Thoughts : The Return of the Secaucus 7 (1980)
The 1970′s were a time of experimentation on the big stage in American cinema. Many of the directors that recently had found fame were fans of old Italian and French cinema, and their influences were being intertwined into the Hollywood system to great effect. Neo-realism, knowingly or not, seemed to be the realm that John Sayles stepped in with his debut film, The Return of the Secaucus 7. He would later go on to find huge fame in the 1980′s with The Big Chill, but his debut film, in my opinion, is the real work of art.
Mike (Bruce MacDonald) and Katie (Maggie Renzi) have rented a cottage in New Hampshire in anticipation of a reunion with their college friends. The group were formerly arrested in college for protesting, thus gaining them the nickname of the Secaucus 7 : Mike, Katie, J.T. (Adam LeFevre), Frances (Maggie Cousineau), Irene (Jean Passanante), Maura (Karen Trott) and Jeff (Mark Arnott). Irene is bringing Chip (Gordon Clapp), her co-worker and current love interest; Maura and Jeff are bringing a fresh break-up; to top it all off, the entire group is bringing together years of memories, regrets, resentments and a whole batch of pent-up thoughts and feelings held for one another. With local friends Ron (David Strathairn) and Howie (director John Sayles) thrown into the mix, there’s no telling who will couple up, what emotions will boil over, and where members of the group will stand with one another after the reunion is all said and done.
This film is a drama that plays out very much like a documentary. We get a clear indication for who is who early on : Mike and Katie are the surrogate parents, J.T. is the free spirit, Irene and Chip are the pragmatists, Maura is the dramatic one, Jeff is the one who rocks the boat, and Frances is the outsider. Ron is the wild card, and Howie is the representation of settling down. With all of these elements thrown into a mix, and the palatable history between these fictional characters, what we are left with are very realistic and entertaining depictions of what could be mundane human interaction. It’s that realism applied with a focus on entertainment remaining that allows us to feel like the silent friend in the group, watching all of the drama and fun unfold right in front of our eyes, and finding ourselves feeling a part of it all.
Truthful portrayals of love and friendship are what really help nail down that aforementioned realism that is so present in the film. The actors and director (along with their small crew) were all friends in real life that had previously worked together in acting troupes, and none of them had any real expectations in regards to what would happen after the film’s release, and it allowed those real life connections to shine through. There are no pretenses, as it is crystal clear everyone trusts one another and is comfortable around one another. This level of comfort allows the actors to not only go for broke when they see a memorable opportunity, but it makes their intimate and emotionally revealing moments carry that much more impact. You can see both sides emoting, listening, reacting and taking everything in, very similar to what we go through in vulnerable times connected to our lives.
Honest acting is the name of the game, and it’s a big part of how the realism is achieved. The reactions and laughs are all genuine. The dialogue, observations and jokes made at one another’s expense feel as if they are coming from a place of familiarity rather than originated in a writer’s mind. The smiles are sincere, the worry feels real, and the electricity between certain cast members is present even with the film on mute. Everything is in the eyes and the body language of the characters, and the camera does a fantastic job of capturing and framing all of the comfort and familiarity for our pleasure.
Bruce MacDonald and Maggie Renzi find ways to be compelling in their dual role of parental figures and tour guides, coming off as somewhat wiser and more settled than their friends despite being the same age. Ada LeFevre brings tons of charisma and charm to his role of drifter and songwriter, making him by far the most magnetic of the group in terms of personality. Jean Passanante and Gordon Clapp’s logical observations and straightforward humor play extremely well in relation to the company they keep in the film. Maggie Cousineau comes off as the most mysterious in the group due to her guarded and reserved nature... she is comfortable around the group, especially the women, but not outwardly revealing in terms of dialogue. Karen Trott and Mark Arnott play lovers at odds quite well, managing to show shades of why they made a good couple in tandem with showing a ferocity towards one another (subtly and directly) that implies years of intimacy and no secrets. David Strathairn and his lighthearted nature were memorable, but definitely not an indication of his long and diverse career that was to follow. John Sayles made the most of his acting moments, providing a contrast to the unburdened nature of the remaining characters.
While usually not as remembered or recognized as The Big Chill, this film is still one that I’ve been fascinated with for years and find myself thinking of quite often. Though not the biggest proponent of remakes, I think the framework of this is open enough to reinterpret it for modern day audiences, with only the most diehard observers probably being the ones able to put the influential pieces together. For fans of independent cinema, definitely one to put on your watch lists.
