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Dropout 1970
Description: Italian immigrant kidnaps a wealthy British woman, and they fall in love.
Released: 01 Jan 1975 Director: Tinto Brass Writers: Tinto Brass, Franco Longo, Roberto Lerici Actors: Franco Nero, Vanessa Redgrave, Gigi Proietti, Frank Windsor Genres: Drama, Romance
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Dropout Reviews:

DROPOUT just recently played twice at the Hollywood Reel Independent Movie Festival (HRIFF for short) and it was quite surprisingly entertaining and inventive, and it was frequently quite humorous as well. Apparently the producer, Carlo Ponti, "dropped out" of the film during preproduction, but the director and the two leads decided to go ahead with it anyway, using their own funds and presales. The quality of the 16mm source print was rather sorry. It was apparently Tinto Brass's own well-worn print, the only material currently available, which had just been somewhat spiffed up for public presentation. Despite this, the originality showed through all the same. Escaped prisoner attacks an upper-class London home, robs the owner of his clothes, and takes his wife hostage. The wife, strangely unafraid, finds the fresh journey an enjoyable break from her dull routine of housekeeping and gardening, and within moments finds herself in squalid dumps, in the midst of a violent union strike, in a meeting of black revolutionaries, in a flophouse, and then in an audition to turn tricks to support her captor travel to Italy to search his old girlfriend. During arguments the soundtrack switches to operatic arias as Franco Nero's hero dances in time to the grievances. In keeping with the traditions of Italian Neorealism, the extras were now found on zone in the slums. There was even a group of meths drinkers who imbibe in their (prop) concoctions as Gigi Proietti's pimp hero sang out his private manifesto above them. There is no doubt in my mind that the chanting Hare Krishnas just happened to be marching by when Brass said his team to capture them on movie so that he should incorporate them into the story. And in keeping with the traditions of Tinto Brass, this striking Neorealism is continually blended with Theater of the Absurd. The effects are unlike anything else.I could here like to take trouble with LOR_'s review. While what he tells is mostly accurate (except that the stage where Franco kicks the cat was obviously faked), his opinions are, well, his opinions, just as my opinions are my opinions. It is real that a film as quirky as this, with a storyline so unpredictable, would never be Number One on "Boxoffice" magazine's Top-Grossing Flicks of the Week, but Nero and Redgrave fanatics could receive a thrill out of the proceedings, and so could cute much anyone who enjoys absurdist and offbeat cinema. Franco was certainly never more motivated than he was in this tiny outing, and his relentlessly over-the-top performance was sheer perfection.Toward the close of the HRIFF the host read an launch letter from Franco Nero to Tinto Brass, written specifically for this festival. The letter was lengthy and Franco was full of effusive praise for Tinto and his brilliant movies and working methods. He regretted that after the early 1970s filmmakers no longer had the luxury of realizing their dreams on celluloid come what may. He had the fondest memories of this film and its making, as well as of its follow-up, VACATION, other comical gem shown twice at the HRIFF.DROPOUT was barely released when it was new. A 16mm print was circulating among British colleges in the late 1970s, but after that the film was withdrawn and shown nowhere except in Tinto Brass's living room. So one gotta wonder how LOR_ even got to see it in July 2011, unless he saw the irredeemably atrocious bootleg that was briefly accessible on an internet pirate site. It is understandable that someone enduring only that miserable pirated 4" x 5" edition would have a verdict so negative. A viewable edition on the large screen is a fully various experience.We can hope for the day when this movie is at last restored from the original masters and reissued. If Vanessa Redgrave and Franco Nero should host some screenings, this tiny indie should easy develop what "The Industry" calls "legs."


We are lucky that today's crop of superstars and wannabes don't crank out amateur films the method their predecessors often did in the '60s and '70s. Situation in mission is this ego-trip by lovers Franco Nero and Vanessa Redgrave, under the tutelage of Tinto Brass, made back to back with a related junker VACATION.Even if you don't appreciate his latter-day erotica, you have to be thankful Brass emerged from his execrable experimental/"revolutionary" phase. Shot in London, this pretentious exercise in overacting plays like a home movie.Franco portrays a bedraggled Italian bum Bruno in London who steals away lovely Mary Hopkins (Vanessa, looking nice here even when they slop on "dirt makeup" to test and hold her in character) from her stuffy husband Robert, and the duo wander around purposely selected ugly settings (junkyards and tenements) in an attempt to bore the viewer to death.IMDb lists some misinformation presently -I suspect that the movie was shot in English and dubbed in Italian (I saw the Italian version) rather than vice versa, and with no distributor listed the 1975 U.S. release date is undoubtedly false -I have no record of it ever having been distributed here.We can say where Brass is headed early on, with graffiti reading "The only poetry is the revolution" and "Work is anti-life". Mustachioed Nero wearing an odd bowler-style hat is overbearing, and the tastelessness of the movie is revealed in his kicking a pesky cat through a window (no, on revolutionary movies like this there is none of that bourgeois "no animals were harmed in the making of this film" dmca at the end) or urinating, sort of on camera.Attempts at humor, such as occasional speeded-up footage with the cast behaving stiffly like Silent Era Keystone Cops, are ridiculous, and the helping cast mixture of Brits and imported Italians all mug for the camera. Vanessa is permitted, even in the Italian-track version, to sing many ballads or folk songs at will in English, culminating late in the day with an obviously mean-spirited "God Save Our Queen".Low mission of the Primo Tempo is a sequence where they check in to a flop house one night, and both Black and white women steal Vanessa's clothes, followed by a time capsule-style parade of Hare Krishna freaks. Duo's next stop is a slaughterhouse, followed by Vanessa freaking out and hallucinating.Secondo Tempo brings Luigi Proietti into the fray, caught in the middle of a shave (with the foam on his chin stumping the continuity person for the first reel of Part 2). He and an idiot henchmen take over center stage, as if dispatched to save the flagging narrative, but fail. In fact Brass, with trademark stogie in his mouth, shows up himself as an erstwhile pornographer (natch) in a studio flanked by a giant phallus sculpture and rude artwork, to slap Vanessa around. Even Hitchcock at his most manipulative treated his cattle better.Thugs next beat Nero to a pulp, and the bedraggled duo carry on a conversation with "shoe phones" right out of Don Adams' GET SMART handbook. To call this Theatre of the Absurd is an insult to that actually mummified tradition, which peaked in the '60s.Vanessa returns to her hubby, even kissing his foot, shining his shoes, lighting his cigar, cleaning his teeth with a toothpick, q-tipping his ears and (this being a Brass movie) wiping his backside in supplication. Hubby Robert puts a sack over his head and begins whipping her! Oh, those cwazy Brits! With extremely terrible continuity, F & V next pop up on a train where they create love with disembodied voice-over, the technique (though not the content) of a cheap porno film. They arrive at a foggy beach where Robert spots them again -cue the speeded-up slapstick footage.SPOILER ALERT: After they go to sleep near the beach covered in collected newspapers for warmth, Vanessa goes to the water next morning to splash her face and British bobbies arrive to arrest Nero. They beat him up, and the sounds of shots ring out, with Vanessa falling dead. Robert reappears and a bobby in closeup makes a shushing motion to the viewer for an absurdist freeze-frame ending.I really disliked watching talented performers like Nero and his future wife pulling faces and hamming it up for nearly two hours of torture. Yes, this is much closer to Theatre of Cruelty for me, and I dread the rainy (torrential actually) day when I'll have to watch my DVD of VACATION for completeness' sake.



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