There's Always Vanilla
Tags: satire

Plot synopsis:
There's Always Vanilla follows the life of Chris Bradley (Raymond Laine) a former U.S. Army soldier who has become a drifter and makes money by various means, from pimping to guitar playing. Chris returns to his home city of Pittsburgh and visits his father who owns and operates a baby food factory. After an evening out with his father of drinking at a local bar, and visiting an old girlfriend named Terri Terrific (Johanna Lawrence), Mr. Bradley wants Chris to abandon his bohemian lifestyle and do what was agreed upon when he separated from the military; return to the family business, but Chris refuses.
At a local train station, Chris meets Lynn (Judith Ridley; billed as Judith Streiner) a beautiful young woman who works as a model and actress in local TV commercials. Chris charms his way into Lynn's life and moves in with her. At first their relationship is a pleasant escape from daily life, but when Lynn starts to resent supporting the freeloading Chris, she motivates him into getting a steady job. Lynn learns that she's pregnant and, knowing how irresponsible he is, decides to get an abortion without telling Chris.
Chris lands a job at a small advertising firm but when he's given an account to advertise enlistments for the U.S. Army, he quits out of his resentment of his military past. Meanwhile, Lynn cannot bring herself to have an abortion, she abandons Chris, and moves in with a high school boyfriend who agrees to marry her and raise the baby as his own.
His romance with Lynn ruined and his lifestyle destroyed, Chris swallows his pride and moves back in with his father, still unable to decide what to do with his life, but believing he ultimately must accept the old values like his father has. Chris has more encouragement after a talk at dinner at a Howard Johnson's with his father where he tells Chris that life is like an ice cream parlor, and that of all of life's most exotic flavors to choose from, there's always vanilla to fall back on.
The film's final scene shows a very pregnant Lynn living in a suburban house with her new husband. A large packaged box arrives at their house addressed to Lynn with Chris' home address on it. Upon opening the box on the front lawn of their house as instructed on the box, helium-filled balloons float out of it and float away into the bright blue sky. On the bottom of the box is a note from Chris addressed to Lynn telling her to always remember the care-free time they had together.

Review: I think this movie, Romero's follow-up to Night of the Living Dead, compares favorably to The Graduate.
Ray Laine is great as the lead in this movie.
I liked how Ray Laine's character addresses the camera giving the audience a insight into his life and times.
Romero's camera work, direction and editing are real good in this flick.
I thought it would be a snooze fest but once again Romero proved me wrong.The title refers to a line in the movie that Laine's father tells him when he sees him for advice.
Romero and the Latent Image, his production company that previously established itself big-time with Night of the Living Dead, decided to go a more romantic/dramatic route, as there seemed to be a possible small market for it.
Unfortunately, the scriptwriter, Rudy Ricci, was haphazard and scatter-shot with his contributions, and the script was never finished until the end of filming (it came to the filmmakers scene by scene), so even though there are characters to get interested in as a 'character study', Chris Bradley and Lynn Harris (Ray Lane and Judith Streiner respectively), sometimes the dialog and situations become contrived.
The main thrust of the story comes from Lynn's relationship to Chris, as Chris is a sort of man-child, who comes into her life suddenly one day after abandoning an older women he may or may not have fathered a kid with, and somehow through his constant sarcasm and lackadaisical charm that gets her into bed.
It all leads up to his father relaying a 'meaning': there's always vanilla.It's not totally incomprehensible to see why Romero, on an interview featured on the DVD, is completely assured with his feelings that it was a low-point in his career where he tried to gain more experience as a filmmaker and fell flat on his face.
But a filmmaker sometimes has to feel that way about certain films, as the experience making it becomes a personal struggle whereas other times it could become a personal triumph (he still considers Day of the Dead a favorite, mostly for the experience making it).
It's no Cassavetes- as another reviewer noted- but he treats the material with a control that wavers between late 60s early 70s exploitation film-making (of the period, of course, with some scenes with psychedelia bits and music and pot), and a more grounded tone for the actors to follow.
And sometimes Romero's given by Ricci a compelling scene to shoot, like when Lynn has to deal with a certain 'problem' she may need to take care of, but decides at the last moment to run away from it.Or, of course, when Romero cuts the scenes together, sometimes around Chris's confessions to the audience about his mistakes and own feelings at certain times, which pop in at a good rhythm.
Or the way he doesn't putz around with montage- often a high-quality trademark in Romero films- even when dealing with schmaltzy scenes like the quasi courtship of Chris and Lynn in a park or on a boat (I also really liked the one liners each character traded off on one another in the park- marking the shallowness of the period).
And the actors do bring qualities of believability to scenes that somehow work almost in spite of the flaws in the material; Laine is actually charming and affable, carrying over similar qualities from the next collaboration with Romero in Season of the Witch, and Streiner is even better here than she was in 'Living Dead', as a woman who has to contend with being the mature one in a relationship where a falsity to it rings true almost every day.
He's a controversial figure even twenty years after his death.Anyway, despite the video notes from Something Weird, Ray Laine looks and acts just like Russell Crowe.
While Judith Ridley (here billed as Streiner) is just as lovely as ever and, surprisingly enough in light of her unimpressive turn in "Night of the Living Dead," can actually act.Okay, so the flick is full of standard issue seventies lingo and some of the most godawful fashion statements since Mrs. Roper, but the writing and direction make up for it.
Romero's editing and shot compositions are, perhaps, the best I've seen from him to date.
(Why is it that all these "Love Stories" have to feature a musical montage of the two doe-eyed young lovers going to a play ground, going on a picnic, eating ice cream, etc.?)  The final third of the film, as the relationship hits the rocks, however, more than makes up for it with moments truly disturbing.
Without resorting to hard core gore or exploitation techniques, Romero manages to provide a real wince inducing air of suspense and danger that will probably be remembered long after the cutesy-poo stuff is forgotten.All in all, I must say that Romero needs to take stock of his film output over the last few years.
If I were him, I'd bring back "TAV" on a deluxe package DVD replete with audio commentary and plenty of extras and start issuing some damning (or, at least, distancing) statements about "Monkey Shines", "Two Evil Eyes" and "The Dark Half."Movie Fun:  Try and spot all the actors from "Night of the Living Dead" that also made their way into this film.
Funny, surprising, sharply directed, engagingly written (great movie line: "our very existence depends on that beer"), well performed, and absorbing all the way.
(Yes, it is explained in the film.) As Jonathan Rosenbaum has pointed out, There's Always Vanilla is highly evocative of the early 70s; and like many timely films of that era, it has been unjustly neglected.
Little seen Romero non-horror film.
Romero's films after Night of the Living Dead (1968) and probably the least seen.
Romero feared being pegged as a horror film director and launched himself after the release of Night with this Graduate-type romantic drama, written by his associate Rudi Ricci.
It opens with a guy named Chris Bradley (Ray Laine who appeared in Jack's Wife (AKA: Season of the Witch)) who returns to his home city in Pittsburgh, Pennsylvania a year or more after his discharge from the U.S. Army and serving a tour in Vietnam.
Chris' stern but benevolent father (Roger McGovern) wants him to abandon his new lifestyle and return to the family business of making baby food in a local factory which Mr. Bradley owns.
On the street, Chris meets a beautiful young woman named Lynn (Judith Steiner) whom is about 10 years older than him and makes a living by modeling in local TV commercials.
Chris charms Lynn into letting him move in with her.For a time, Chris and Lynn's relationship is good with both of them sharing their love of of lovemaking, pot smoking, and rock and roll music.
For the rest of the film, it does downhill from there and for Chris heading towards ruin and misery.If it was restored by Anchor Bay or Blue Underground, it would be an interesting look at late 1960's early 1970's life with lusuous visuals (the grainy color of the aging VHS tapes is the disadvantage).
Sad to say that even Romero himself disavowed this film for its not all bad despite the bleak storyline.
As said here previously, THERE'S ALWAYS VANILLA is a far better film than its reputation suggests (or director Romero himself apparently believes).
As with all his best work, the writing is snappy and original, and quite unlike his best work, it proves that he could have (had?) a career with non-horror pictures if he wished so.The film is told in flashback, with the main character (played excellently by Raymond Laine) ruminating in seemingly improvised sequences about his failed relationship, as the film illustrates its path.
I'm a lovable schnook" persona made me want to murder him when I revisited the film recently, Laine's portrayal of a sort of anti-hero in emotional turmoil here actually rings true.Among the many pleasures in the film is seeing various cast members of NIGHT OF THE LIVING DEAD (to say nothing of lead actress Judith Steiner) back again in completely different roles.
But there are also a host of terrific set pieces, a great, HUSBANDS-like night of stoned debauchery with father and son among them.It doesn't all work - there are two pretty awful sentimental montages which fail - but there's plenty of spirited jump-cutting, frame flashes and other unique touches which show a thoughtful stylistic hand at play.
Romero's second film isn't as bad as you think or what the filmmaker said about his second film..
A free-spirited young man (The late:Ray Laine) comes back home to Pittsburgh trying to make a new life for himself but when he meets a beautiful young model (Judith Ridley) that affects his life and they fall in love.
But the two couple are so different from each other and they try to make their relationship work, despite their complicated lifestyle.Directed by George A.
Romero (Creepshow, Knightriders, Martin) made an interesting, bittersweet drama that is a certainly an Unusual film even for director:Romero.
Romero made this film, because he feared being typecast as a "Horror Director".
Romero claims this film to be his worst, because he felt his heart wasn't in the right place.
But i liked this film, because of Laine and Ridley strong performances.
The behind the scenes moments where Ridley makes Television Commercials are the highlight, that's what Romero was doing in his career at that time.DVD has an fine non-anamorphic widescreen (1.77:1) transfer and an fine-Dolby 2.0 mono sound.
Only faults in the film is Romero's use of flash cutting at several moments and an flawed conclusion.
The film has amusing moments for Romero's fans, which Romero close friends like John A.
Russo, Russell Streiner, Bill Hinzman and the late:Vince Survinski were involved with Romero's first film "Night of the Living Dead".
Definitely in Romero's TOP 3 FILMS.
Romero's distinct framing of shots and brilliant editing techniques are in full force; and anyone who appreciates Romero as a director (not just horror movies) should definitely see it.
Considering Romero is as political a director as he is an artistic one, this is a perfectly logical follow-up to his horror masterpiece, "Night of the Living Dead".
There's Always Vanilla tells the story of Chris, who has recently returned home after serving in the Army in Vietnam.
He doesn't have a steady job, instead making money by playing guitar on other people's records and through a variety of other implied methods, eventually moving into the apartment of a young woman he meets and mooching off of her while he tries his hand at writing.
His father offers him a secure "vanilla" job at his factory, but Chris rejects the offer as it doesn't suit his lifestyle.There's not much new and exciting in this film.
The director, George Romero, called it his worst film, and it is often overlooked even by fans of his work.
I would argue, however, that it is well worth watching for two reasons: the dialogue and the lead actor, Ray Laine.Laine, who plays the sarcastic, apathetic Chris in one of his few film roles, delivers a fun, memorable performance.
The film is never boring and the reason for that is Ray Laine, who dominates almost every scene.It's hard not to like the character he brings to life and his dry humor and constant sarcasm, even if we almost never agree with his selfish actions and motivations.
I must say, however, that the performance is a bit spotty and drags at times, but for the most part it is solid.Similarly, the dialogue is almost always unrivaled, especially when it comes to nearly every single one of Laine's lines.
Several of the other characters have some great lines too.One particularly memorable moment is when Chris appears at his girlfriend's apartment long after she's kicked him out.
She wants to know why he's come to bother her and he knows that that's what she's asking, but instead of answering that question he simply shrugs and replies: "A peanut butter sandwich." This film is by no means a masterpiece, but it is entertaining at the very least and watching it would not be a waste of time.
Sure, we've seen this same old story a hundred times before, but rarely, if ever, has it come packaged with the wonderful performance and brilliant dialogue found in There's Always Vanilla..
This film is not as good as not of the living dead but it still has it's merit if not just for the fact that George A.
This film has spots where it is heard to understand what is going on but with the narration that Romero wisely added as a wrap around the film comes together and tells a fine story about a misguided man trying to make it in the early 1970's.
I think the film does a great job of showing his journey and what this man needs to do.
The only reason to watch this is so that you can say you've seen all of George Romero's movies.
It's feels like an hour and a half long student film and about as much fun..
A young man returns to his home city of Pittsburgh and moves in with an older woman whom he begins to rely on for emotional and financial support.Following the international success of George Romero's "Night of the Living Dead", it was only a matter of time before Romero and his production company (Latent Image) made a follow-up.
Though, as Romero would later concede, "Vanilla" is the worst film of his career and not surprisingly was never released on VHS and thus rarely seen before the DVD era.Latent Image, which involved most of the people from "night", was largely doing commercial work, as well as some segments of "Mister Rogers' Neighborhood".
Rudy Ricci never finished the script by the time shooting began, dragging what should have been four weeks to over a year of filming.
Writing came from Rudy Ricci (as mentioned) expanding on a short film he penned, with production officially handled by "Night" veterans John Russo and Russ Streiner.
Tackling the score was Steve Gorn.Bill Hinzman, George Kosana and Judith Ridley (wife of Russ Streiner) are in the cast, as they had been in "Night".
Hinzman would handle much work for Romero both behind and in front of the camera as the years went on.
McCollough would be editor and composer for much of Russo's work between 1976 and 1996.Originally distributed (poorly) by Cambist Films, it was later picked up by Anchor Bay on DVD, tacked on as a bonus feature to "Season the Witch".
A cleaner picture obviously does not magically turn a bad film into a good one, but thanks to the audio commentary and special features (including a 30-minute making-of with Russo and Streiner), we get an in-depth look at the world of Romero and Latent Image.
Like it or not, this film is the bridge between "Night of the Living Dead" and Romero's later work, thus making it a crucial watch for any student of his films..
My grandfather put forty plus years into the blast furnace; his friends all worked there or in other mills, gathered around the bar drinking Pabst or Iron City, telling tale of dealing with foremen or how much they could make off a double or triple shift.There's more of this erosion to come in Romero's work as the 1970s go on in Season of the Witch and particularly Martin, which is a grisly reminder of how it only took eight years to make the Steel City look like the end of the world.Also known as The Affair, Romero would say that this film was a "total mess" and that the budget hampered what could have been a better film.
Romero's follow-up to NIGHT OF THE LIVING DEAD is about as different as you can get but, as the director stated, he didn't want to become known simply for making horror movies so what we got is a romantic- drama.
The story follows Chris Bradley (Raymond Laine) who is just returning from Vietnam and spending most of his time with drug dealers and strippers.
For over thirty years this here was the hardest Romero film to see and it's one that he often calls his very worst when asked during interviews.
I think the legendary horror director is being a tad bit harsh because there are a few interesting touches here and there but on the whole it's a pretty forgettable cause except for those who want to see everything the man has done.
Of course, one of the biggest reasons for Romero fans to check it out is that Judith Ridley played Judy in NIGHT OF THE LIVING DEAD and she's actually not too bad here.
Laine is also pretty good in the movie as long as they're not trying to get any strong emotions out of him.
Romero has said that the screenwriter was lazy and pretty much gave up on the picture so the director had to work with what he had.
Romero's direction keeps the picture moving well enough and there are a couple good shots (including a nice sex scene) but in the end this is a pretty forgettable movie.
The 70s were full of movies about drifters and this one can't come close to best so there's not really any point except for die-hard Romero fans..
One can't help but imagine that this one echoes Romero's own Existential Angst at that time: the scenes involving the ad agency execs clearly suggest as much.
Imagine the insights someone like Romero could bring to such a movie...) THERE'S ALWAYS VANILLA, whatever its merits (or lack of same), is evidence enough that Romero as a Filmmaker was capable from early on of making WHATEVER kind of movie he might've WANTED to make- Horror or Western or Contemporary Drama or anything else.
(The abortion scene is short but powerful Dramatically.) Romero's movies are always worth a look.