a carrot to a mule, at least until he grew tired of her and turned her out, so she had to seize the opportunity when it arose, which she did...this isn't a comedy, but it does have some humorous bits, particularly in the fact that after Harlene's demise, the main concerns were more for what to do with the body, and how they were going to finish the film (and not necessarily in that order), the real humor coming from the reactions of the others after Dreyfuss' character proposes how they might finish the film, a proposal that pushes even their up until recently non existent boundaries of decency. Another bit was when Dreyfuss' character was trying to delicately broach the subject of the money shot with Harper's character. Besides the performances, the other element that made this film work for me was the sharp and witty dialog, particularly from Dreyfuss' character, who could certainly turn a phrase. In case you missed it, this film is rated NC-17 due to the extensive nudity (the two female characters are topless more often than not) and crude language, so if you're somewhat of a prude, pass this one up all together. There are a couple of erotic sequences, but overall I didn't see this as an erotic film, but an interesting feature full of rich, albeit seedy, broken, and twisted, characters, one for mature viewers.

The picture, presented in anamorphic widescreen (1.85:1) is clean and clear, and the Dolby Digital audio, available in both English and French, comes through well. As far as special features, there's a theatrical trailer and subtitles, available in English, French, and Spanish.

Cookieman108

Hoo boy. I guess they really are clearing out those vaults now. I never even began to dream that this oddball dramedy would ever see the light of day on DVD, much less from a mainstream releasing company like MGM (I would have expected Fantoma, Anchor Bay or Blue Underground). If I told you that in the mid 70's, Richard Dreyfuss, Veronica Cartwright, Bob Hoskins and Jessica Harper all co-starred in a Hollywood-produced "X" rated film, would you have believed me? Dreyfuss plays a has-been Hollywood directing prodigy known as "Wonder Boy", whose career has peaked early (his character may be loosely based on Irving Thalberg) and now lives in his bathrobe (pre-Hugh Hefner!) drinking heavily and casting junkies and starlet-wannabes in low-budget pornos produced at his crumbling mansion. Bob Hoskins portrays the "producer", who earns his living in a dubious manner, and is looking for investors for his latest "get rich" scheme- an idea to open a chain of hamburger joints (and his character's nickname is "Big Mac"-get it?) The story takes place in 1930's Hollywood, and it is almost an unofficial "sequel" of sorts to "Day Of The Locust" (with its mostly downbeat view of the squalid side of show biz). There isn't much of a plot, and its not even what I would consider a "well made" film (especially considering the impressive cast) but there is something oddly compelling about this movie that I've never been able to quite explain or shake off-a real love/hate thing. I suppose that makes this curio a definite "cult" item! I notice that MGM has rated the DVD "NC-17" so I am assuming this will be the original cut I (hazily) remember seeing in the theater almost 30 years ago. I'd say snap up a copy as soon as its released, because my "Spidey Sense" tells me it won't be available for long!

While working in a video store more than ten years ago I came across this movie. Nine out of ten people I tell about it haven't heard of it. It has been my little secret.. and treasure, as I consider it to be in that ever-so-small category of truly unique films. The story concerns a down-and-out silent era director, (Dreyfuss) that, unable to deal with the transition to talkies, has withdrawn into a reclusive life, never leaving his Hollywood mansion where he makes pornos for the gangster Big Mac(Bob Hoskins). Even though he knows what he is making, he still applies the director's art to it, taking a meticulous approach to every shot. The sense of doom is palpable- in fact his house is slated for demolition to make way for a new freeway. The whole thing is very theatrical-- all the action takes place in a continuous scene and on one set. The acting is a bit stagey, which fits the subject matter. All of the characters have cartoonish names (Ms. Cake, Big Mac, Rex the Wonder Dog) and for the most part equally cartoonish personalities. Dreyfuss is a drunk genius surrounded by half-wits and low-lifes. Whenever (and it is often) their chatter threatens to drive him mad he busts out with another ever-funnier one-liner. It's an effective portrait of creative brilliance performing and yet wasted in a petty, narcissistic theater. This is the Boy Wonder: desperately using creativity to buffer himself, minute-by-minute, from the madness threatening to close in on him from every side. You get the sense this trajectory started much earlier, in his successful period, and he's been backed into the last corner, trying to stay shooting by managing this small group of freakish guests in his house.
The cartoonish "types" also act out in an exaggerated fashion, offsetting the verbal density with often hilarious pantomime and slapstick. To me it seems a great nod to the overblown style of silent cinema, and yet still achieves perhaps a hint of realism(if you use a little imagination).
Anyway, it's Dreyfuss' mentality that we are concerned with in the film, (indeed the only mentality in the film for the most part) and his character is wonderfully portrayed and fleshed out by sparse but powerful details including a wonderful anectdote about the death of Wallace Reed. Although the film is largely a sort of monologue for the Boy Wonder his world is not static, actually quite the opposite, it is changing every second all around him, life is unfolding/decaying/transforming faster than even a genius can cope with, and ultimately in the afternoon of the film things do change for him as well. Like any great dramatic art it all touches on many universal conflicts: the need to withdraw vs. the need to connect, the need to create vs. the need to simply be and be taken care of. Although certainly not a perfect film, it may be perfect in terms of its uniqueness. Other movies have revealed information and developed characters in the same "trapped-together-in-a-small-space" format, but this film's "gallows slapstick" humor, a credit both to the writer and the cast, is its own unique brand. If only this kind of alchemy happened more often.

When this movie was first released in theaters, radio advertisements for it described it as "a shocking and decadent X-rated film". It briefly raised a furor, as did most of the early feature-length X-Rated films of this era. In retrospect, this was misleading advertising, because "Inserts" is much more than just an X-rated film. This movie qualifies as a genuine artistic expression in the league of major motion picture production, and it's far above the norm in terms of plot, dialogue and acting.
The first time I saw this movie was in the summer of 1976. I was 19, and traveling across the country on my own, for the first time. I stayed overnight in Albuquerque, New Mexico, and decided to see my first X-rated movie in the local theater. Merely expecting a tawdry porno film, I was surprised and amazed at what I saw. I was treated to a wonderful story with great actors (Richard Dreyfuss, Jessica Harper, Bob Hoskins, Veronica Cartwright and Steven Davies), witty dialogue, and a very intriguing premise that captivated my interest for the entire length of the film. I found this study of a morning in the life of an ex-Boy Wonder film director in his decline to be a fascinating tale, and all the details that are evident in both the writing of the story and it's production really help to make this movie an excellent piece of work. I walked out of the theater thinking, "wow, that was really a damn good movie!"
For many years afterward, I wished I could see it again, but never did. Recently, on a whim, I searched for it here on Amazon.com, and was thrilled to find that it had been released on DVD. I bought it immediately, while it was still available. I enjoyed my second watching even more than the first time, and I'm glad to have it as a permanent part of my collection.
Amazon.com is always the first place I search for rare, hard-to-find albums and movies, and once again, they came through with a classic. I highly recommend this film for a mature, age-appropriate audience that wants to see a great story.

One of the most curious fads of the 70s was a sudden obsession with the 1920s and early 30s that was partially fuelled by the expectation that The Great Gatsby would be the next big thing. The Boyfriend, Lucky Lady, Valentino, The World's Greatest Lover, The Great Waldo Pepper, The Wild Party, Paper Moon, At Long Last Love, The Sting - you couldn't move in a cinema in the mid-seventies for all the flappers and gangsters molls. Inserts is one of the oddest examples, looking very much like a filmed play set in Hollywood (it never leaves the house) but shot in the UK by the backers of the soft-porn Confessions Of movies in what looks like an attempt to go upmarket while upping the breast count.

The setup is certainly more promising than the execution, with Richard Dreyfuss' impotent Boy Wonder, once the biggest director in Hollywood, reduced to shooting porno films for Bob Hoskins shady producer in the house he never leaves with a junkie starlet (a surprisingly vivacious turn by Veronica Cartwright) and a mortician with delusions of star potential so stupid they call him Rex the Wonder Dog (Stephen Davies). Many of the great and good and forgotten of the silent era are name checked, particularly the drug addicted boy next door Wallace Reid, whose fate is partially replayed in microcosm with one of the Boy Wonder's cast members. Unfortunately the second half, which sees Hoskins' ambitious new girlfriend Jessica Harper (so anorexic here that her nude scenes seem to be played by her ribs) trying to get the one-time former genius to show her the tricks of the trade, really doesn't work and it seems hard to fathom exactly what writer-director John Byrum was trying to achieve. It's worth a look, particularly for anyone with an interest in silent cinema, but it's hard not to come away with a feeling of disappointment at the missed opportunities.

MGM/UA's DVD is the uncut version in a decent letterboxed transfer. The only extra is the teatrical trailer.

I'm sure this is one of them films that Dreyfuss would sooner forget. I bought it for the subtitle and to see what Dreyfuss could do with the part at that age. Not a cinematic triumph, but worth a look.

Can it be true? Richard Dreyfuss, Bob Hoskins, Veronica Cartright and Jessica Harper in an X-rated movie? When 1976's INSERTS (MGM/Sony, $15) was originally released, it was rated X. The new uncut, pristine digital version is rated NC-17. Times have changed, but not that much. This art house curiosity is really more like a two act play on one set. In fact, I think it started as a play.

The time is the mid 1930s. Dreyfuss is the former Hollywood Wonder Boy now fallen on hard times. And he's impotent.

A recluse in his decaying Hollywood bungalow, he films no budget pornos with starlet wannabe junkies for crime boss Bob Hoskins with plans to open a chain of burger joints (his mob name is "Big Mac").

During first half of INSERTS Dreyfuss struggles to get his film made with his doped-up actress (Veronica Cartright), who is seen spread-eagled and buck-naked. Soon and sadly, but not surprisingly, she overdoses and dies.

Enter virginal Jessica Harper from Chicago. She spends the last half of the movie half-naked being filmed by -- and with -- Dreyfuss, for "inserts" (pick-up shots of close-ups) since her body is similar to Cartright's. But there's a problem with the money shot, since Dreyfuss is impotent. That's it in a nutshell. For audio prudes, be warned: There's a lot of explicit talk and references to Harper's "c**t" which, perhaps thankfully, we don't see.

Since I don't really think this is an expose of real "Wonder Boy" Irving A. Thalberg -- or the founder of McDonalds, it must be a comedy. But you'll have to decide for yourself.

This film is about 24 hours in the life of a fallen Hollywood producer who was on top in the silent film era, and due to the "talkies" is now living in his deteriorated mansion drinking four bottles of wine a day and making porn films for a living. Veronica Cartwright is the catalyst of transformation in the film, but this is an unconventional plot, not trite, and can be ambiguous. The acting and script is dynamic, and quite an emotional range, involving the viewer they way any brilliant, overlooked film can.

John Byrum's 1975 film "Inserts" owes a lot to Hitchcock's 1948 classic "Rope". Although it does not feature Hitchcock's experimental feature length continuous shot, it is nonetheless told in real time. The 115 minute running length is the time needed to tell the story as it is the entire duration of the action on the screen, nicely book-ended by shots of the main character alone in his Hollywood home playing the piano. There are no flashbacks or progression of time sequences, and the camera frame never leaves the immediate area of the great room of the house.

Technically two cameras as this is one of those "film within a film" things; one on and one off screen. The main character (played by Richard Dreyfuss) is a gone-to-seed once famous movie director nicknamed "The Boy Wonder". It's never made entirely clear whether his is a self-imposed exile; only that he has great disdain for talking pictures. In the midst of the Great Depression he earns money cranking out smut films shot inside his doomed home; a house standing in the path of the so-to-be Hollywood freeway.

Inside his Moorish style bungalow, all the Boy Wonder needs is a girl, a boy, a camera, and a bottle. This is a casual set with the director prowling around in his bathrobe and the swimming pool serving as his septic tank. And not unexpectedly there are a fair amount of self-reflexive movie references in the script; such as those about a "new kid at Pathe" who wants The Boy Wonder to direct his next film - Clark Gable).

"Inserts" is odd and ambitious, more a play than a film with dialog and intensity level worthy of "Dinner Rush" (2002). Watch how all scene transitions are signaled by the entrance or exit of a character speaking dramatic entrance and exit lines. The Boy Wonder's leading lady (played by Veronica Cartwright) is the first character to make an appearance. She's an airhead flapper with a heroin habit and a heart of gold. Cartwright is wonderful in this role, with a voice just slightly less irritating than the one Jean Hagen brought to her character in "Singin in the Raid". Voices that for obvious reasons were a better fit in the silent film days.

Next to appear is the leading man, Rex the Wonder Dog (Stephen Davies), a gravedigger who will do anything to break into the movie business. Bob Hoskins plays Big Mac, a gangster with a plan to open up a chain of hamburger stands. He is financing The Boy Wonder's films and pays a visit to the set along with his new girl Cathy Cake (Jessica Harper). Cathy has come from Chicago to break into the talkies and is playing Big Mac to get a jump-start on her acting career.

"Inserts" shares its main theme with "The Stunt Man", the blurring of a participants's ability to distinguish between the reality of life and the fiction being acted for the camera. Watch for the occasions where the actors get into a scene too far; even the "barely with a pulse" Boy Wonder gets too involved. A liquor bottle broken over their head quickly brings these characters back to earth, insert heavy symbolism here.

Bynum also allegorically explores the dynamic of an artist who must create for an audience for whom he has total contempt. The Boy Wonder is equally contemptuous of smut viewers and mainstream commercial movie goers.

Then again, what do I know? I'm only a child.

The NC-17-rated (for explicit sexuality) INSERTS (1975) was certainly originally conceived by writer-director John Byrum as a stage play. There are only five characters and the entire action takes place over a two-hour period in one room.

Set in Hollywood during the very early 1930s, this mesmerizing drama stars Richard Dreyfuss as a genius director, known as the "Boy Wonder," who has fallen on hard times. No longer able to get work in the "real movies," he lives in his crumbling mansion, never venturing outside and using the swimming pool as his toilet. His house has become his studio where he now makes cheap stag films for money man Bob Hoskins.

One day, his leading lady (Veronica Cartwright) overdoses in Dreyfuss' upstairs bedroom. While Hoskins and Richard's leading man (Stephen Davies) dispose of the body, the director, who is ostensibly impotent, spends the time to shoot "inserts" for his film, using Hoskins' "fiance'" (Jessica Harper) as a substitute for Cartwright.

There is one bit of hope on Dreyfuss' horizon. A new young actor with star potential has heard about him and wants Richard to direct his next picture. The actor's name is Clark Gable, and he's coming to the house to offer Dreyfuss a job.

The only question is: Will Richard let him in?

Shunned by the public when it was first released because of its subject matter, this is an excellent motion picture. It has good writing, a fascinating story, strong direction and five award-worthy performances.

I can't recommend it too highly.

© Michael B. Druxman