A Force of One (1979)

Former karate champ Chuck Norris continued his ascendance to B-movie stardom with this lifeless martial-arts saga, which tries to compensate for its myriad shortcomings by showcasing long scenes of Norris in action. Karate aficionados may find this picture more satisfying than the actor’s previous flick, Good Guys Wear Black (1978), but, as always, catering to a niche audience is the easiest way to alienate everyone else. Accordingly, viewers hoping for things like believable acting, intriguing drama, and passable writing should direct their attention elsewhere. Model-turned-actress Jennifer O’Neill stars as Mandy Rust, the lone female on a San Diego police unit tasked with investigating narcotics activity in the city. When two cops from the unit are murdered via karate, Mandy persuades her boss (Clu Gulager) that everyone on the unit needs martial-arts training. Then she recruits title contender Matt Logan (Norris), who runs a local dojo, for the job. Predictably, Matt gets drawn into the investigation, suffers a horrific personal loss that makes him vengeful, and helps the police take down the drug kingpin who ordered the hits on the cops. There’s also a twist involving a corrupt detective, a quasi-romance between Mandy and Matt, and a touchy-feely subplot concerning Matt’s guardianship of a plucky teenager. It’s all very rote, with nary an original idea in evidence, and the storytelling is turgid in the extreme. Scenes plod along aimlessly, and the only thing flatter than the writing is the acting. Norris is awful, since he had not yet learned to emulate Clint Eastwood’s less-is-more approach, so his line deliveries sound awkward and his “emoting” is pathetic. O’Neill is almost as bad, a delicate beauty preening her way through the absurd role of a tough street cop. Gulager borders on camp with his twitchy take on the clichéd role of a put-upon top cop, and Ron O’Neal (of Superflyfame), who plays one of the officers on the drug unit, waffles between distracted indifference and silly swagger. In short, if you want to see an in-his-prime Norris deliver lightning-fast punches and walloping roundhouse kicks, A Force of One will satisfy for needs. Beyond that? Not so much.

A Force of One: LAME

Footsteps (1972)

          Nominated for a Golden Globe as the best TV movie of its year, Footstepsis a hard-driving character drama set in the competitive world of college football. Yet instead of focusing on the tribulations of athletes, as is the norm for the genre, Footstepsexplores the psychology of a ruthless coach whose belligerence, drinking, and shady ethics have made him a pariah among top schools. Richard Crenna, putting his customary intensity to great use, stars as Paddy O’Connor, a cocky ex-player with a good record of guiding teams toward victory, but a bad record of holding onto jobs.
          When the movie begins, he arrives in a small Southwestern town to start work as a defensive coordinator at a regional college. Since the school’s head coach, Jonas Kane (Clu Gulager), once played for O’Connor, O’Connor bristles at taking orders from a former subordinate. O’Connor also angles for Kane’s job, sleeps with Kane’s secretary to get inside information, cozies up to a deep-pocketed sponsor (Forrest Tucker) in order to have a star player moved to defense, and makes passes at Kane’s girlfriend, beautiful drama teacher Sarah Allison (Joanna Pettet). For a while, O’Connor gets away with his behavior by delivering a winning season, but things come to a head when moral crises reveal how conscience sometimes inhibits ambition.

          Although it suffers from brevity, running the standard 74 minutes for a ’70s TV movie, Footsteps is quite solid. Featuring a script co-written by future Oscar winner Alvin Sargent, the movie has several compelling confrontations. Moreover, the O’Connor character is such a force of nature that it’s fascinating to parse how much of his act is bluster and how much is justifiable confidence. Though generally not the deepest actor, Crenna slips into this role comfortably and delivers a virile performance. The supporting cast is fine as well, with Bill Overton doing strong work as O’Connor’s star player. (Ned Beatty is wasted in a tiny role.) Veteran TV director Paul Wendkos accentuates the story’s inherent tension with tight compositions placing actors in close proximity, and the filmmakers employ trippy effects like solarization and split-screens to enliven big-game montages that were obviously cobbled together from stock footage.

Footsteps: GROOVY