Blythe Danner naked … a tale of two movies

Blythe Danner is Gwyneth Paltrow’s mother, and a respected actress in her own right. Like Paltrow, Blythe did some nude scenes in her younger days, showing off a figure rather curvier than her daughter’s.

Her most famous nude scenes came in a well known 1974 film called Lovin’ Molly, which was written by, directed by, and starred some of filmdom’s most respected figures, as well as some promising newcomers. Larry McMurtry wrote the source novel; Sydney Lumet directed; and Ms. Danner’s castmates included Beau Bridges, Anthony Perkins, and Susan Sarandon.

Given the talent involved, Lovin Molly’ should have been a slam dunk for an excellent movie. Lumet was more or less in the prime of his career, as Lovin’ Molly was made between Serpico and Dog Day Afternoon. McMurtry was still basking in the glow of the encomiums heaped upon The Last Picture Show.

It wasn’t a great movie, although it has some very nice moments. According to IMDb, screenwriter Steven Friedman never wrote another script before or after this one, and McMurtry’s sprawling story, spread out over 40 years in the lives of two men who loved the same woman and each other, proved to be difficult for the inexperienced screenwriter to adapt into an economical screenplay. McMurtry’s source novel, “Leaving Cheyenne,” had the advantage of an unlimited expanse of printed pages to develop sub-plots and subtext in a leisurely, thoughtful way, as well as to create some beautiful homespun prose which often moseyed into the territory of simple country poetry. The screenwriter just didn’t seem to have the heart to cut out any plot points, so the individual scenes seem rushed and excessively compacted, and the transitions between scenes seem to be dominated by abrupt jumps forward in time. Unfortunately, chronicling the minutiae of events over four decades didn’t leave enough time for the proper development of motivation and character, to such an extent that the movie ends without us ever really knowing much about one of the two men who loved Molly, the one played by Beau Bridges, although we do love him at the end as a colorful and generous-spirited old geezer.

Lovin’ Molly plays out like one of those Doug Sirk soap opera films from the 50s rather than like a character-oriented 70s piece. If it had been my decision, I would have found a way to minimize or even eliminate the last two acts, particularly given the silly make-up used to age the characters.

The script fails in other ways. The portrayal of Texas rurals seems like the kind of “noble savage” idealization that would be created by someone who had never left Boston. Furthermore, the author chose to replicate the feel of McMurtry’s language by simply having it read in narrative voice-over, with each of the three acts narrated by one of the three main characters, following the structure of the book down to the last detail.

The script problems were complicated by the odd casting of ol’ Norman Bates as a sane heterosexual from the rural Texas Panhandle. Perkins seems like a disturbed city boy from New England who is recruited to play a country boy in the school play because the drama teacher thinks it will help him cure his introversion. His love scenes with Blythe Danner were, to understate the case kindly, lacking in electricity. He was supposed to be someone who had trouble expressing affection, but he took it to pathological extremes.


As I recall, Mr. Perkins was not really inclined to appreciate feminine pulchritude when he was a young man, but by the time this was lensed, he had decided to try sex with women. He was about 40 when he had his first heterosexual experience, and seemed to like it enough to marry a woman two years later. He married the younger sister of Marisa Berenson, fathered two sons by her, and remained with her for some two decades, until his death. About a decade after Perkins died, his widow died in the 9-11 attacks. She was aboard AA flight 11, which crashed into the North Tower.

I still like Lovin’ Molly in some ways. It can get inside you and melt your heart in its best moments. It’s easy to understand why the boys loved Molly, as played with feisty unconventionality by beautiful Blythe Danner, who had some talent to match her looks.

But the damned thing just isn’t as good as it should have been.

It’s been more than thirty years since this film was made, and it’s almost completely forgotten, so I’d love to see somebody else try their hand at McMurtry’s “Leaving Cheyenne.” I still think there’s probably a great movie in there somewhere.

Anyway …

Brainscan created some collages of Blythe Danner’s nudity in Lovin’ Molly

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That is all well and good, but is actually only my usual long-winded preamble to today’s topic, which is another film in which Blythe Danner got naked, a 1972 effort called To Kill a Clown.

Although there are monumental exceptions like The Godfather, many films from the hippie era (1967-1974) don’t hold up well. They often feature cartoonish portrayals of military types and conservative authority figures, as contrasted to mawkishly hagiographic portraits of hippies and other counter-cultural types.

Movies don’t exist apart from society, of course, but tend to reflect it. That era was a time when American society contained divisions as deep as today’s, or even as deep as those of Lincoln’s time. The Vietnam War occupies a unique place in our modern cultural history, in that society’s condemnation of the war extended to those who fought in it. The activists who opposed America’s involvement in other unpopular wars like Iraq or Afghanistan were still able to say “Thank you for your service” to the brave soldiers who placed their lives on the line to fulfill the assignments that their country gave them. Not so with Vietnam. It was bad enough that those veterans came home from their tours of duty with PTSD, but they also faced hostility, indifference and employment difficulties. The ultimate irony is that, unlike soldiers in our contemporary army, most Vietnam vets did not choose military service. They were drafted. The obloquy hurled against them by civilian society was a demonstration of how people in a divided society demonize their ideological opposites, even in the face of all logic.

Many career soldiers and ex-soldiers in the films of that era were portrayed as callous martinets, brainless rednecks and violent fascists. In this film, the bitter one-dimensional ex-soldier was Evil Alan Alda, a bitter and twisted ex-major with irreparable combat injuries who basically uses his vicious dogs to kidnap a hippie couple and turn them into his personal troops. “Put on a shirt, and button it. Button every button.” As you can infer from that description, not all of Evil Hawkeye’s injuries were the physical type.

Blythe Danner plays the female member of the hippie couple, and at one point she becomes so desperate to escape Evil Hawkeye that she gets naked and tries to break down his angry veneer by seducing him tenderly. He spots this as a ruse which includes no genuine affection for him, so he chases her out of his home, angrily insisting she comply with an immediacy that denies her the chance to get dressed. It is in the scene of seduction and subsequent humiliation that we in the audience got to look at Blythe Danner’s naked body on film for the first time.

(The YouTube link jumps directly to the nude scene.)

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Unfortunately for fans of Alan Alda and Blythe Danner, this film has never been available in any better quality than what you see in that YouTube version, which has probably been remastered from a VHS source.

It’s not much of a movie. The characters are one-dimensional and their actions are illogical, even within their own defined universe. As poor as the script is, the direction by George Bloomfield is even worse. The pacing is slow, and the ending isn’t really an ending at all. It is so abrupt and unsatisfying that you wonder if maybe they just ran out of film.

It’s frankly absurd that this film is rated 5.4 at IMDb while Lovin’ Molly is at 5.5. They are not at all comparable in quality. While Molly is not a cinema classic, it has some merit and should probably be in the 6s, while this film should be in the 4s or lower. Oh, I’m being euphemistic. To be brutally frank, this film should never have been made at all.

But you don’t have to take my word for it. That YouTube link above is the entire film, if you’re interested enough to watch it.

19 thoughts on “Blythe Danner naked … a tale of two movies

  1. I think I found out about To Kill a Clown from Celeb Sleuth. Danner was lovely. I had the hots for her. That lousy nip peek in TKAC was all I had. I thought it was pretty good, anyway. I didn’t learn of Lovin’ Molly until many years later.

  2. I always had the hots for Blythe Danner. She has a little oomph to her, whereas her daughter is conventionally and blandly pretty.

    I think I first saw her in the TV series Adam’s Rib, in which she once again co-starred with Ken Howard (who played Jefferson in 1776). The show was forgettable and only lasted a year, but she was obviously memorable.

    Last bit of trivia: it appears that Gwyneth was conceived during the making of 1776.

    1. Also two thumbs (among other things) up for Danner’s bod, but also Evil Alda is always interesting. What’s the other one? Mephisto Waltz, I think. Not that he’s such a convincing heavy, just that you don’t expect it. He’s Alan Alda – the original Sensitive New Age Guy, or SNAG.

      1. He’s gone back to Evil Alda in some roles as he’s gotten old (The Aviator, Murder at 1600).

        1. Maybe not “evil”, but his character in “The Seduction of Joe Tynan” was pretty dark. It was made at the height of his success in M*A*S*H and I think audiences were put off by his corruption.

  3. Blythe Danner was also in an episode of Columbo playing the wife of a cheating orchestra conductor played by John Cassavetes.

    I think this brings up the old debate of ‘would the orchestra actually fall apart without the conductor waving his baton around?’

  4. The idea that returning soldiers from the Vietnam War were treated badly, especially by hippies, is accepted as fact, but there isn’t good evidence of it. C.f Jerry Lembcke’s “The Spitting Image.”

    1. I would say “respectfully disagree,” but having witnessed it with my own eyes on many occasions, as part of the student protest crowds, and also having seen the same hostility toward Vietnam vets from my uncles who were WW2 vets, I’d have to say that Jerry is basing sweeping conclusions on his own anecdotal experiences, which I can easily counter with my own anecdotes (and contemporary newspaper reports).

      Perhaps most reflective of society’s attitude is that when employers were asked in 1968 whom they would hire, given a vet and a non-vet with the same qualifications, the majority of employers answered that they would prefer the candidate who had NOT served.

      As far as the attitudes of anti-war students, I’d say that if vets came back from the war regretful about their participation, they were welcomed back like prodigal sons (although a few protesters would ask why they had not been C.O.s in the first place), but if they made any attempt to defend the war, they were cursed, booed, maligned and shunned.

      Having noted all of that, I never saw any incident of “spitting,” so I can’t comment on that. It sounds like total bullshit, but I suppose there may have been isolated incidents.

      1. Why did the WWII vets show hostility to the Vietnam War vets? I would have thought a vet was vet. Sorry for my ignorance…

        1. My uncles’ point of view was that they came home without a victory, and sometimes with bad attitudes toward “Amerika.”

          This syndicated newspaper article from May 6, 1971 sums it up pretty well:

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      2. There is a 2005 documentary that covers this (I keep meaning to see it) called Sir! No Sir!

        In consideration of further U.S history, Blythe Danner played Martha Jefferson in the movie version of the musical 1776. She sang what I thought was the worst song in the musical about how she fell in love with Thomas Jefferson because he played the violin. It’s apparently accurate but I didn’t like the song.

        I recommend the movie highly though. That said, most of the songs are forgettable but Sitdown, John, Cool, Cool Considerate Men, Molasses to Rum to Slavery and Piddle, Twiddle and resolve are very good.

        For anybody seeing the movie, it has a number of historical inaccuracies mostly to increase the drama, but seeing the movie and reading about the inaccuracies I think increases knowledge of history, so it’s all good.

        In regards to one of the supposed historical inaccuracies, John Adams is regarded by nearly all as ‘obnoxious and disliked’ but it’s said that he was actually regarded as ‘highly respected.’ Since John Adams was known to be a very blunt person, I don’t see the two as contradictory.

        Roger Ebert in one of his likeliest worst reviews gives the film only two stars essentially arguing it made the U.S founders into childish figures.
        I have to think the young Ebert had hero worship, as much of the dialogue is actually taken from letters they wrote.

        I imagine Evert didn’t like the portrayal of Benjamin Franklin, who, if you weren’t really paying attention, comes across in the movie as little more than comic relief.

        But, does this seem childish?
        Franklin to Adams on the removal of the criticism of the King regarding slavery from the Declaration of Independence (that really happened) with Adams saying that history won’t look kindly on them:

        That’s probably true, but we won’t hear a thing. We’ll be long gone.
        Besides, what will posterity think we were? Demigods? We’re men… no more, no less… trying to get a nation started…against greater odds than a more generous God would have allowed. First things first, John.
        Independence. America. If we don’t secure that, what difference will the rest make?

        Blythe Danner and the actress playing Abigail Adams are the only two women in the film, and there isn’t anything close to nudity. If Ebert had to give a negative review, that’s much better grounds.

        1. Just to make clear, that is criticizing the King for bringing slavery to America. Adams, Franklin and Jefferson were all abolitionists even though Jefferson had slaves himself.

          1. Franklin, too, had slaves. And, he never freed them. Not even after advocating abolition.

        2. Molasses to Rum to Slavery is an amazing song. I try to watch that film every year. I’ve always enjoyed Blythe’s violin song and am fine with all the music. This movie is what made me fall hard for Blythe. I had always seen her play this motherly type with a boring hairdo and then I saw her look young and amazing in 1776. After that I made sure to check out the 2 movies where she had nude scenes and her body did not disappoint. I’ve wondered if she got implants though as they look pretty amazing in Lovin’ Molly. Maybe too amazing for her frame.

        3. 1776 was one of the biggest surprise hits in Broadway history. The creators were mostly novices. The songs were passable at best. Everybody thought it was just going to be a boring history lesson; it’s not like everybody didn’t know how it was going to end, so how could they generate any suspense? There are long…I mean LONG…stretches between songs, twenty, maybe thirty minutes. It had failure written all over it.

          I LOVE this musical! And the movie version brings back all the original stage performers…how often does that happen?

          1. I think you have to give William Daniels (and Howard da Silva to a lesser extent) credit. They CARRIED that show. And while the songs were just okay, the dialogue was actually quite good.

            I wonder if it would have been as big a success with another initial cast.

            Anyway, all this talk about 1776 is good timing.

  5. Thanks – always wanted to see this movie, didn’t know it was on YT. As for Blythe’s butt: man I miss tanlines!

    1. I was just going to post the same thing. There is something sexy about the tan line bikini….you don’t see much anymore

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