Raggedy Man

source: Raggedy Man

Set in a small East Texas town in 1944, 'Raggedy Man' focuses on the life of Rita Longley (Sissy Spacek), a telephone operator who also happens to be an attractive single mother of two young boys. Shunned by the townsfolk because she's divorced, and lorded over by her petulant boss, Mr. Rigby (R.G. Armstrong), Rita feels trapped and oppressed. One rainy night along comes Teddy (Eric Roberts), a handsome young sailor on leave, who asks to use Rita's pay phone to make a long distance call to his sweetheart in Oklahoma. After discovering from the girl's father that she has since married another man, Teddy is suddenly bereft of a destination and with free time on his hands. He and Rita strike up a friendship that quickly evolves into romance. Rita's young kids, Harry (Henry Thomas) and Henry (Carey Hollis, Jr.), also take a strong liking to Teddy, and vice versa. But this faux family's idyll is short-lived; town gossip and enmity threaten to explode into something much worse and Rita asks Teddy to leave. At this point the film takes an odd, violent turn. Calvin (William Sanderson) and Arnold (Tracey Walter), two local good ole' boys who have been slavering over Rita, invade her house and threaten rape but Bailey (Sam Shepard)—the mysterious, lurking, silent "raggedy man" of the film's title—steps in to save the day and is himself killed in the process. Rita and her two boys take a bus out of town the next morning to start a new life in Corpus Christi and it is finally revealed that the raggedy man was, indeed, Rita's ex-husband. Though well acted and evocative, 'Raggedy Man' suffers from William D. Witliff's starkly bifurcated narrative, which is really two different movies that do not connect: a moving, folksy slice-of-life story about a struggling but noble young mother and, in its later stages, a rather generic suspense thriller à la 'Wait Until Dark'. VHS (1998); DVD (2004).

It's 1944; WWII is in progress; times are tough all over. A divorced mom who's trying to raise two young boys, Nita (Sissy Spacek) works in her home as a switchboard operator. She lives in a dilapidated wood frame house with paint severely peeling. Nobody in this small Texas town has much money, and few have any education. They're all kind of ... trapped. Into Nita's dreary life comes a sailor on-leave, named Teddy (Eric Roberts). Cautiously, over time, Nita and Teddy become more than friends; Nita's two boys take a liking to Teddy. Undeterred by local gossip, Nita and Teddy continue their relationship. The best element by far is the sense of time and place we get from this film. Production design is superlative. From the dank wallpaper to the Lux detergent box in the kitchen, to the tinny radio music of "Rum and Coca-Cola", to those old fashioned gas pumps, to slamming screen doors, the viewer really feels like he or she is back in the 1940s. Cheap era clothes amplify the sense of time. And the blackness of night scenes with the chirp of crickets and streets devoid of street lights scream small, country town. I am ambivalent about the subplot of the two local louts. It seems highly contrived. Yet, without it the overall story would be almost stagnant. This subplot eventually takes on some importance, and leads to a surprise final Act, with a sudden infusion of tension and suspense. Casting and acting are fine. Sissy Spacek has been effective in every role I have seen her play. Color cinematography is well done. Background music is intermittent; scenes that lack it amplify a sense of realism. A less than perfect script combined with an abrupt tonal shift toward the end notwithstanding, "Raggedy Man" conveys a marvelous sense of time and place.

Raggedy Man is an unusual mix of themes and styles, but maybe somehow that helps the film to work. The film has quite a lot going for it. The acting, casting, locations, and strong nostalgia are all there. And there is even a surprise twist ending that we see in so many thrillers today. Maybe the ending was a bit out of place. This just is a tough film to really put your finger on, but it basically works. Sissy Spacek, who is as terrific as ever, plays a divorced woman working as a telephone operator in a small Texas town, and trying to raise two rambunctious little boys between phone call transfers. She desperately wants out of this job and the little town, but her boss keeps telling her she's "frozen" because a war is going on. The majority of the film does take place in 1944. Apparently changing jobs was not possible back then if you were doing civil servant type things while a war was going on. Who knows? But Spacek is stuck there in her house, and very lonely and unhappy. That is until one rainy night, a polite sailor comes to the door hoping to use her public phone. The sailor, played by a somewhat subdued Eric Roberts, learns on the phone that his girlfriend has just dumped him. With nowhere to stay before he ships out in four days, Roberts is taken in by Spacek. The two quickly discover they have feelings for one another, and this does not sit well with the gossipy small town. Further complicating matters are a couple of local louts who have the hots for Spacek and get very jealous of the sailor. Also hanging around and peeping in windows is the "raggedy man" himself. Who is this mysterious deformed man who also seems to be taking an interest in Spacek and her boys? Well, the final twist pretty much answers that question. And this revelation is a bit difficult to swallow. The film ends somewhat violently, as the louts are dealt with. And things generally seem to be upbeat as the credits roll. The film has some wonderful selling points. The acting is top-drawer by all involved. The casting choices were absolutely perfect. Especially in support. Tracey Walter and William Sanderson were born to play parts like the two louts. They are very recognizable character actors. If you don't immediately recognize Sanderson, just think, "I'm Larry, this is my brother Darryl, and this is my other brother Darryl." Yes, he was Larry on Newhart. Look for little Henry Thomas who did this film just before E.T.. Bill Thurman of Last Picture Show fame has a bit part as the Sheriff. The town in this film looks a lot like Anarene in that film. If you were alive and recall the way things were on the home front during WWII, then this film will certainly take you back there mentally. The film is ultimately a strange cross between Summer of '42, To Kill a Mockingbird, and.... God knows what else. But somehow it all seems to work. The great cast can probably be thanked for that as much as anything. 7 of 10 stars. The Hound.

No too bad story of the past with a beautiful recreation of the buildings and mentalities of the time. The story stands. I liked this story out of the ordinary which has a touch of horror.

Sissy Spacek is beautiful. Let me put that up there at the very front and center. She may not be classically beautiful(though I suppose one could make an argument that,in fact,she is) and certainly not conventionally "hot" or "sexy",but she's--to me,anyway--always radiated a warmth and attractive femininity that makes the characters she fills out to be(for lack of a better term)beautiful. I've often felt,in fact,that as she's gotten older,she's become more graceful and alluring,equal parts loving "Earth mother" and MILF(please pardon my French) next door. She's the main reason I decided to rent this(And had been kind of aware of this movie ever since I first looked through her long career backlog of films),and since it being a not-far-from thirty year old film that was probably NOT a box office blockbuster and therefore a somewhat obscure rent title,when I saw this in the library recently,I felt compelled to get it. I also got it for the presence of one Henry Thomas,a guy about my age who will probably much more forever be known as Elliott from E.T.--the Extra-Terrestrial,but has also patched together quite a collection of work as a character actor(Legends of the Fall,All the Pretty HOrses,Suicide KIngs). He made his film debut at the tender age of nine as Spacek's oldest boy. Who surprises me here is a then twenty-something Eric Roberts as an in transit NAvy sailor,due to ship out for the WAr. He's genuinely pleasant and likable,a contrast to a great deal of creepy,unlikable sorts he's portrayed in his prolific(if perhaps easily ignored)career as a character actor. THe movie's plot(or plots),moves as thus: in 1943(?) rural Texas,a divorced mom of two named Nita(Spacek,able to convey emotions through her big blue eyes alone,and able to do so much more)works as a rural telephone operator. THe period of time,plus the rural atmosphere makes for a less than forgiving climate for Nita,so when a handsome stranger(Roberts,of course)shows up at her abode and she agrees to let him stay until his deployment is up,causes a fair amount of gossip and consternation from the locals. The first half to 2/3 of the film is basically a quiet,subtly-paced story where as much is limned from the reactions and actions of all characters involved as the words they say. The interactions in this piece are priceless,as single mom Nita does not have it easy with job,kids or relationships,yet perseveres as a sort of quiet defiance. THe last half to 1/3 of the movie is a little harder to reconcile with it,and twice as hard to figure out. A sub-plot about a couple of heartless thugs(future "Newhart"stand-by William Sanderson and character actor extraordinaire Tracey Walter)who take an oily shine to single and vulnerable Nita is,simultaneously,predictable and strangely discordant. Then there's Sam Shepherd,third-billed,who really...well,to explain his presence might be just a bit of a spoiler,I suppose,so I'd just as soon let you,the perspective viewer watch this if you want to find out. Spacek's husband JAck FIsk,normally an art-director and cinematographer,is able to transparently guide this film,probably due to both his familiarity with the star and his probable affinity for the script. A little too ambiguous in total composition and not probably sexy enough to be more than a sleeper hit,this movie is still a solid cheap rent,mostly due to the actors who fill out the parts beautifully.

I can't believe I had never seen this movie. Jack Fisk directs his first movie with his spouse starring (Sissy Spacek). An exceptional performance by Sissy, Eric Roberts, William Sanderson, Tracey Walter, Sam Shepard (RIP) and R. G. Armstrong (RIP age 95). Also Henry Thomas' first part and he went on to 76 other projects, and the adorable Carey Hollis Jr who steals every scene he's in (almost). Such a cast and story even set in Ms. Spacek's actual hometown. The set designs are just so good, thanks to the director's eye for detail! Both Sissy and Henry were nominated in1981 (Golden Globe and Young Artist respectively). I was hesitant on watching to the end but it was thrilling, almost a precursor to future thrillers. TOP NOTCH MOVIE!!! DON'T WATCH IF YOU CAN'T HANDLE GREAT FILM!!!

Go Rent This Movie! Really, it's a very good drama, set in what looks like South Central/Central Texas during WWII. Spacek and Roberts reach their thespian peaks in this film. It is a true classic with tones of despair and hopelessness, followed by love/passion and intestinal fortitude. Tremendous Realism, you'll push back the tears.

Sissy Spacek has this kind of part down pat, so praise comes too matter-of-fact. I liked the 'Aw Shucks" charm of Eric Roberts as the sailor who receives a 'Dear John" telephone call, and once he disappeared from the film, a lot of its life fizzled away. It's a small film with limited exposition, so that the dinner scene with the boys substituting their long lost father for the departed Teddy seemed to come from almost nowhere. Then despite all of their wailing, they gladly fall in with Mom's desire to move to San Antonio. Then it is headlong into a scene that is part To Kill A Mockingbird and part Straw Dogs. The problem with the script, and I suspect the screenwriter realized this, is that the Raggedy Man sails too close to Boo Radley, and so the plot must steer away from devices like having the boys be afraid of him. Yet he cannot disappear, so we have shots of him lurking about, or shots of his shop, lest we forget he is part of the story. I think the film would have worked without him even being part of it, a small tale of a thwarted four day liberty if told from the sailor's point of view, or better, simply a tale of a four day honeymoon for the divorced women. But heaven forbid, there would have been little action. Somehow the ending violence robbed me of my memory of Sissy dancing with her broom while the Andrews Sisters sang.

One of Sissy's finest, yet most underrated performances, with her husband (Fisk) directing her in a gripping and suspenseful screenplay by William Wittliff (*Perfect Storm* and *Legends of the Fall*). This is Fisk's first as director, but as a former art director, it is beautiful in its attention to detail, and he presents his wife with the care that only a director in love with his leading lady can do. Sissy plays a telephone operator in a small Texas town during World War II, raising her two boys and keeping to herself. While fending off the frightening attentions of a couple of the local yokels, she causes a great deal of consternation by taking up with a sailor (Roberts) passing through. He is handsome and loving, and bonds with her children, but the story takes many turns before its shattering conclusion. A neglected gem, it is a magnificent showcase for Sissy's talent.