Known as LONG AGO TOMORROW, THE RAGING MOON is possibly the most intriguing movie in the career of young Malcolm MacDowell. It came after his breakthrough film IF, and before the films most people recall he starred in: A CLOCKWORK ORANGE and O LUCKY MAN. MacDowell is nowadays established as a well known character actor who specializes in powerful or power-mad villains for the most part. On an episode of LAW AND ORDER a few years back he was a twisted version of Rupert Murdoch. He is frequently rogue CIA agents, or tycoons with secret agendas. And he is wonderful in all these roles. But except for O LUCKY MAN it is hard to find MacDowell playing a sympathetic and simple type. His salesman in O LUCKY MAN is naive and believes what line is ever given to him by his employers. But in THE RAGING MOON he was a strong, athletic young man whose future is wrecked by a physical accident that cripples him. And he has to try to fight his anger at this unfair situation and regain his self respect.
McDowell plays Bruce Prichard, a soccer/rugby player who is injured in a game - and left wheelchair bound at the age of 21. Given that sport was the key to his life, the props have been knocked out from underneath him in more than one way. He slowly develops into a determined man who is going to overcome his permanent handicap. What really turns him into a determined type is his meeting with another patient (also similarly crippled) named Jill Matthews (Nanette Newman). The two young people find they are encouraging each other's recovery. And sooner or later they begin falling in love.
It is the oddest role in MacDowell's career, and he handles very well. Basically, except for the first ten minutes of the film, he is stuck in bed or in his wheelchair. He is bitter, but fixed on getting on with his new life. Andd finally he is enchanted by his new friend, confidante, and lover Newman. In one of the most touching scenes of the film, the two lovers figure out how to embrace in their wheelchairs by turning them on parallel lines to each other, and lowering the right arms of the wheelchairs so they can surround their arms about each other's waists and chests. The viewer can see the difficulties the young people will face, but they see they will do what they can to overcome their joint disability. So that the audience ends up cheering for them.
MacDowell is not usually so sympathetic. His anti-hero in A CLOCKWORK ORANGE is tormented by the state in a new process to make him an acceptable (if defenseless) citizen, and then tormented by one of his old victims. But he was a stylish but still vicious punk in most of that film. He may symbolize youthful suspicions against an antiquated establishment in IF, but he is a violent rebel in the end. And due to his crass stupidity in O LUCKY MAN he actually commits fraud. But in THE RAGING MOON he struck a different note - and it was one he rarely hit again in any films or television shows he made.
The ultimate fate of his hero and heroine, and the cruelty of the world and nature they face, enhance the film. At the conclusion he is stunned by events. So is his audience. And nobody can explain why what happened had to be final for his dreams.
McDowell plays Bruce Prichard, a soccer/rugby player who is injured in a game - and left wheelchair bound at the age of 21. Given that sport was the key to his life, the props have been knocked out from underneath him in more than one way. He slowly develops into a determined man who is going to overcome his permanent handicap. What really turns him into a determined type is his meeting with another patient (also similarly crippled) named Jill Matthews (Nanette Newman). The two young people find they are encouraging each other's recovery. And sooner or later they begin falling in love.
It is the oddest role in MacDowell's career, and he handles very well. Basically, except for the first ten minutes of the film, he is stuck in bed or in his wheelchair. He is bitter, but fixed on getting on with his new life. Andd finally he is enchanted by his new friend, confidante, and lover Newman. In one of the most touching scenes of the film, the two lovers figure out how to embrace in their wheelchairs by turning them on parallel lines to each other, and lowering the right arms of the wheelchairs so they can surround their arms about each other's waists and chests. The viewer can see the difficulties the young people will face, but they see they will do what they can to overcome their joint disability. So that the audience ends up cheering for them.
MacDowell is not usually so sympathetic. His anti-hero in A CLOCKWORK ORANGE is tormented by the state in a new process to make him an acceptable (if defenseless) citizen, and then tormented by one of his old victims. But he was a stylish but still vicious punk in most of that film. He may symbolize youthful suspicions against an antiquated establishment in IF, but he is a violent rebel in the end. And due to his crass stupidity in O LUCKY MAN he actually commits fraud. But in THE RAGING MOON he struck a different note - and it was one he rarely hit again in any films or television shows he made.
The ultimate fate of his hero and heroine, and the cruelty of the world and nature they face, enhance the film. At the conclusion he is stunned by events. So is his audience. And nobody can explain why what happened had to be final for his dreams.